STUDY OF SYMBOLS

ALCHEMICAL PROCESSES
Author: Edna Levy. Ibtsandplay
Keywords: Sandplay, alchemy, individuation, analytical psychology
Abstract:
This article draws parallels between the stages and main operations of the alchemical work
and the individuation process, as it is experienced through the Sandplay method.
Following the theoretical contextualization of Carl G. Jung and Edward F. Edinger, and
based on a clinical case, the author demonstrates the alchemical processes that are
evidenced in each scene, as well as the patient’s moment of life at the time he constructs
these scenes, and the psychic contents that are then elaborated in psychotherapy.

BAT
Author: Neusa Maria Lopes Sauaia. Ibtsandplay
Keywords: Bat, Shadow, Trauma, Resilience, Symbolism and Sandplay
Abstract:
The bat is characterized as one of the most mysterious and controversial animals. In my
professional experience with sandplay, the bat is choose in very particular moments, being
an animal that often carries shadowy projections related to their biological characteristics.
Traumatic experiences are often placed in an area of the psyche, particularly grim, since the
pain that accompanies searches a place lodged far from the consciousness as a defense
mechanism. Therefore, the study of the bat connects with the understanding of dynamics
involving trauma and resilience, and its symbolism becomes challenging and necessary for
amplifications and understanding of its various aspects. It is described in Part I of this study
the bat´s main biological characteristics that support different projections on this animal.
Some of the most important symbolic aspects are described in Part II. Starting with some
origin myths that link appearance and life condition of bats as a result of a penalty or
punishment for betrayal, pride or laziness. Then bats could possibly help symbolically to
elaborate the shadow, the naivety, and unrealistic illusions that invite consciousness to a
constructive process of development. It´s usual to project on bats a dark spiritual side
because of its nocturnal characteristics and its good orientation ability in total darkness.
Because of this, one can easily establish an association with demons and witches described
in detail in the topic ´malefic aspects´. On the other hand, the beneficial aspects of bats
refer mainly to their protection and luck qualities. Being an animal of nocturnal habits that
is able to see in the darkness and having sophisticated sonar, symbolizes an intuitive feature
of survival, able to watch over and protect. The fantasies idea that the bat comes from a
double nature, mammal and bird, are present in several stories in which he explores this
condition to obtain certain advantages. Another positive aspect of bats is in the topic
´power of healing and protection´. Used as an amulet of protection against the powers of
the devil, and as a good luck object. Batman, seen as a hero who lived the traumatic
experience of his parent’s death, points on his journey to the need for integration of

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qualities considered dark by society to develop the potential and creativity of human
beings. Finally, the threatening and the vampire characteristics of Dracula, so often present
in human relations were studied in this paper. The bat as a symbol of many facets can
contributes significantly to the understanding of a process as it emerges in analytical
material. It can carry us to the depths, mysteries, and unknown environments of psyche.
Can also assists in contact with the hidden pain and recovery of resources under the care,
protection and testimony of sandplay analyst. I hope that this work can contribute to
enlarge the symbolic vision of this fascinating animal.

BEIT HA-MIKDASH (The Temple)

Author: Laura Soble, MFT, REAT, CST-T MFC31926
Keywords: sandplay therapy, clinical example, symbol, office, sandplay room, temple,
sanctuary, Beit ha Mikdash, house, holiness, Hebrew, child, therapeutic relationship.
Abstract: This article examines the symbol of the Beit ha-Mikdash, which translates from
the Hebrew as House of Holiness, or the Temple, in the context of the treatment and
sandplay of a Jewish child. Connections are made between the client’s need for a safe
therapeutic setting, the temple as a free and protected space, and the relationship a client
has with the therapist, the office, the sandtray, and the sandtray figures as creating a
sanctuary. Published on Journal of Sandplay Therapy, Volume 14, Number 2, 2005

DOLPHIN
Author: Maria Helena Monteiro Balthazar. Ibtsandplay
Keywords: animus, psychopompo, consciousness, individuation process
Abstract
The animal is one of the most powerful symbols for humans. It is present both in their
individual expression such as dreams, fantasies, drawings, paintings and Sandplay’s scenes
as in the collective expression such as myths, fairy tales, folklore and art. This paper is
about the dolphin and its aim is to present various symbolic aspects of this animal, also
called ¨boto¨, which is a mammal that was adapted to aquatic life millions of years ago. The
dolphin is endowed with an intelligent and communicative behavior, very close to humans,
belonging to the imaginary of different people all over the world. Different aspects of the
symbolism of the dolphin are highlighted according to the time and culture to which they
belong and a psychological interpretation is made according to Junguian psychology.

