Human beings are constantly changing; we are spiritually brothers and sisters in that, not one of us in any family or land can be said to be ‘grown-up’ spiritually. Even the so-called material world is spiritual, in the sense that light is love and condensed light is the matter that we call substance.
Constant change is only possible because everything in the environment of human beings is changing as well. Looking further back in the view of spiritual science, we learn that our planet must also change from form to form. The theme for this year’s study, given by the Goetheanum has to do with human consciousness and evolutionary change.
Human beings are not yet grown up. The state of the world and its problems will attest to that. But our path of evolution is bound together with the cosmos. Individually, and together, we will continue to need a lot of healing in order to progress. The heavenly Hierarchies are also bound up with this healing process, as they are with the becoming of the world.
The German poet, Christian Morgenstern, 1871-1914, first met Rudolf Steiner in 1909. Christian Morgenstern wrote much beautiful lyrical poetry, one poem is about light and love:
Light is love,
From a world
Of creative beings,
Hold us in
Their hearts’ embrace;
And at last did give
During three years time
Their highest spirit
In an earthly sheath.
Then he came
Into his own
From his father.
Now he’s earth-land’s
Fire of heaven,
So that Earth
Become a Sun.
So, the poet says in these few intense lines what would otherwise take many hours to express about evolution. What are the ‘untold ages’ called. They are called the planetary stages of evolution. They comprise: Old Saturn, Old Sun, Old Moon, Earth, which actually entails two stages: the Mars and the Mercury Stages, they will go on to include, Jupiter, Venus, and finally Vulcan.
A Processes of Development
In our processes of development it’s easier to look back than to look forwards. Our sheaths have been developing through many incarnations: The Columns of the Goetheanum represent the ‘untold ages’ in the poem by Christian Morganstern
The ‘Physical Body’, the mineral kingdom a combination of forces and matter, began developing on Old Saturn. As you see it is connected to
— The Prime Interval,
–The Saturn Column and Seal,
— The seed of a plant,
–The Prima Materie in Alchemy which is the beginning Transmutation
and in an Artistic Therapeutic Process, what is called
—Receiving, the Beginning Phase in the Artistic Therapeutic Process.
— The ‘Etheric Body’, which preserves the physical body at all times from death., The plant kingdom
— The Second Interval,
— The Sun Column and Seal,
— The germination a plant,
— Sevaratio divisio, separation or clarification in Alchemy
,and in the Artistic Therapeutic Process –
–Uniting, The Support Phase in the Artistic Therapeutic Process
— The ‘Astral Body’, the is the soulful carrier of lust and pain, joy and sorrow, feelings and affections, and which comes back into relative harmony after sleep; —–The Third Interval,
— The Moon Column and Seal,
— The seedling,
— Conjunctio , the conjunction of male and female in Alchemy,
—Deepening, The Phase of Conscious Confrontation In the Artistic Therapeutic
–‘The Ego’ or ‘I am’ kernel , arises out of the consciousness soul ( the third part, before which the sentient soul, and the intellectual soul, have developed.) The I kernel and differentiates us from all other beings who live on this planet.
—The Fourth Interval
—The Mars Column and Seal
—The Mystical Death, Mortificatio Calcinatio
—Standing Firm, The Phase of Maturation of the Self in the Artistic Therapeutic Process.
Human development arises when this next sheath, The ‘Ego’ or ‘I am’, begins working on the others sheathes, where it appears like a seed within a fruit.
—The Spirit Self is the part of the Astral Body which can become mastered by the ‘I am’; it is then known as ‘Imagination’.
—The Fifth Interval
—The Mercury Column and Seal
—Ablutio Baptisma – The soul – washing, whitening, reuniting with the dead body
—Independence, The Phase of Self-Orientation in the Artistic Therapeutic Process.
When the temperament itself becomes mastered and can wilfully be changed, then a part of the ‘ Etheric Body’ can become transformed and is then called
–‘Life Spirit’, also known as ‘Inspiration’.
