Summer Course 2016
Psychology and the Arts
Advanced notice of the 43rd Champernowne Summer Course
Full brochure available early 2016.
The Ice and the Fire: Empowering Heart and Mind
Sunday 31st July to Friday 5th August 2016
- An exciting 5-day programme of stimulating creative activities
- Refreshing and replenishing soul, heart and mind
- Peaceful, relaxed atmosphere in a royal lodge
- First class accommodation and catering
- Beautiful rural setting in the royal park
- Accessible with good transport links
An impressive location
Windsor Great Park, Berkshire, England UK
A rich diverse programme
Lectures and seminars, discussions,
open arts studios,
music, song, poetry and dance
with time to relax, to go deep, or to chill out
in good company
in the beautiful setting of Windsor Great Park.
This programme is for you if you are involved in therapy, in education, in the creative arts
and seeking community, inspiration or refreshment.
Application form and full information: email@example.com
Or write to: June Marshall, Administrator, Champernowne Trust Summer Course, Cottage Farm, Belle Vue Road, Exeter EX4 5BD UK
Grants may be available depending on financial status. Grant application forms available from the Course Administrator.
The Champernowne Trust Summer Course
One of the objectives of the Trust is the sponsorship of special courses and events for therapists and others in the helping professions.
Since 1972 the Champernowne Trust has sponsored and underwritten the Summer Course to encourage personal and professional development by linking creative and psychological aspects of change. It is based on the premise that problem solving and innovation, whether in the arts, sciences or therapy, demands the cultivation of insight, enterprise and imagination, and that it works best when there is ample time, inviting space, good support and good company, and absence external pressures.
These courses provide opportunities participants to explore - or to ignore - creative and innovative aspects of the Jungian approach to personal development while experiencing the kind of caring and supportive environment that they are commonly providing in their daily lives. There is no pressure, and much freedom and opportunity to find your own pace and direction.
The organised programme offers a possible structure, evocative, sometimes provocative perspectives, and much space and choice. It consists of formal lectures - often by distinguished speakers, arts workshops and discussions, opportunities to sing, to dance, to create and to chat, to be active or to abstain form all activity.
While it is informed by a broadly Jungian/archetypal ethos, it is without dogmatism or evangelism.
When the Trust carried out its Education Review in 2013, one the key elements that Course participants said they valued was the "Active Imagination" experience.
"OFTEN THE HANDS WILL SOLVE A MYSTERY THAT THE INTELLECT HAS STRUGGLED WITH IN VAIN."
These may be the hands of the potter or the painter, or indeed the gardener. Perhaps the same is true for the feet of the dancer or the hiker, the rhythm and the melody of the singer or the instrumentalist, or the of child at play.
Jung describes people who "grew beyond" seemingly insoluble difficulties in their lives:
"What did these people do in order to achieve the development that liberated them?
As far as I could see they did nothing… But let things happen...
"To begin with, the task consists solely in objectively observing a fragment of fantasy in its development...
"In most cases results of these efforts are not very encouraging first. They usually consist of webs of fantasy which yield no clear knowledge of the original goal.
"For many people, it is easiest to write them; others visualise them, and others again draw and paint them with or without visualisation. In cases of a high degree of conscious cramp, often times the hands alone can fantasy; a model or draw figures that are often quite foreign to the conscious mind."
Marie-Louise von Franz, Jung's close collaborator, says of Active Imagination:
"It is a form of play, but a bloody serious one".
At a Champernowne Trust Summer Course, the experience of Active Imagination can take a variety of forms.
It may be in the context of one of the workshops – writing, drama, music or movement for example. It may be in the Art Room or Clay Studio during the scheduled session times, or in the middle of the night in response to a dream, or under a tree in the Great Park.
It may be in response to a theme from a lecture on a subject from myth or literature, from the world of art, or the field of psychotherapy. It may be in response to one's own dream or vision, or to images that emerge in conversation.
The experience may be deliberate, serious, full of intent and surrounded by ritual, or it may be the surprising outcome of a casual moment. One well reputed analyst, now - perhaps 30 years on - better known as a potter even than as an analyst, can trace his interest in clay to a moment during a fleeting visit to the clay room at a Summer Course, when his hands produced an image that amused and astonished him.
Jung says of those who "grew beyond" their unsurmountable challenges:
The new thing came to them out of obscure possibilities either outside or inside themselves; they accepted it and developed further by means of it. It seemed to be typical that some took the new thing from outside themselves, others from within; or rather, that it grew into some persons from without, and into others from within. If it arose from outside, it became a deeply subjective experience; if it arose from within, it became an outer event.
In no case was it conjured into existence through purpose and conscious willing, but rather seemed to be born on the stream of time.
It is not easy to "let things happen." Jung says: "The conscious mind raises prolific objections… Often a veritable cramp of consciousness exists."
The splendid setting of Cumberland Lodge, the natural beauty of Windsor Great Park, the long tradition of the Summer Course, and the skill and experience of the course facilitators help to create an environment in which it is easier to escape the "cramp of consciousness" and enable a freeing up of the capacity to play ("bloody seriously" or just for the fun of it), to let things happen and to give the "new thing " a chance to manifest, whether for without or from within.