THE AFRICAN ELEPHANT

Author: Gwenda Euvrard, Grahamstown, South Africa, ISST IM
Keywords: elephants, Africa, capacity for survival, nourishment, capacity for mothering,
relatedness and cooperation.
Abstract
African elephants continue to live in vast wilderness areas in sub-Saharan Africa, affording
us an opportunity to learn from their presence in their natural habitat. The evolution and
biology of the African elephant demonstrates adaptability and a capacity for survival over
many millennia. With their huge stature, they command a presence, and as a keystone
species they open up both nourishment and the world at large, not only for themselves, but
also for others around them. However, their ambient strength also carries the potential for

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destruction when there is threat or imbalance in the world around them. They organize
themselves socially in highly differentiated family structures. Matriarchal herds comprised
of adult and adolescent females and their young demonstrate a remarkable capacity for
mothering, relatedness and cooperation governed by a strong feminine energy. Balancing
this, adolescent male groups and lone adult bulls demonstrate a capacity for separation and
finding ones way governed by a masculine energy. African elephants are highly intelligent,
and have a richly varied pattern of both emotional experiencing and communicating. Their
numinous presence is venerated and deified by many across sub-Saharan Africa. This
numinosity, along with the capacity of holding opposites while both opening and
integrating the world around them, suggests that the African elephant can be regarded as a
symbol of self. African elephants have been depicted in many art forms over the ages, from
the early rock art of the Paleolithic San people. They appear in many African myths and
folk tales. In this paper I explore in detail the South African Nguni tale of Unanana and the
elephant, which traces her descent into the belly of the elephant, her transformation, and her
re-emergence into the world. This resonates with the dynamic and ongoing process of
individuation, in which the self constantly invites the ego into relationship.

GLASS
Author: Rudinalva Alves. Ibtsandplay
Keywords: glass, fragility, manufacturing process.
Abstract
The aim of this paper is to share the results of my research on glass, glass as a symbol and
its symbolic meaning in sandplay scenery, within a framework involving definition and
composition of glass as a physical material, its discovery, manufacturing processes, uses
and its role in culture. As a physical and chemical substance glass conveys a magical
mystery, refinement and transformation throughout history. Hence, it has become a
symbolic manifestation, psychological image and reality. Glass can, thus, be transformed
into a psychic substance when embodied in used in sand box. A correlation is then
established between psyche and physical material based on the contrasts between consistent
and fragile or weak, compact and breakable. It can reveal a materialized psyche by being
simultaneously empty and full, good and evil, transparent and clear. Furthermore, glass is a
recipient, can be smashed, can protect, isolate, open, and can be transformed. As something
physical, glass turns into an image in sandplay scenery, embodying a psychological
phenomenon, and just like any other symbol becoming an intelligible object. Therefore,
being a symbol full of meaning, richness and beauty, glass is an invitation to reflection.

THE GOOSE
Author: Reinalda Melo da Matta. Ibtsandplay
Keywords: goose, symbol, Sandplay Therapy
Abstract
This paper discusses the symbolic role of the Goose and its meanings in Sandplay Therapy.
Psychologically, birds can be seen as phallic symbols, but endowed with subliming,
spiritual powers. In fairy tales, birds can communicate loving desires. They also symbolize
thought, imagination and spiritual relationships. Essential traces of the maternal archetype
can be seen in the goose. One positive meaning is that mother goose nurtures and supports

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its goslings. However, one negative meaning is aggressiveness in protecting its goslings
and territory. In my Sandplay practice, the goose miniature has occurred more frequently
with children than with adults. I have observed that, in most cases, children use the goose
more often in the earlier stages of their process, while adults tend to use it in the final
stages. The goose symbol naturally triggers life stories, reflecting stimulation of childhood
thrills, beliefs and legendary places of our unconscious. For a long time, goose feathers
were the standard writing instrument. Writing about the goose as a symbol which has been
important to me since childhood, it stimulates my imagination and helps me move through
creative blocks.