—The Sixth Interval
—The Jupiter Column and Seal
—Albedo Tinctura Alba, bursting out or enhancement, known as the peacock.
—Letting go, The Phase of Gaining Strength.
And finally, when the human being can start working down into the ‘Physical Body’, mastering the forces of the blood and breathing,
—The Seventh Interval
—The Venus Column and Seal
—Rubedo Red King, White queen
will begin to develop; This is also known as Intuition, Thus a part of spiritual substance is to become transformed in the human being.
—New Birth, The Phase of Individual Creativity
—‘The Human Hierarchy’
—The Stage and Small Cupula of the First Goetheanum
—The new seed
It is the experience of many artists that they would actually become ill if they were
not able to do their art. From that point of view, I think the process could be also inherent in the growth stages of the artist; of course, as each new challenge is met, one has to begin the process again.
B The Discovery of Marianne Altmeier
In the year 2000, while I was studying at the Dora Gutbrod School for Therapeutic Speech Formation in Dornach, Switzerland, one of the lecturers who came to us was Marianne Altmeier. Artistically, she took up the work of Assya Turgenieff with the cut glass picture such as can be seen in the glass windows at the Goetheanum. She also devised a glass therapy which involved a meditative viewing of pure, coloured glass structures which she made and fired in her own kilns. After viewing the glass for some minutes, patients with rheumatism would lie down and visualise the etheric afterimages. It was an effective therapy.
Marianne’s work was approved by Michaela Gloekler of the Medical Section. For some time Marianne was the Coordinator for Artistic Therapy in the Visual Arts Section. She was also an Art Therapist at the Filder Clinic in Germany for many years.
And most important for today, she conceived of an approach to artistic therapies related to the seven planetary stages of evolution. It was inspired by indications born out of the planetary progression of human evolution.
Artistic representations of the planetary columns and seals representing the path of Earth Incarnations were sculpted by Rudolf Steiner, in the wooden columns, which were built into the First Goetheanum. Unfortunately, it was destroyed by fire on New Year’s Eve, 1922-23. The present Goetheanum was opened in 1928. The planetary forms are also sculpted in concrete in our present Goetheanum.
The consciousness in the columns is linked together by the transitional stages seen above them in sculptural form, and actually, all this experience included the Small Cupula, which was the Stage area. This is the unspoken culmination of the columns, and a picture of the fulfilment of the whole human evolution. There was also, Cupula painting in watercolour of the initiates belonging to the epochs of our humanity are, as well as the Representative of Man between Lucifer and Ahriman. Our sheaths and the evolutionary path are intrinsically interrelated to the sequence of the Columns, including the Stage. The whole architectural process shows the evolutionary sequence of the Earth’s planetary incarnations. (A cross section of each column as one could imagine would reveal the planetary Seals, which are on display at the Goetheanum in the metals connected to their being.) The whole of the Small Cupula of the First Goetheanum represents the final, Vulcan stage, the Culmination.
Marianne Altmeier passed over the threshold on the 30th of November 2013 at the age of 64. She died of cancer. I am thankful that I got to experience her after my training at a conference she gave in her home and workshop in Germany in 2003. She helped form the seven stages of therapy for the book Anthroposophical Therapeutic Speech by Dietrich von Bonin and Barbara Denjean- von Stryk 1), which has been of great service to me in my work. Marianne was an extraordinary person. She also worked with coloured glass therapy using glass fired in her own kiln workshop, and artistic glass cutting, as was first done by Assya Turgeneieff for the Goetheanum Glass Windows. For a time she led the Visual Arts Section of the Goetheanum. Marianne Altmaier wrote a book called The Process of Artistic Therapy, 2) which is now regrettably out of print and has not yet been translated. I have not been able to obtain this book; Thus far, I only have access to the content she gave us in her lectures, and my individual gleanings fro the contents of this lecture.
