From Chapter 12: Observing and Recognizing Inhibiting Themes
Exercise #3 Identify a moment during which you feel challenged while trying to be creative. It does not have to be a moment in which you are completely paralyzed, but it should be a moment that at least causes you some discomfort. For example, perhaps you are interested in painting and have actually purchased art supplies but have not started to actually paint or you have begun several paintings but are having difficulty completing one. Maybe you think of writing but have not initiated the first page. In contrast, you may have finished a manuscript but have failed to submit it to anyone for review. The moment of challenge may be that distinct moment when you are in a committee meeting and although you form an idea for consideration regarding a shared task you hesitate and never voice it out loud. The particular moment you address may be any one that challenges you to stay engaged.
A) If possible, physically place yourself in the situation in which you are experiencing the feeling of being challenged. If your challenge is in painting, set up your easel and arrange your brushes and other supplies as you would if you were going to paint. Take a brush and dip it in one of the colors. Gradually move it closer to the easel and then…simply hold that position. Do not paint!
If your challenge is practicing an instrument, position it as if you are going to play it. If your challenge is experienced when trying a new recipe, take out and arrange your ingredients with the recipe on the kitchen counter. If your challenge is to sculpt, arrange your materials in front of you so that you are ready to begin shaping the clay. Some distinct moments of challenge may not involve tangible objects or exact locations. For example, you may feel challenged in sharing your personal views regarding a project at work or you may be inhibited when thinking about pursuing a specific academic goal. If this is the case, arrange your physical situation to resemble as closely as possible the conditions in which you take the initial steps to engage in these activities. Visualize or actually sit in the room at work where you may be offering your idea. Visit or imagine yourself at the school that is offering the program in which you desire to be enrolled. If you have not actually applied, sit by your desk with the school’s application in front of you. You may want to select a moment that best reflects how far you have progressed in your creative endeavor.
B) Now focus your attention for a few moments on your surroundings and the objects in front of you. Actually initiate or simply visualize the first steps you would be taking as you proceed. For example, actually paint on the canvas or visualize doing so, actually write some paragraphs or picture yourself doing so, actually call the school where the course is being offered or visualize doing so. Focus your attention in this way for several minutes to help you feel as present as possible with the actual challenge of engagement in the activity. Try to immerse yourself as much as you can in attending to the details of the task. The goal at this moment is to make the situation as real as possible so as to evoke the deeper reactions that have been blocking you from full creative engagement.
Ask yourself, “What is my internal experience at this distinct moment in time? 1) Begin by focusing on your body. Do a full body scan, from the top of your head to your face and shoulders, continuing down to your toes. Again, try to observe without judging, evaluating, or trying to change your reaction. Just observe. Notice your breathing, your muscles, your posture, and your overall physical comfort or discomfort. How comfortable or uncomfortable is your body? Are you experiencing any form of tension? If so, where is it located? Is it in a shaking leg, in the muscles of your chest, in your gut, or in a barely noticeable change in your respiration? Is it a vague sense of overall physical tension or tension centered in a specific area of your body? Are you moving your tongue against your lips or the roof of your mouth? Perhaps you are slightly clenching your teeth together or biting your lip or tongue. Maybe you are feeling a slight strain across the muscles of your shoulders. Are you experiencing low-level fatigue that has gradually overcome your body as you have increased your engagement with the task? Might you be experiencing some tension in your eyes, as if you have been reading for hours, which causes you to feel like discontinuing the task at hand? Take time to write down your physical reactions.
In contrast, are you experiencing physical tension that is exciting? Does this tension help you to be alert and focused and to move forward and fully engage with the creative task?...
Bernard Golden, PhD. • 1 East Delaware Place, Suite 310 Chicago, Illinois 60611 Email: bgolden10@sbcglobal.net - Tel. 312-642-0265