HEART
Author: Denise G. Ramos Ibtsandplay.
Keywords: heart, psychocardiology, psychosomatics. Amplification, myths.
Abstract
Why are we dying of heart diseases? Is there a meaning or are heart diseases merely due to
genetic or physical problems? This paper is a study on the symbolism of the heart based in
an extensive research in different cultures. From the pre-history until nowadays, the heart
has been the center of different myths, religions and cultural manifestations. Among the
several found categories there are: the heart on the altar of the gods;.elegies to soothe the
heart; the heart at stake; the secret chamber; the site of universal sound; the heart pierced by
an arrow; the heart circumcised; the scred heart, the heart in modern art and music.A
relationship between its symbolism and the increase rate of heart diseases is also pointed
out, reveling how a “broken heart” can also be a “heart infarct”. This paper shows that
more conscience about this relationship seems urgent and necessary to keep a healthy
heart.J. of Sandplay Therapy. Vol.21 (1)

THE HORSE: A CREATURE OF TWO WORLDS- INSTINCTUAL ANS SPIRITUAL

Author: Adelina Wei Kwan Wong. Society: Hong Kong Sandplay Therapy Association
Keywords: horse, libido, energy, spiritual energy, masculine energy.
Abstract: The author explored the natural reality of the horse and its archetypal
significance. The symbol of horse is commonly interpreted as one's libido and energy.
Through the sandplay process of a female patient who searched for a spiritual fulfilment to
her inner void, the author demonstrated the complexity of this symbol being used in
different layers of the psyche. In the beginning of the process, the client used this symbol as
psychopompo to direct a deeper search into the unconscious. During the middle stage, the
symbol symbolized a spiritual energy enabling the psyche to go through the integration of
the functional earthly side of the masculine energy. At the last stage, a herd of horses
symbolized the fulfilling libido resulted from the integration of the artistic and creative side
of the masculine energy. The symbol of horse symbolizes the different manifestations of the
libido which is generated from the deeper integration of the masculine energy in a female
patient's individuation.

HOURGLASS
Author: Roger Naji El Khouri. Ibtsandplay

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Keywords: hourglass, symbol, sandplay, archetypical amplification, transformation.
Abstract
This, qualitative study discusses the hourglass value as a moderator and compensatory
symbol of unilateral processes of the experience with the time, seeking in the archetypal
roots an understanding of the carrier power of this symbol to the therapeutic process. It is
known that the Jungian teleological approach treats the symbolic image as a possible
activator of psychic forces, adding to them a specific meaning within the psychic process,
hence the importance of the amplification method for the analytical work and for the
Sandplay. The symbology of the hourglass values the synchronistical meeting between the
linear time of Kronos and the symbolic time of Kairos, conjunction that brings to the
therapeutic process more flow, moderation and transformation instead of impasse and
stagnation. In this way, each repetition leads to a new place, a new synthesis, a new point in
the spiral of development, facilitating and refining the exchange and possible integration of
opposites. We end this study concluding that in objectifying unconscious contents, in an act
of the individual, in this case, through the experience of Sandplay, internal images can
operate together with the conscious. As Jung elucidates, intellectual and emotional
understanding of the images also allows the patient a conscious integration, not only
rational, but also moral.