It is also thanks to a book called The Colour Word, Das Farben Wort, compiled by Hilde Raske 3) that a deeper understanding of the columns as been made accessible. I was fortunate enough to meet her in Dornach in the early 1980’s. Therein she writes about the connection of these same columns representing the Earth incarnations to the musical intervals. I believe that music is the most universal language, which is understandable to people who are studying this progression of evolution in the planetary phases. So one can become much more aware of the reality of the sequence simply on hearing the intervals.
1)Anthroposophical Therapeutic Speech, Stuttgart, Floris Books, Edinburgh, 2003.
2)Altmeier, Marianne, Der Kunst-Therapeutische Prozess
3)Raske, Hilda, Das Farben Wort, Stuttgart, : Verlag Freies Geistesleben, 1983.
C. An Intrinsic Correlation
Before I go on to talk about the therapeutic applications of the sequence of planetary stages evolution, I would like to make a comparison between that sequence and another sequence that is, according to Rudolf Steiner, the planetary sequence that is followed in our present epoch on the individuals path between life and rebirth.
This sequence is shown as the path that Christian Rosenkreutz travelled in full consciousness, described as an account called The Alchemical Wedding of Christian Rosenkreutz.
In the Exhibition you will see seven small paintings, which portray scenes from the seven days of this account. My question is how are these two paths: The path of our earths planetary incarnations and the path between death and rebirth that was consciously experienced by Christian Rosenkreutz?
I have come to an experience, which shows that there an intrinsic geometric correlation, meaning, and interrelationships between what we now call the planetary path between life and rebirth which is Moon, Mercury, Venus, Sun, Mars, Jupiter, and Saturn, which then leads to new incarnation for the individual, and the path of incarnations of the earth, which is Saturn, Sun Moon, Mercury, Jupiter and Venus and finally Vulcan, the path of the columns of the Goetheanum and will ultimately lead to the fulfilment of the path of human beings evolution as a whole.
If you will look at this diagram of two Heptagrams inscribed in a Heptagon, I can show you what I mean. Of course many may have seen this before me, but I experience it as healing information. It consists of seeing the paths as a star experience.
Follow the following sequence in what is called the First Heptagram, the broad one we skip only one place along the path and start with Saturn and going clockwise :
Saturn, Sun, Moon, Mars, Mercury, Jupiter, Venus, and back to the Seed the higher Octave, which will be called Vulcan.
This is our earth evolution, about which is written in Revelations, of St John, and seen in the seals of the planets, given by Rudolf Steiner in 1907 at The Munich Conference.
Now, follow in a counter-clockwise direction, the path between death and rebirth at least, as we know it in this epoch. This is The Second Heptagram, the narrow one, skipping two places along the path.
So there is a geometrically lawful correlation between these two paths of our evolution. This has unexplored implications.
Superimposed on each other these two are known as the Smallest Star Polygon, which can be drawn in two forms.
D. A Poetic Contribution
How does one experience the phenomenon of earth evolution and healing art therapy in connection to the musical intervals. I have written a poem in hexameter, out of the whole interrelationship, of which I have just spoken: the sheaths, the planetary stages, the intervals, and it also includes the stages of plant growth, coming out of the etheric world manifestations, related in Hilde Raske’s The Colour Word.
If you would like, we can all speak the poem together. It is a way to become familiar with the qualities of this evolutionary process in the sequence of intervals.
Just follow along the six feet of the lines, which are underlined. Before each line and in the middle there is a breath.m,m, hk,.u,uih
Nine lines of hexameter is about one minute. The pulse and the heartbeat become synchronised in this process. In one minute we breathe about 18 times. In one year, we will have breathed 25,920 times. If we live the average life expectancy of 70-71 years we will have lived 25,920 days. In 25,920 years the equinox
will appear to have shifted around in the Zodiac and returned to its original place, Aries. While speaking hexameter we are coming into harmony with the cosmos, which is beneficial for our relationship to evolution. In this therapeutic approach all of the pauses are equal. So please speak with me:
The Sevenfold Columns of the First Goetheanum
There is a sequence of sound – engraved in the First Goetheanum.
