Fairy Tales, Archetypes,

and Self-Awareness

“Common to all fairy-tales,” wrote Wilhelm Grimm, “is the residue of a belief which goes back to the most ancient times

and speaks of supersensory things (things beyond the range of what is

perceptible by the senses)

in the picture-form” (Meyer, 1997, p. 15).

Research Hypothesis: Through the use of fairy tales and symbolic archetypes, one can begin to identify individual personality characteristics and increase a level of self-awareness.

Research Question: Can fairy tales and archetypal symbols help people

become self-aware by observing movement patterns?

Presentation Outline |  Methodology

{  How I conducted the research {  Why I used the materials that I did

|  Method In Action {  Looking the process through two projects

|  Analysis {  Individual Self-reports

{  Composite results {  Tallied results

|  Case Example

|  Conclusion

Part 1: Methodology

STEP 1: Placed in front of each participant was: 1. a mat with concentric circles 2. 19 tiles that described characters or objects from the story 3. a survey 4. polymer clay

Why Clay

According to an article by Sholt and Gavron (2006), making an object out of clay becomes a symbol and a metaphor of one’s inner world. The article continues saying that verbal communication often becomes easier and the possibility of insight increases through clay work. Lastly, clay-work involves body expression, mental processes and observation. This allows for the integration of emotions and memories from a different level of consciousness.

Why a Mandala

“The mandala is a symbolic road map that

delivers and communicates awareness.

Manda meaning center or essence,

and la meaning container” (Huh, 2010, p. 20).

This sketch map was created by Carl Jung. It shows how Jung saw the structure of the psyche, in the sense that each part is related to each other (Zinkin, 1979).

1.  Ego 2.  Sphere of consciousness 3.  Sphere of the personal unconscious 4.  Sphere of the collective unconscious

1.  Core personality of clay figures 2.  Tiles that influence or are important to

the core personality 3.  Tiles less important to the core 4.  Tiles that influence the core the least

Jung’s delineation

Research delineation

Why Art In the article Symbols of Active Imagination, H. Dieckmann (1971) describes a principle that was first introduced by C.G. Jung. Jung stated “that two opposite principles inform this process: the principle of creative formulation and the principle of understanding” (p. 127). Through Dieckmann’s research, he was able to witness the combination of these two processes as his “patient succeeded in anchoring her creativity to earthly reality” (p. 127). Art making and interpersonal understanding are proven to be strong companions in the process of gaining meaningful

insight of oneself.

STEP 2: The story of Hansel and Gretel was read out loud. The participant was asked to think about which character or object they most identified with and character or object they least identified with as they listened to the story.

STEP 3: Using the polymer clay, the participants were asked to create the two figures - the one most identified with and the one least identified with. They were asked to place them in the center circle of the mat.

STEP 4: Participants were asked to answer questions 1 - 3 on the survey

STEP 5: Participants were asked to place the tiles on the mat according to importance to the central figures. The things that were important to the core personality were placed closer to the center and those less important, placed further away. They were also asked to think about front and back relationships, too.

STEP 6: After the tiles were placed, they were asked to answer question 4 on the survey.

STEP 7: After answering question 4, they were asked to place the 6 labels (below) in the areas that made sense to their layout.

STEP 8: At this point, the participants could turn over the tiles, see the archetypal meaning, and then answer the remaining questions.

All of the meanings for the archetypal symbols have been cross-referenced with the Annotated Hansel and Gretel by H. Heiner (Heiner, 1998).

Part II: Method in Action

Question 1: Most Identified/Least Identified

The participant most identifies with the father and the ax. The ax is the tool he uses to earn his living and “provide.” The father loved his kids, but still kicked them out. He welcomed them back.

The participant least identifies with the witch. The broom symbolizes the witch. She wanted to consume Hansel. Very scary - not allowing him to be himself. Connection to an overbearing mother?

Question 2: Describe the relationship of the clay figures to each other.

Hat of the witch and hat of the father are facing each other. They are facing off. Lined-up together. The father’s white hat (good) and with witches black broom (evil). The red witch’s hat represents the fire - the blue ax - water to put out the fire. Yin and yang of what connects us.

Father Witch

Question 3: What thoughts are provoked when looking at them in relationship to each other.

If the premise is that both of these symbols are within each of us, then this is evident here. The loving father - imperfect, giving up, kicking out his kids - like me to the evil witch wanting to consume the kids - not letting them be themselves. Burn witch, burn!