MANDALA
Author: Renata Whitaker Horschutz. Ibtsandplay
Keywords: Mandala, Self, archetype, psychic fragmentation, integration
Abstract
Jung defined mandalas as symbolic representations of the psyche and, in Analytical
Psychology, as images representing the Self, archetypical symbols emerging from the
collective unconscious in response to man’s need of wholeness and perfection. They can be
used as a therapeutic tool in the reintegration of shattered minds. In psychology, mandalas
represent psychic unity and totality, or the Self, the integration of opposites, masculine and
feminine, the reunion of conscious and unconscious, man’s relationship with nature.
Elements of the mandala therefore are archetypical and spontaneously created in sandtrays.
We can recognize them as such when, from our knowledge and observation of patients, we
are aware that such contents are not part of their personal life or culture. They emerge as
an integrative urge and are important symbols of human conscience development, as they
touch the being’s depths. In Sandplay we can unite life and art, history and mythology,
sacred and profane, all in the same space, differently from what we see today, when society
has a space reserved for each type of life and a conventional model for each person. Seen
under this point of view, it is as integrating as a mandala. When mandalas appear in scenes,
dreams, paintings, they can express a potential for wholeness which can be observed in
varied religious and cultural traditions, as well as in meditation methods and as a means of
integrating individual conscience to the Self. They can also be a hint of psychic
fragmentation, a compensation for disturbance, when the elements which form them
present a rigorous order. Although the scenes in which the Self is experienced are
extremely attractive, due to their beauty, the others are equally important as they are rich
experiences. Scenes with mandalas activate psychic energy, whose multidirectional
movement is integrating and flows according to the needs of the ego, so that it can activate
the Self — the organizing center of personality — whose function is to balance and
standardize archetypes and human beings’ lives. Being symbols of wholeness, the image of
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God, according to Jung, mandalas are thus one of His symbols. They also represent the
individuation process, as they lead us to the integration of opposites and conscious and
unconscious images, towards wholeness. Every time we see a scene with a mandala we
must check if its author possesses a structured ego. Sandplay therapy, taking place in a
“free and protected” space, enables an individual to healthily regress to primitive phases, in
which there were hindrances to psychic development, thus contributing for a structuration
of the ego and the progression of psychic development.
.

THE MIGRANTS
Author: Lucia Azevedo. Ibtsandplay
Keywords: migrants, Vitalino, Brazilian culture, draught, hero, promised land.
Abstract
The miniature called “The Migrants” was created during the 1930s by Vitalino dos Santos,
a sculptor from Pernambuco, Brazil. From a humble origin, he started to depict, in small
clay sculptures, scenes from the quotidian life and culture in the northeast Brazil. These
miniatures were such a success that they started to be copied by other artisans from his
native town and later from all over Brazilian northeast, to be sold as “souvenirs” to tourists.
Vitalino created a large number of scenes, and other artisans not only copied them, but
copied his style and created other scenes as well, updating them to depict scenes from the
present day. Nevertheless, the piece “The Migrants” can be considered a classical one,
which is always present in any collection of northeastern clay miniatures. The author has
many of these pieces in her Sandplay collection of miniatures, because they depict themes
of the Brazilian culture with intense emotional color. These miniatures are frequently used,
many times by clients who are not aware of its historical or cultural meaning, but often
have a family history of migration. “The Migrants” depicts a reality that was common in
the Brazilian northeast in the last century: a family who is leaving their land, having lost
everything due to the draught. They are hungry, and carry with them everything they have.
They are searching for a better land, a more promising future elsewhere. The history of
migration due to the draught is amplified in this paper by cultural productions as in
literature and music, which reverberates the strong emotions that arise in this situation. The
theme of migration is also studied in the larger context of Brazilian society, which is
formed largely by migration movements. From an archetypal point of view, the migration is
considered together with the theme of exodus and the search for lost paradise or the
Promised Land. It is also viewed as the necessary initial movement of the hero’s journey.
From the subjective point of view, the migrants are considered as symbols of the
movements of the psychic energy, when it is necessary to abandon old positions and search
and create new ones. They often point and create new pathways. Lastly it is discussed a
Sandplay picture in which the client used many of these miniatures, in a specific context of
the Brazilian culture.

