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Joel Ryce-Menuhin describes the context within which he works: he gives a brief outline of the development of sandplay from Floor Games (1911) to World Technique (1979), which was taken further by John Hood Williams's ‘more eclectic practice’ in Kent. Meanwhile Dora Kalff's work in Zürich was given formal recognition in 1985 as the Dora Kalff International Society for Sandplay Therapy, founded as a training and clinical research group, the author being a founder member. However, writes Ryce-Menuhin, ‘the use of a strictly Jungian interpretation in sandplay with adults and with children is limited (at present) to my own practice in London’.
A description of sandplay technique follows, showing how this is used within the setting of analysis ‘proper’, and then only at certain stages. ‘Sandplay encourages a creative regression that enables healing through its delayed interpretation and the deliberate discouragement of logos thinking … sandplay pictures can amplify and intensify the material of analysis and relate it to personal experience.’ He likens the sandtray itself to a temenos which enables the sandplay phantasy ‘both to be bounded and held within limits, and to go free’. Living through a sandplay session is similar to what occurs in ‘verbal therapeutic hours, only here the process stands by itself in objective form after the session’.
The paper concludes with a clinical study. The patient, a business man of twenty-nine, was strongly defended: ‘I had the feeling I was working with a damaged, almost heroic child in the man’. The material is illustrated with eight coloured reproductions of the sandplay sessions which, the author maintains, follow Jung's four stages of psychotherapy: confession, elucidation, education and transformation. He believes these stages are similar to the four movements of the classical musical sonata. For those unfamiliar with the language of the Zürich School this particular case study may prove difficult t