Question 4: Explain why you placed the cards as you did in relationship to the figures on the map.

Top priority is Hansel and Gretel at the end of the story. Welcome home to the cottage with jewels (security), witch/cage is the control aspect. Being set free is the witch in the oven. The mother is replaced by a step-mother - also close to the witch. The bone bought time and was the defense to the witch.

Question 5: Now that the cards are turned over and you can see the relationship of the archetype to the figure/object, describe how the map and the placement of figures and cards highlight your personal characteristics or provide insight?

Father as self responsibility aligns completely with personal characteristics. Witch as narcissism/ego in the shadow of self responsibility also aligns to self-centered ego. Father as woodcutter with the forest nearby aligns with the journey of belonging/courage/hope/awakening/personal journey of right now with moving to USA.

Judgment/shame/blame and holding onto the past at bottom, not a good alignment, but I placed the tiles important at top to less at bottom.

5a. Which card is most curious or makes you question? Why?

Fear is beside courage and hope on one side and change and self-awareness on the other. This is curious – I’d like to explore more and know why?

5b. What is its placement in relation to the clay figures?

Closest to the father with courage and hope. 1st ring with “emotional” tag linking them and awareness on the same side.

6.   On a scale of 1 - 5 (1 indicating not at all and 5 indicating spot on), how well did the character archetypal choices describe your personality? 4

7.   On a scale of 1 - 5 (1 indicating not at all and 5 indicating spot on), how well did the overall map help you identify a level of self-awareness? 4.5

“The characters in the fairy-tales led us to

discover the treasures in our own soul” (Meyer, 1997, p. 9).

The discovery that this participant made was a curiosity of why fear was between courage and awareness. He sensed this to be true and wanted to

explore why.

Question 1:

Most Identified

Gretel. As a child, I had anxiety but was strong and a survivor. It describes my outward personality through hurts, loss, grief, but able to come back to at least being functional.

Least Identified

Witch. I am not a person who pre-plans to hurt others. It describes my inward personality in that I still hurt others from time to time, not realizing it (outwardly); but some others have hurt me and I wish I could hurt them back… working on forgiving them.

Question 2: Describe the relationship of the clay figures to each other. Question 3: What thoughts are provoked when looking at them in relationship to each other.

They are half facing each other - Gretel looking at the witch and the witch looking forward. Both are approximately the same size. My plan was to make the witch larger. Using flesh tones and blue for Gretel - lighter, kinder - with short brown hair - like me as a child. Flesh tones and darker purple for the witch with white scraggly hair - dark, old witch. Both have black shoes - a base to stand on.

Question 4: Explain why you placed the cards as you did in relationship to the figures on the map.

I placed the items relating to the witch’s behavior close to and in front of the witch. And also Stepmother in the 2nd ring. These things/people relate to the will/shadow side of story. Did the same with Gretel - closest people - close relationship, sunrise helped them find their way - crumbs - good attempt - jewels bought prosperity (but they were stolen – that’s why they were in the 2nd ring. Water - couldn‘t remember it in story.

Question 5: Now that the cards are turned over and you can see the relationship of the archetype to the figure/object, describe how the map and the placement of figures and cards highlight your personal characteristics or provide insight?

Gretel - anxiety/fear - as a child and adult - yes. Courage and hope - I still have it - self responsibility - I need to develop this. I am strong. I still hold onto past - trying to let go. Narcissism - my learning this is deep in me - I tend to attract narcissistic men into

my life. Still trapped in judgment, shame, blame - childhood up to now. Hedonism - my hidden side, but there is movement towards intuition and spiritual journey. I have a deep passion for many things - why did I put it in the outer ring? Belonging behind - I miss belonging. Self-awareness - still a challenge. Higher self - still learning and journeying toward. Heart center - surprised it’s in my shadow.

5a. Which card is most curious or makes you question? Why?

Heart center - I thought I was more heart centered - but more on shadow side? Maybe not letting others in?

5b. What is its placement in relation to the clay figures?

First ring - not labeled

6.   On a scale of 1 - 5 (1 indicating not at all and 5 indicating spot on), how well did the character archetypal choices describe your personality? 4

7.   On a scale of 1 - 5 (1 indicating not at all and 5 indicating spot on), how well did the overall map help you identify a level of self-awareness? 4

“We tell stories to try to come to terms with the world, to harmonize our

lives with reality” (Campbell, 1988, p. 4).