MIRROR
Author: Márcia Rodrigues Zapata. Ibtsandplay
Keywords: mirror, reflection, image, mirroring.
Abstract

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With the hope of encouraging other therapists to “reflect” on the use of mirrors and their
potential meanings in Sandplay scenes, this article covers their symbolism over the course
of different time periods and cultures, in mythology and in the religions of certain peoples,
in different psychological approaches, in the literature of Sandplay, and ultimately in my
own scenes. Mirrors engender a context of ambiguity, their reflected images appear to be
identical to what we are capable of seeing (albeit inverted) and simultaneously illusory, as
we must go beyond the surface of the image in a concerted effort to see beyond
“appearances”. Thus, mirrors hold opposite meanings: they can represent “truth”
(transcendent from the ego) and appearance (the veil of illusions that complexes may
cause). The constituents of this ambiguity became clear in this study. We drew parallels
between that which can be seen and that which hides behind mirrors for the purpose of
providing Sandplay practitioners with a spectrum of “views” concerning these dual
meanings inherent to mirrors, as listed below: 1) Mirrors as a path to inner development or
inner imprisonment; 2) Mirrors as betrayers of one’s narcissistic shadow or as reflections of
the need for positive mirroring; 3) Mirrors as that which masks oneself or that which
recognises oneself; 4) Mirrors as reality (essence) or illusion (appearance); 5) Mirrors as
instruments of vanity or of self-esteem/modesty; 6) Mirrors as that which is contemplated
by the ego or that which contemplates the Self; 7) Mirrors as denial of the shadow or an
idealised persona; 8) Mirrors as an inner projection or withdrawal; 9) Mirrors as a portal to
access consciousness or as blindness and obscurity; 10) Mirrors as a protective defender of
consciousness or resistant to transformation; 11) Mirrors as the desire for “soul through
body” or “body through soul”; 12) Mirrors as a “good mother” who reflects love or as a
“bad mother” who envies others; 13) Mirrors as an individual shadow or a collective
persona 14) Mirrors as a narcissistic self-centring forming part of healthy development or
as a neurotic compulsion towards perfectionistic monitoring.

A VIEW IN THE LOOKING GLASS: THE SYMBOLISM OF MIRRORS

Author: Nancy Burnett, PhD, CST-T
Keywords: mirror, physical proprieties
Abstract
The author explores the physical properties of mirrors in relation to the experience of
mirroring. She describes a personal experience with a mirror that reveals her passion for
this study as well as artistic explorations. Uses of mirrors in sand scenes are presented, as
are ancient and cultural meanings of mirrors. Also explored is the psychological
significance of mirrors from symbolic interaction, psychoanalytical, and Jungian
viewpoints. Conclusions show that mirrors and mirroring have powerful wounding and
healing properties. Note: This study was later published in the Journal of Sandplay Therapy
as A View in the Looking Glass, 2001, Vol. X, No. 2, pp. 111-122.

OUR LADY OF FÁTIMA

Author: Maria Irene Crespo Gonçalves. Ibtsandplay.
Keywords: Our lady, Fatima, Portugal, divine mother, Great Mother Archetype.
Abstract:
This article aims to explore the symbolism of images of Our Lady of Fatima and how this
image appears over the course of the therapeutic process, in which patients reconstruct this
image in their Sandplay scenes.

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The phenomenon of the apparitions of Our Lady of Fatima occurred in Portugal in 1917,
during the 1st World War. Portugal was experiencing a serious crisis both politically,
socially and economically. It is in this context that the apparitions of the Blessed Mother
Mary occurred, reported by three children in the town of Fatima, and which brought a
message of peace, hope and love to all mankind. The symbol of Our Lady of Fatima, as an
aspect of Mary the “divine mother”, is associated with the archetype of the Great Mother in
her manifestation of the positive upper pole, symbolizing protection, guidance and spiritual
rebirth. When this archetype is activated by the psyche, it allows the ego to strengthen itself
in order to cope with the more unilateral aspects of development. These may either be
caused by a lack of affect or by residues from trauma, linked mainly to negative
experiences with maternal aspects. When this symbol is made manifest it enhances the
potential needed for the ego to be restructured, but the ego itself must perform the
necessary assimilations for new conceptions and orientations to be formed, allowing
unilateral cognition to be rebalanced in the search for healthy psychic development.
Sandplay therapy enables patients to connect their own hands with the earth, the deepest
roots of one’s psyche, and the sky, the sacred and spiritual aspects of the psyche. When a
patient employs an image of Our Lady of Fatima in a Sandplay scene it allows the sacred to
become manifest, enabling the patient to connect with a “divine source”, with a primordial
force that gives succour to the soul and that assists the ego in dealing with life’s adversities.
As Kalff (1980) says, Sandplay activates the curing power of the Self. The apparitions of
Our Lady of Fatima brought a message of warning and penance for the good of mankind,
but above all a message of Love and Peace. When this symbol is used in conjunction with
Sandplay therapy, I think it can also be understood as a warning and as a need for penance;
a need for the ego to be restructured, to expand its level of consciousness and to seek to
confront its wounds, so as to liberate the psyche, to grow again. Therefore, it is a sign that
there is potential for transformation which nevertheless requires effort on the part of the
ego. In other words, work must be done internally, just as Our Lady of Fatima asked
mankind to recite the rosary to gain His “divine grace”.