Hear, as the intervals ring – ‘Mankind will inherit the highest!’
Columns that carry and hold – metamorphosis, meaning and structure;
Manifest changes in world – evolution from Saturn to Venus;
Flow and develop the seed – to fruition, forever in motion!
Resting as seed in the sounding – the Prime knows a mystery hidden
Deep in the realm of the source – like Saturn, it calls for completion.
Yes, on the path it awakens – develops from primary grounding;
Just as the root and the seedling – stretch out of the brown earth in wonder,
Out of oneness emerges – the Second, the Sun evolution.
Freely, it rings out the quest – in its quickening pulses vibration.
Widening more into movement – it reaches the Third’s inner swinging.
Leaf after leaf lives in nature; – the seedling is gaining effulgence.
Moonlike is intimate selfhood – in harmony with its own feeling;
Venturing in, it grows smaller – and hardens to dwarf-like proportions.
Finally sensing itself – does the Fourth pull its forces together,
While it turns inside-out – to orient and to refashion.
‘Tis like a testing of strength – for the trial that is bound to be coming.
Closed like a bud, yet it gathers – momentum to jump up much higher.
Taking the dare it ascends – to link up the past to the future.
‘Human, evolve to the Fifth; – confront, face-to-face, new surroundings.
Present age of mankind – now hearken and heal all the bloodshed;
Warfare and strife must be ended, – for here in the Earth’s evolution,
Peace must prevail in the Fifth – for such is the way of progression.’
Mercury’s dialogue breathes; – it exhales, heady fragrances forming,
Blossoming into the Sixth – it longs for light-aether abounding,
Seeking the fire of fruition – and keening to know heaven’s answer,
Jupiter’s wisdom will give – all it has for the deed of becoming.
‘Burn in the fire of the spirit’ – sounds Venus, ‘for love is prevailing!’
Sacrifice now to the Septime – and ‘slough off the dross’ for the essence.
New are the seeds, a new future – transforming the human entirely!
‘Enter now into the realm;’ – the Small Cupla rings out the Octave.
‘Hearken and utter the Word. – Create in the space that’s provided.’
Chronicles ringing in sound – are recorded in colour and measure.
Vulcan will crown the creation, – for the Octave transcends to the highest.
Relationship to the Rainbow
Of the colour relationship to the intervals, it seems to me that violet, the heaviest colour could be the prime, leading through, second- ultraviomarine-blue, third– prussian–blue, fourth- green, fifth- yellow, sixth-orange, seventh-vermillion red, and finally, the culmination octave in carmine red, the highest enhancement in the Goethean colour-wheel. This possibility has yet to be explored.
Steiner has written about the rainbow in Speech and Drama There is also a sense of the interval qualities in it:
‘The rainbow!… I feel within me a mood of prayer: That is how the rainbow begins, in the intensest violet that goes shimmering out into immeasurable distances.
The violet goes over into blue, -the restful quiet mood of the soul.
That again goes over into green.
When we look up to the green arc of the rainbow, it is as though our soul were pouring out over all the sprouting and blossoming of Nature’s world. It is as though passing from violet and blue to green, we had come away from the Gods, to whom we were praying and now, in the green were finding ourselves in a world that opens the door to wonder, opens the door to a sensitive sympathy and antipathy with all that is around us. If you have really drunk in the green of the rainbow, you are already on the way to understanding all the beings and things of the world.
Then you pass on into yellow, and in yellow, you feel firmly established in yourself; you feel you have the power to be man be something more than the rest of Nature around you.
And when you go over into orange, then you feel your own warmth, the warmth that you carry within you; and at the same time you are made aware of many a shortcoming in your character, and of the good points too.