This participant could see herself in Gretel. The story gives her something or someone to relate to, and in turn, not feel alone in her feelings.

Part III: Analysis section one

|  Individual Self-Reports

From an Adlerian perspective, what I have observed watching individuals participate in the research

Each map is very individualistic and describes a persons teleology. In so doing, it gives the therapist an idea of phenomenology and an inroad to seeing as the client sees.

Teleology, as defined in the Lexicon of Adlerian Psychology (2007), states that teleology is self-imposed and must be understood as a device and as the individual’s own construction. Between the combination of the maps and the answers to the questions, the methodology used in this research helps the participant/client to self-identify their own teleological movement.

Phenomenology, as defined in the Lexicon of Adlerian Psychology (2007), states that phenomenology is understanding the person’s unique life-style, seen as the expression of a private and creative assessment of self and the world. “Perception is more than a simple physical phenomenon; it is a psychic function from which we may draw the most far going conclusions concerning the inner life.” The construction of the map can only be done on an intuitive, inner psyche level. There is no way to figure the method out by reasoning.

How one relates to the two inner characters gives the therapist an idea of the client’s ability to have the courage to be imperfect.

According to Adler, there is a difference between “sound striving for perfection and the neurotic wanting to be perfect and that in psychotherapy people learn to face their own imperfection. How the participant described their “shadow” character in relationship to their outer character sheds light on how they feel perceive themselves as a whole (Griffith & Powers, 2007).

Conclusions ���based on all 22 survey self-reports

Asking the participant/client to identify the area that is most questionable or curious to them points to the idea of movement.

Movement, as defined in the Lexicon of Adlerian Psychology (2007), states that movement connotes the understanding of human being as always in process, moving away from the felt minus toward a fictional plus position, away from the intolerable feelings of worthlessness toward the desired feelings of mastery and worthwhileness. Defining the area that creates a certain amount of tension (at least curiosity), is a great place to start the exploration process and create movement.

Having the participants place the labels where they felt them to be appropriate, begins to show their particular style of life.

Style of life, as defined by Ansbacher and Ansbacher (1956), is determined by the meaning an individual gives to her/his life and the goal s/he has set for this striving. The style of life depends primarily on this goal.

Conclusions ���based on the survey self-reports

The mode and the median for question 6 from the survey was 4.

The mode and the median for question 7 from the survey was 4.

This indicates that this research methodology can be a useful tool in helping a client self-report a level of self-awareness of both their inner core personality

and how they function outwardly.

The questions were:

6.  On a scale of 1 - 5 (1 indicating “not at all” and 5 indicating “spot on”) how well did the character archetypal choices (the two figures that you made with clay) describe you personality?

7.  On a scale of 1 - 5 (1 indicating “not at all” and 5 indicating “spot on”) how well did the overall map help you identify a level of self-awareness

Conclusions ���based on the survey self-reports

“Archetype per se is seen by Jung as a skeletal pattern, filled in with imagery and

motifs that are mediated to us by the unconscious”

(Semetsky, 2010, p. 108).

The symbol, brought to life by imagery, begins to awaken the unconscious. Through this interaction, personal

meaning brings the archetype to life. We then, begin to see how we fall into the patterns.

Part III: Analysis section two

|  Composite Results

Composite Results Characters Most and Least Identified With:

Hansel and the Stepmother

Courage, Hope and Judgment, Shame, Blame

57% of the time Hansel was chosen.

62% of the time

Stepmother was chosen.

48% of the time the combination of Hansel and

Stepmother was chosen.

Hansel, representing courage and Stepmother, representing judgment, shame and blame coincides with research done by Brown (2012) on having the courage to be vulnerable. It also points to Alfred Adler’s saying of having the courage to be imperfect. Being imperfect or allowing the feelings of vulnerability simply means to not fear or feel ashamed of what is different or unique about you. Rather, to hold a sense of authenticity and belonging about who you are and not search for external reinforcement (Brown, 2012).

What could these numbers mean?

Creative

Bright

Resourceful

Protective

Clever

Caretaker

Perseverance

Unsuccessful

Problem Solver

Optimistic

Industrious

Loving

In Charge

Not a victim - A Survivor

Choices

Leader

Composite Results Descriptions both Men and Women used for Hansel

Descriptions only Men used Descriptions only Women used

Thoughts about Hansel

In order to attain courage and hope, people need to feel creative, bright, resourceful, and be in

service to others (protective).