PEACOCK: A SYMBOL OF VANITY OR NOBILITY?

Author: Adelina Wei Kwan Wong. Society: Hong Kong Sandplay Therapy Association
Keywords: peacock, goddess, royalty, authority, pride, vanity.
Abstract: The author explores the usage of the symbol of peacock in different ancient
civilizations such as Greek, China, India and Islam. Through their usage, the symbol seems
to have close association to the Goddess and Royalty, the respectful authority. The clients
who suffered from abuse and shame would use this symbol in sandplay process to express
their deep longing for personal esteem. Thus, the usage of this symbol suggests a positive
prognosis for the healing process. The author also explores the meaning of this symbol used
in different religious traditions such as Christianity, Buddhism, and the Sufi tradition of
Islam. The beautiful plumage of the peacock is usually interpreted as worldly goodness on
earth that one can achieve happily. This worldly goodness may be seen as harmful to induce
pride and vanity, and yet is paradoxically necessary for one to deal with the shadow. Should
one uses this symbol, it would demonstrate how one encounters inner shadow to attain
psychological wholeness.

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POPCORN
Author: Mariana Taliba Chalfon. Ibtsandplay
Keywords: popcorn, symbol, sandplay, inside-out, complex.
Abstract
With the objective to understand the popcorn as a symbol, this study compiled numerous
sources of information. The zea maiz inverta cultivation and the popcorn contemporary
usage on nutrition and environmental sciences were also described. To identify popcorn on
the collective imaginary, mythical narratives were studied on Iroquais and Ioruba ancient
populations. Fire’s symbolic aspect was also regarded, as it is a fundamental element for
the corn grain to become popcorn. Also, intrinsic aspects of popcorn as the “pop”, the “
inside out” and the conversion “from the hard grain to a soft mass” were analyzed by a
symbolic view and were related to the psychological concepts of complex, shadow and the
alchemical operation of calcination – calcination. Through two clinical cases, where
popcorn was used as miniature in sandplay therapy scenes, it was possible to infer that
popcorn could symbolize the setup of an internal disposition that leads to face the “inside-
out”. As a consequence, this confrontation tends to favor the dissolution of psychological
complexes.

LITTLE RED RIDING HOOD

Author: Nancy Burnett, PhD, CST-T
Keywords: red hood, image, literature.
Abstract
The author summarizes pilot research investigating Little Red Riding Hood as imaged and
interpreted by sandplay therapists and adults in unrelated occupations. A focused review of
literature by folklorists and Jungian authors demonstrates historical and contemporary
socio-political impacts on and by the folktale as well as psycho-emotional interpretations of
its story elements and images. A discussion follows about applications and interpretations
useful to sandplay therapists in appreciating story related imagery sometimes included in
clients’ sand scenes. A range of possibilities applicable to differing ages, life stages and
presenting situations is revealed. Comments highlight the impact of therapists’ experiences
of what they are viewing and hearing as well as storytellers’ and sand players’ experiences
of what they are expressing. Published in the Journal of Sandplay Therapy, 2005, Vol.
XIV, No. 1.