Going on then to red. Where the other edge of the rainbow passes once again into the vast distances of nature, your soul will overflow with joy and exultation, with ardent devotion, and with the love to all mankind.’
E. The Arts in Relation to the Sheaths of Man
Each Therapy is a living process that can be seen to follow certain laws. Before we look at therapy in relation to evolution, I will try to give an overview involving several arts, especially concerning the sheaths involved in their activity, because this has an influence on the whole therapeutic application of the art and the choice of therapy itself. This in turn can temper the characteristics of the seven stages in the therapeutic process. It is above all, the feeling soul, which is brought to life through artistic work in general.
Physiologically, it is the PONS, a tiny link or bridge that is adjacent to the medulla of the brain, which links the activity of several healing arts through the vibration of the spinal fluid.
As we know from Art in the Light of Mystery Wisdom 3) by Rudolf Steiner, there will be a future art, which will use the Spirit Man sheath, as its instrument, and the ‘field of play’ will be Life Spirit or the realm of Inspiration.
The art of Eurythmy uses the sheath, Life Spirit as its instrument and the ‘field of play’ is the realm of Imagination.
In Poetry, the Spirit-Self sheath is the instrument and the ‘field of play’ is the Ego realm ; writing and the poetical life exist in the exchange between the sense and nerve systems, when waves of nerves ‘roll’ into the senses, not yet becoming sense perceptions. Speech formation brings order to the astral body. Poetic creation brings forth the faculty of body-free willing. (The physiological viewpoints and the elements of body free thinking. feeling and willing come from Steiner’s book, Art and the Knowledge of Art.
In recitation, that is, speaking epic, lyric recitation, and narrative works, the inhaled air penetrates into our body as the breathing rhythms, and thus into the movement of the cerebral fluid, which is in the spinal cord, and vibrates into the nerve sensory apparatus of the brain. This process of raising the spinal fluid can be of service where the metabolic system is overactive. The breathing rhythms press against the organs of mental representation through the spinal fluid. The metre comes into being through the breathing and plays into the verse. The colour-world expression glows forth in recitation.
In declamatory speaking, utterances arise centred in the heart, the will impulse is linked up with the utterances. The inner fire in the breath stream strikes up into the brain, and the spinal fluid descends down the spinal cord and enlivens the whole of the blood circulation. Our will nature is mainly bound up with the exhalation. Someone whose constitution is over-oriented to the nerve-sense system can ultimately benefit from the activity of declamation in such a way. Seeking balance creates the healing. Coming out of the head into the limbs is an incarnating experience.
The musical life exists between the spinal fluid and the brain, where the brain pulsates in such a way that, conducted by the brain fluid, it vibrates the main brain nerve; in composing, the whole circulatory system becomes transformed into the composition. In music, the Ego sheath or, ‘I am’, is active and its ‘field of play’ is the astral plane. Musical creation evokes the faculty of body-free feeling.
Speech Formation has the effect organising the astral body.
In painting the astral sheath is the instrument and the ‘field of play’ is the etheric plane. The highest manifestation of the painting activity in the future, will arise through intuition. While painting, the relatively cold nerve sense process is receiving sense impressions; Warm blood rises to the head. The nerves behind the eyes are being ‘warmed’ by the blood’s ego forces. The ego or ‘I am’, can become linked in the connection between the arts of writing and painting two arts. Illustration and the colour-word may arise to aid communication. The painting life exists when nerve waves vibrate between the body and the brain, making connection with the warm blood.
In sculpture, the etheric sheath is the instrument and the ‘field of play’ is the physical. Body-free thinking is the highest faculty in sculpture. Convex and concave experiences become a breathing reality. The heart and hand become linked in the process. Work with the platonic solids helps to strengthen the will. The truth of their metamorphosis dispels doubt and reveals the truth of these universal realities.