Men need to care-take and preserver.

Women need to problem solve, be in charge, be optimistic, and have choices.

The “shadow” side of Hansel for men is the fear of being unsuccessful.

The “shadow” side of Hansel for women is the fear of being a victim or powerless.

Self-protection or achievement at the expense of others

Doesn't’t love family

Devious

Putting Self in front of Children

Mean in a Subtle Way

Cold

Heartless

Selfish

Ego-centric

Predatory

Composite Results Descriptions both Men and Women used for

Stepmother

Descriptions only Men used Descriptions only Women used

Thoughts about the Stepmother

People have a need for self-protection and achievement.

In the process of taking care of their needs, men fear being seen as devious, mean, cold or heartless.

In the process of taking care of their needs, women fear being seen as

selfish, ego-centric, or being a predator.

Conclusions ���based on composite results

One assumption, prior to doing the research, was archetypes offer insight into human behavior.

The composite results gathered from both Hansel and the

Stepmother begin to support this assumption.

Tallied Scores from ���all participants

Part III: Analysis section three

Ring 1 front Ring 1 back

Ring 2 front

Ring 2 back

Ring 3 front

Ring 3 back

Hansel 3 3 2 0 0 0

Gretel 5 3 4 2 0 0

Stepmother 1 1 0 1 1 2

Father 5 6 1 2 2 0

Mother 3 9 3 1 0 2

Forest 8 3 3 3 1 1

Fire 6 2 5 2 4 0

Breadcrumbs 1 7 4 3 2 0

Witch House 1 1 4 4 4 5

Sunrise 8 5 0 1 3 2

Water 6 4 1 2 3 4

Jewels 3 3 0 4 4 5

Cage 2 1 4 7 3 2

Oven 2 2 4 7 1 2

Bird 6 1 4 1 2 4

Bone 7 1 5 2 1 3

Witch/Oven 2 2 4 3 2 5

Cottage 3 6 1 6 1 2

Witch 0 0 3 7 3 1

Strength H

eart

Cen

ter

Ego

in S

ervi

ce to

th

e H

eart

Courage Hope

Judgment Shame

The Collective Journey

Souls Journey

Moving from a “felt

minus to a perceived

plus”

-Alfred Adler Passion Narcissism - ego

“If the dragons are but the shadows, the unnamed, unlived, unloved parts, then the only way to

transform them is to act, and by acting, bring them

into the light” (Pearson, 1986, p. 121).

The dragons are our fears. In the “Collective Journey,” they are narcissism, hedonism, and temptation. Face them, name them, bring them into the light,

and one begins to transform them and move forward.

Conclusions ���based on tallied results

The composite results point to the idea of optimism. Optimism is indicated in the majority of participants choosing Hansel who represents the idea of courage and hope. According to Mosak and Manicci (1991), Adler believed that people can and do change. We, as a species, are responsible for our fate, the best of it, or the worst of it.

The results show a picture of common sense and private logic. Common sense can be viewed as the outward personality, Hansel moving through life with courage and hope. Private logic is held in the shadow. It is the thought patterns that hold one in judgment, shame and blame. Through movement and optimism (compassion), one can transform their private logic into common sense (Griffith & Powers, 2007).

The journey highlights the Adlerian concept of striving for superiority.

Striving for superiority, as defined by Mosak and Manicci (1991), states that people move from a perceived minus situation to a perceived plus situation. Adler believed that everyone strives for superiority. In other words, everyone tries to overcome a negative situation thus striving for superiority.

Part IV: Putting It All Together���A Case Example

Information from the ���Self-Report survey

Client most identifies with Hansel and least identifies with Stepmother.

Sees self as a caretaker, protector, and

smart.. Had a hard time identifying similar qualities between herself and the stepmother, possibly

judgmental. Description of the objects: Hansel is 3-d but more of a blob – just a head, no body. Stepmother is 2-d and very colorful – and is full bodied. The two objects don’t have much of a relationship with each other, but they are touching in one spot.

Curious points observed – areas to explore.

|  She most identified with a head without a body and described it as a blob.

|  It was difficult for her to identify a relationship with the body, even though it was the colorful part of self.

|  The “shadow” self is ignored, flattened, little relationship with the body below the head.

“Acknowledging and taking responsibility for the

shadow is to see that it is a part of yourself. The recognition does not

require blame or require them to stay or repress that

part of themselves” (Pearson, 1986, p. 120).