ROCKET/SPACECRAFT
Author: Jussara Maria Weigert Janowski. Ibtsandplay
Keywords: freedom, speed, crossing, transcendence, Self.
Abstract:
The symbolic study of the rocket/spacecraft refers to man’s interest and conquest of the air,
present since the archaic man who contemplated the sky, the flight of birds and nurtured the
dream of flying. We can say that this archetype of movement and search for the new
brought to the human history both positive and disastrous aspects. Man begins to
experience the transpersonal outside himself, i.e., projected upon the heavens or the world
of gods, and ends by introjecting it and making it a personal psychic content. In the
projective fantasy of the rocket, its outreach is expanded beyond the terrestrial scope, i.e.,

9
into cosmic space where the lords of destiny once were gods and lived on the planets. The
call for help aims at the sky, the struggle leads to fear, which aims at the sky for help as it
cannot be found on earth. The rocket is therefore connected to the air, to elevation, to the
freedom of movements and transcendence. To alchemy, birds are active forces that rise to
the sky, expressing volatilization and sublimation. As much as content from remote earthly
locations has deep and distant psychic content, galactic figures and those that represent
space travel indicate connections to the deepest regions of the psyche. In the sandplay
scenario, the rocket/spacecraft may reveal that something very distant in the client’s inner
world is trying to surface as the rising of a new psychic content. We can conclude that the
symbol of the rocket refers to a movement of psychic energy expressed in the image, due to
the speed and strength required to perform the symbolic trajectory in search of something
higher, in search of the connection with gods. The rocket may also be the symbol of the
Self as it brings in itself both the phallic aspect in shape and constitutes a spacecraft that
carries a crew, thus embodying the feminine and representing the union of opposites. The
analogy of the bird in flight makes us think of freedom and the creative forces at work that
indicate that the energy systems are no longer blocked, thus enabling growth and healing.
When the rocket crosses other places, it appears positively active and indicates a movement
in search of transformation.

SAUDADE (Mourning)
Author: M\aria Zilda Machado. Ibtsandplay
Keywords: mourning, death, pain, alchemy.
Abstract:
It is the aim of this paper to understand the importance of Saudade* in the mourning
process since the confrontation with death is inherent in the individuation and is present in
any analytic setting. It has become clear through observation that there are two types of
saudade: external, concrete saudade directed to the cause of the pain and internal, symbolic
saudade directed at internalizing this cause. The link between these two types of saudade is
studied through the following alchemical operations: mortificatio, calcinatio, solutio,
coagulatio, separatio, sublimatio and coniunctio. During the elaboration of the loss two
forces oppose one another. On one hand the unconscious sees death as a natural stage in
life; on the other hand the conscious, at least in Western culture, sees death as an
interruption of life. It is saudade that will help the approximation of these opposites by
bringing into play the transcending function whose objective it is to restore equilibrium at
the psyche/ energectic level.*N.T. Saudade, a word unique to Portuguese. It means sorrow,
grief, lamentation cause by absence of the desired one. It can be roughly translated in
English as “To miss”.

THE ELUSIVE SERPENT

Author: Maarit Rivers
Abstract
Keywords: serpent, guide, defense, worship, transformation.
In this paper, I discuss how serpents have been revered, worshipped and feared by humans
throughout the ages. Serpents also have led me to a deeper understanding of myself. They
have guided me both on my inwards journey and on my journey in this world and its
surrounds. The serpent appears frequently in a sandplay. Its meaning can only be
recognised from the effects it produces. The serpent evolved about 165 million years ago.
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Modern serpents have adapted to their surroundings perfectly. They can be found in most
countries. Physically serpents vary widely by their size, habitat, speed and way they move,
how quickly they digest their food, and how they protect themselves from predators. They
have an acute sense of smell and hearing. They have adapted to different ways of seeing.
Their bodies have a large number of tactile receptors. Serpents have many predators. They
use colouring as their primary protection. They bite only at last resort to protect themselves.
The serpent is one of the oldest and most versatile mythological symbols that have been
found. The serpent has been and is worshipped in Europe, Africa, North and South
America, Asia and Australia. The worship of serpents occurred as early as 70,000 BC.
Similar occurring themes of serpents appear around the world. Many of the world’s
creation stories include the serpent as part of creation and as being one of the primal forces.
Ouroboros, Nagas, the tree of life and the serpent coiled around the wand is also a common
theme in many cultures. The richness of serpent fairy tales around the world also indicates
the importance of this symbol. Serpents demonstrate transformation, manifestation of self
and spiritual awakening by introducing supernatural powers in these fairy tales. Freud,
Jung, and Kalff acknowledged the importance of serpent symbolism. For Freud, the serpent
symbolised fantasies of sexuality. For Jung, the serpent is one of the archetypes. He
associated it with connection between with heaven and earth. The Jungian serpent was also
a libido and whole process of psychic power. Dora Kalff saw the serpent as an indicator of
transformation and protection, but sometimes representing negative energy. The serpent is
associated with myriad meanings. They can represent the union of opposites. They can
offer a means of communicating with the divine. They represent healing, wisdom,
immortality, rejuvenation, love, sensuality, sin and death. They can be demons of earth,
darkness and evil. Serpents can be symbols of transformation and renewal, or gods and
goddess.