Finally, in architecture, the instrument is the physical body itself, and the physical world is the ‘field of play’. As in sculpture, body-free thinking is the highest faculty in architecture. Balance is the godly element, created between the weight or gravity, (the ahrimanic element), and the sustaining element below, bringing levity (seen as the luciferic element). Sheltering structures for human beings to live and work in, are provided by the architect and builders. The inner aspect of the rooms and the outer appearance of the building are also woven together in an experience of balance, which is a healing factor in creative art. Giving a lasting service to the world the people of the world must be a therapeutic fulfilment for the architect
In working with the seven stages of therapy the sheaths involved in each art have to be taken into account. Such are the considerations when choosing and planning a therapy for the individual involved.
F. The Evolution of an Artistic Therapeutic Process
Now let us look at some aspects of the seven stages in the process of artistic therapy, using the knowledge gleaned from the seven stages of evolution, including the words given by Steiner, which characterise their being. The idea and some of the gleanings involved in this sevenfold process is to be found in Anthroposophical Therapeutic Speech 4). The experience of the intervals and the earth incarnations as described above, are the inspiration for the process. However each art has to evolve its own corresponding experiences. The final ‘Vulcan’ Stage or the octave must certainly be about the culmination of the healing experience.
Receiving or the beginning phase:
Remember the prime feeling.
Now observe the person from a physical point of view, his height, weight, age and colouring, as well as noting the first intuitive impressions. In Old Saturn the senses were formed. How does the person make eye contact? How is the eyesight itself.
Make him or her feel welcomed and that you are open and equal. Does the individual live more in gravity or in levity. Is his or her warmth being present or absent in the body; notice the feel of the handshake, and the colour of the face. Are emotional impressions experienced in gestures or physical movement? The posture should be noted. Unclear, slow or hasty movements, or over precise attention to detail should be noted. The breathing habits affect every art. Does the person seem to be comfortable socially? A first idea of whether the person is happy or reluctant to enter the therapy may be experienced. It may help the therapist to try experience in his own physical being how the patient must feel. How is he or she incarnated?
Let the person feel that he or she is embarking on a path of self- development through art, which will help to attain balance through the applying the art. Accompany the person inwardly in the beginning steps so that he or she will feel that they are being understood.
At the end of the session there should be a common ground between you as equals. The ground tone feeling is met. A seed is sown.
Even if a therapy stays at this stage, or at any other stage along the way, it can still become a successful therapy. The person may be challenged, very young, old, or emotionally regressed. The attitude and artistic activity are the healing factors.
Uniting, the support stage
Remember the second interval;
the seed is coming into vibration. Trust allows the becoming. A question, also a quest for health is in the air. Signs of life are entering into the oneness. Expression begins in this way.
Like a germination, there is an gentle mood in the air. Will the therapy ‘take root’? There is a turning inward and a turning outward; the person may at first be a bit self-conscious. A certain kind of subjectivity is quite right.
One sees the degree of experience the person has with the art involved.
The individual should feel that he or she is being understood. And the activity evolves into an artistic process.
Try to get the person to observe himself in certain aspects in relation to the qualities involved in the art. It is best not to criticise any aspect of the process thus far. Make no comments about how hard or easy it may be. Yet be positive about what the person can do. Encourage ways of approaching the creative experience. Let him or her engage in the activity with his own faculties and do not judge the capabilities involved. Let the orientation in space take place, balancing between above, middle and below, right and left, centre and periphery; up and down A feeling of joy in the activity is important for growth at this stage. No worrys about problems. Nourish a feeling of being enveloped by the therapist, but not encroaching on the freedom of artistic play.
