||A Haiku Journey — Slow Walk Around a Small Island
||Journal 29 December 2020
||environment, imagination, love, poetry, reflections, warm-up, writing
||Prologue: I think we’re all time travellers. In a second we can conjure events from the past and the experiences and feelings of back there and then can flood into our here and now and become real. And the opposite can occur — a present moment can activate my memory glands. I often experience this when writing Haiku. There’s a formula to traditional Haiku — three lines — 5 syllables in the first, 7 in the second and 5 in the third. I like and prescribe to the seventeen syllable limit as I experience a satisfying feeling of push-back, a kind of requisite resistance to other poetic foibles I may have at the time. But I’m getting ahead of myself. Please join me for a slow walk around my island home of Coochiemudlo. Along the way I’ll let you in on how this journey started, my now abiding passion for Haiku, how I benefit from my practice, a little of my process and how I use it in my work with clients.
||A Place to Meet: Reflections on Group Improvisational Processes on Zoom
||Journal 29 December 2020
||creativity, director, German, J L Moreno, Moreno, poetry, protagonist, Psychodrama, spontaneity, warm-up
||Introduction It’s been a month since I worked face-to-face. The studio is looking decidedly casual. It’s become a place to hang out rather than a place to work. In the first weeks of Covid-19 lockdown, as I considered what my working life might look like in the next while, the word ersatz came to me. It’s a term borrowed from the German language meaning replacement, substitute, imitation, fake. In WW1 and WW2 ersatzbrot (substitute bread) was made with potato starch and sawdust and fed to prisoners who starved of malnourishment. I don’t want to create ersatz anything.
||Digging for gold: the search for meaning
||Journal 27 December 2018
||Max Clayton, warm up, warm-up, warming up
||What are you focusing on in your research?’ Max asked with clear interest. ‘Defining the psychodramatic concept of warm-up, Max,’ I said. I could see that Max was becoming mildly congested as his eyes reddened and his nostrils flared, presumably from the strengths of his responses ranging from ‘I’ve already written about that extensively’, to ‘Haven’t you listened to anything I’ve ever said?’ Not waiting for the congestion or dyspepsia to pass, whichever it might have actually been, I hurried on to head him off at the pass. ‘I know you’ve written about warm-up extensively in your co-authored book and in other works and chapters. You’ve written about how to recognise it, how to work with it, and where to expect it. And you’ve also taught extensively on how to notice and recognise it, and then work with it psychodramatically.’ As I spoke, Max seemed to settle, so I continued...
||Integrating Infant Mental Health and Psychodrama Perspectives
||Journal 15 December 2006
||child development, infant mental health, spontaneity, warm-up
||Discusses Moreno's theories of child development, spontaneity and warm-up and the work of major infant mental health theorists. It draws a parallel between these theories and describes how these two bodies of work can strengthen therapeutic practice.