Engaging the dialog Tile most curious was jewels/self awareness in that it was placed outside of the circle. The label of awareness was placed with the idea of being clearly aware of those conditions – the house, the witch in oven, breadcrumbs and the witch. Client was surprised at the meaning – temptation, ego in service to heart, not letting go of past, and ego. The label of movement was placed between Gretel/fear and Father’s cottage/belonging.

Curious points observed – areas to explore

|  All tiles move from center out from the “shadow” side of the map.

|  Questioning the label of awareness: is awareness skewed by temptation and holding onto the past? Is she aware of temptation and ego vs. heart?

|  Is movement toward change held back because of a fear of not belonging?

|  Wanting to change and embark on the soul’s journey. Where is the resistance?

Engaging the dialog

Center characters made sense with the recognition that there is an emotional dis-connect between body and head. Admits to living in head and feels shame about body, so cuts off from it. Admits to a conflict between self-responsibility and higher self. Sees self-responsibility as all that one holds in the head and is beginning to understand the need/desire to connect with divine creation (the center of being).

Curious points observed – areas to explore

|  Push/pull dichotomies – many things viewed as either/or.

|  Open a conversation to the possibility of both/and.

Dissecting the information further Ring 1 front Ring 1 back

Ring 2 front

Ring 2 back

Ring 3 front

Ring 3 back

Hansel

Gretel *

Stepmother

Father *

Mother *

Forest *

Fire *

Breadcrumbs *

Witch House *

Sunrise *

Water *

Jewels *

Cage *

Oven *

Bird *

Bone *

Witch/Oven *

Cottage *

Witch *

Her Personal Story Upon facing and naming her fears that hold her in judgment, shame, and blame, she can begin her soul’s journey into the great forest with courage and hope. As she moves through change, she begins to awaken to a new way of being. However, she longs for belonging and fears that by changing she will miss the familiar sense of “home.” Upon realizing that she does belong and will always belong, she can rest her fears. Knowing that her deepest desire is to live with her ego in service to her heart, she teeters and is reluctant to let go of her familiar ways, being tempted to live in the comfort zone of being in her ego. Once she sees that this is folly, she can let go and follow her intuition freely. Continuing on the journey, she begins to discover a deeper, truer meaning of self-responsibility and fosters a relationship with her divine, creative self. This way of being enlivens her passion and gives her strength to venture forward. Ahead, on the path, lies continued work of knowing the relationship of her ego to her heart. With that pursuit will come the gifts of self-awareness.

“The goal is to not strive to overcome the obstacles that stand in the way, but by recognizing that those apparent obstacles – the body’s apparent resistance to soul – IS the way. By listening to the resistance as the cry of the soul buried in the resistance, the listener heeds the cry in something of the same way that a mother heeds the cry of her infant” (Woodman, 2008, p. 120).

The obstacles shown in the case example are the fears of judgment and not belonging. These obstacles form the resistance to change. Recognizing this, as Woodman (2008) states, is to listen to the resistance and heed the cry.

Part V: Conclusion

|  Wilhelm Grimm tells us that fairy tales take us beyond our senses to the supersensory. By identifying and applying archetypes to the story of Hansel and Gretel, the realm of the supersensory is highlighted by engaging the unconscious, the inner psyche.

|  Research has shown that clay-work creates a symbol and a metaphor that helps one move into their inner world, possibly gaining insight and helping to make communication about self easier. A deeper level of consciousness is accessed by involving body expression in conjunction with mental processes and observation.

|  The mandala, according to Huh, becomes the container for our essence. This was witnessed in the creating of the individual maps that told a very personal unique story through the language of archetypes.

|  All three together, help bring the quiet inner voice to the forefront and engages one in a different kind of conversation – one that allows the participant to communicate with their essence and thus, gain a perspective of self-awareness.

Research Question

YES

3. and

indicate personal

movement patterns

2.

help increase

self awareness

1.

Can the archetypes of Hansel

and Gretel

The story of Hansel and Gretel is “a picture of the soul on the path to

initiation; a soul occupied with transformation”

(Meyer, 1997, p. 87).

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American Art Therapy Association, 23(2), 66-72. Woodman, M. (2008). Honouring the body. Counseling Psychology Quarterly, 21(2), 119-121. Zinkin, L. (1979). The collective and the personal. Journal of Analytical Psychology, 24(3), 227-250.