Deepening, the phase of maturation
Feel the interval of the third – One could say, getting into it. The person becomes stabilised within; changes appear. Like the leafing experience, there is still is still self –involvement. Now the challenges to improve and enter more consciously into sound, tone, colour, or form and movement are creating ever increasing enthusiasm. Becoming sensitive to one- sided tendencies and weaknesses can begin. As I said before, even if this stage is not surpassed, the therapy can be healing. The person starts to know himself more consciously, in an inward way. This can become intensified with increased will effort to continue sensing oneself. As self-knowledge advances, the characteristics of the disease may be experienced more. They are revealed and subtly dealt with through the art. Reluctance to make certain steps may occur. The person is not to feel ‘judged’ for not being able to overcome a character flaw etc. New pictures must be found to inspire the desire to change. A rhythmical progression is encouraged. The person’s own world is still in the foreground.
Standing firm, the phase of maturation
The fourth interval sounds
‘I’– is the only word given to characterise this stage. The forces are gathered together by the I-experience, which becomes a firm happening. A need to build up forces for a reason is felt. The tetracord’s development is closed into itself. Gathering strength is like a firm bud. Maturation of the self requires standing firm inoneself; the deep crisis has been met and accepted. Difficulties are met with humour. Gait posture, and facial expressions may have already begun changing. Family and close friends, and teachers may have noticed the changes. The beginning of healing is experienced through speech, colour, tone or form. New skills and manners of working develop; others may view the person’s art. Experiencing it may give feedback through the individual’s own senses, helping to come to trust the universal phenomena of sound, colour, tone, and form as therapy.
Independence, the phase of gaining strength.
Feeling the fifth
This is the human being, where past and present meet. The blossoming soul offers itself to the light An experience comes forth in relation to the atmosphere. Not all may reach this stage, and not in a short time. Before reaching this stages backtracking may occur. Previous phases may be repeated. Certain exercises in colour or speech etc. may be trusted by the person for the truth of their healing qualities. The path of therapy becomes realised and accepted. Its fruits can be used in everyday life, like a medicine that strengthens, invigorates or takes away pain. This change often goes along with biographical changes. New confidence in oneself is developed. New meaning in life and the striving to break free of static living patterns may evolve. One questions previous ways of life. Looking at new aims as part of the astral body becomes spiritualised. Thinking, feeling, and willing has been experienced in art. This may give certain help on the road to freedom. The person may wish to talk more with the therapist, understand the art. A new relation between I –and- the -world has been acquired. Breathing in a social way may be experienced. Independent of the way he or she feels. In spite of the illness, or circumstances, there is more ability to take hold of life independently, to feel and express more.
Letting go, the phase of gaining strength
Feel the sixth interval
Coming out of oneself the air and light all around is breathed in and out. There is a sharing like the scent of a flower. Opening out in communication occurs. The phase of gaining strength brings more independence concerning the process one is involved in. Finding what is needed to work on oneself is achieved. There is a conscious working with the elements of the art, using the understandings gleaned with the therapist. Independently, more freely one continues during a pause in the actual therapy, becoming stronger and more individualised in the work Maybe the accomplishment will begin to benefit others. The individual makes up his or her own tasks. Going beyond his own personal experience, knowledge is deepened and more objective.
New Birth, the phase of individual creativity.
The seventh interval is experienced.
‘ I am’ in the objective. Trying to become one with one’s own environment. Striving toward the culmination of the therapy. In the phase of individual creativity the person has realigned in a healing and harmonising way to has artistic effort, widening and deepening with more courage and belief in art. The loss of wholeness created by the disease may have been balanced or healed entirely, preventing recurrence of the illness through art. Of course this is not a phase reached by everybody and often takes years. It is a culmination of the development of the seven steps
Feeling the Octave
Uniting with the whole of evolution. The prime has evolved to a higher level. The problem or process has transmuted. There is a feeling of the resounding from prime to octave.
The therapist objectifies and makes an instrnment of his or her faculties for the service of the therapy. The therapist may experience that the person in therapy is actually healing the therapist in the whole process. .
Understanding the spiritual evolution of the human being cannot be an intellectual pursuit. With all the knowledge that can be gleaned from spiritual science, healing still remains a mystery, honestly speaking.