THE DANCING SNAKE GODDESS

Author: Ellen Searle LeBel, Arcata, California. STA.
Keywords: snake goddess, Minoan, labyrinth, dance, spiral.
Abstract
The ancient figure of the snake goddess is a compelling symbol of transformation in the
Feminine. This paper presents evidence from art and dance history supporting the
connection between this figure and ritual dance in ancient Crete. It describes the symbolic
aspects of snakes and relates them to the snake goddess and spiral dances of worship and
healing. The legend of Theseus’ encounter with the Minotaur associates the snake goddess
with Ariadne, whose ball of thread led the hero back from the dark labyrinth. Two different
therapeutic experiences of the snake goddess in sandplay therapy are illustrated in the sand
pictures of both a man and a woman. Published in Journal of Sandplay Therapy Vol.13,
Number 2, 2004

WEAVING/REWEAVING: CLOSING ADDRESS

Author: Dyane N. Sherwood. Oberlin, Ohio, USA

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Keywords: Proceeding, weaving, reweaving, symbol, meta-phor, Arachne, Athena,
Assembly, spider, opposites, Kay Bradway, Cybele, father's daughter, Dora Kalff,
Kokyamana, Kokyanwuhti, Margaret Lowenfeld, Olympian gods, Ovid's Metamorphoses,
sandplay, spider, Spider Grandmother.
Abstract: A brief introduction to the nature of weaving, its metaphors and symbols, is
offered. The famous weaving contest between the Greek goddess Athena and the mortal
Arachne, as told in Ovid's Metamorphoses, is re-imagined from the point of view of
Arachne, who was turned into a spider by the enraged and envious Athena. Athena and
Arachne form a pair of opposites. Athena is a well-armored father's daughter who loves
order and a life of the mind. On the other hand, Arachne has learned from the observation
of the natural world and from working with her mother and grandmother, contained in a
world of the goddess. STA ASSEMBLY 2015. Published by Sherwood, D.N. (2015)
Weaving/Reweaving, Journal of Sandplay Therapy 24:2, 21-43.

CATERINA AND THE HOWLING WOLF THE CALL FOR CONNECTION

Author: Laura Soble, MFT, REAT, CST-T MFC31926
Keywords: howling wolf as a symbol, child sandplay therapy process, adoption, fetal
alcohol effects, Ukraine, attachment, attunement, singing in therapy, voice in therapy, co-
transference, art, Sandplay therapy, Ukraine, symbol, animal, poverty, orphanage,
resilience.
Abstract: The author discusses the sandplay therapy process of an eleven-year-old girl
adopted internationally from the Ukraine, focusing on her use of the symbol of the howling
wolf as a thread throughout. Information about the howling wolf in the natural world is
presented as a prelude to highlighting the child’s clinical work, which included sandplay,
art, play, and singing, to provide mirroring, twinship, and connection. The client, raised in
poverty and sent to an orphanage at a young age showed signs of fetal alcohol effects. She
demonstrated creativity and resilience, as she used the therapy and the co-transference to
create a coherent narrative of her past life in the Ukraine, and her current life in the United
States. Journal of Sandplay Therapy, Volume 20 Number 1, 2011

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