creative responses to difficult times...to difficult times an international magazine for democratic...

Spring 2014Volume 21Number 1

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InformationAsylum Collective

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the magazine for democratic psychiatry

CREATIVE RESPONSES TO DIFFICULT TIMES

An international magazine for democratic psychiatry, psychology,

and community development

Incorporating theNewsletter of Psychology

Politics Resistance

ISSN 0955 2030

CONTENTS CREATIVE RESPONSES TO dIffICulT TImESEdITORIAl Paul Atkinson and Janet Haney 3CREATINg A COmmuNITy The Bridge Collective 4ThREE POEmS: Stoddart HouSe, Stoddart HouSe –

(Bird, BeaSt, Man, MouSe); Le père SanS Merci (MerciLeSS FatHer); tHe HouSe tHat ‘dad’ BuiLt Rob Cunliffe 6ThEN PlAy ON Jennifer Maidman 8gETTINg IT dOwN ON PAPER Michel Syrett and Suzy Johnston 10SAgE COmmuNITy ARTS Andrea Heath 12ThREE POEmS: LaSt Stand – one tiMe Friend; St pancraS

internationaL; raw trutH Kaz Reeves 14ThE PSyCOmmONS Denis Postle 15doeS no one reMeMBer a S neiLL? Ros Kane 18mESSERSChmIdT & mE Scott Farlow 19naMeS, A ShORT PlAy Simon McCormack 20SOmE REflECTIONS ON ThEATRE, PSyChOANAlySIS ANd VERSE

AS mEdICINE Stephen Gee 22‘ThE SPIRIT Of uTOPIA’ & ‘SANATORIum’: wHo are we? wHere

are we going? wHat are we waiting For? Isobel Urquhart 24START2: Live LiFe More creativeLy Tamzin Forster 27aSyLuM NEwS 29lETTER TO ThE EdITOR: StruggLing For coMMunity –

a Letter in reSponSe to Meg KeLLy’S articLe criticiSing a pa HouSe Paul Gordon 30

the magazine for democratic psychiatryVolume 21, Number 1, Spring 2014

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asylum magazine is a forum for free debate, open to anyone with an interest in psychiatry or mental health. we especially welcome contributions from service users or ex-users (or survivors), carers, and frontline psychiatric or mental health workers (anonymously, if you wish). The magazine is not-for-profit and run by a collective of unpaid volunteers. Asylum Collective is open to anyone who wants to help produce and develop the magazine, working in a spirit of equality. Please contact us if you want to help.

The views expressed in the magazine are those of the individual contributors and not necessarily those of the Collective. Articles are accepted in good faith and every effort is made to ensure fairness and veracity.

Send letters, comments & submissions(incl. articles, art work, poetry, images, etc.)to: [email protected]© Asylum, Asylum Collective and AsylumAssociates on behalf of contributors

Special edition: Creative responses to difficult timesguest edited by Paul Atkinson and Janet haney for the Alliance for Counselling and Psychotherapy

Executive Editor:Phil Virden: [email protected] Editors:Prof Alec Jenner and Lin BigwoodBusiness manager:Peter Bullimore

members of Asylum Collective:Jim Campbell David HarperTamasin Knight China MillsWilliam Park Ian ParkerDina Poursanidou Arri SeifipourSonia Soans Helen SpandlerPhil Thomas Pauline Whelan

design:Old Dog Graphics layout:Alex Widdowson (Sage Community Arts)Administration & distribution:PCCS BooksUnit 2 Cropper Row, Alton Rd, Ross-on-Wye, HR9 5LASubscriptions (see below for rates):www.pccs-books.co.uk email: [email protected]: 01989 763 900 fax: 01989 763 901

Cover Images:Front: ‘Big Small – Chase’ by Helen Tyler (Sage Community Arts)Back: 9 untitled drawings by John JosephBackground photography by Nick Cash (Sage Community Arts)

Theideaofthisissueofthemagazinearosefromaconferenceonthefutureofcounsellingandpsychotherapy,organisedbytheAllianceforCounsellingandPsychotherapy,andheldinLondoninDecember2012. AsmembersoftheAlliance,wehavebeencampaigningagainstthestate’sco-optionofthepsychologicaltherapiesasahealthcareprofession.Inourworkaroundpsychologicallifeanditsdifficulties,wealsowanttoprioritisetheordinaryresourcesandcreativitythatpeoplebringtothetaskofmakingmeaningoftheirexperience. OnespeakerattheconferencesuggestedseeingifwecouldproduceaspecialissueforAsylum,sowecontactedthecollectiveandtheyacceptedouroffertoproduceaneditionaroundthebroadideaof‘creativity’. Wethensetaboutaskingpeople–nearandfar,usersandpractitioners–iftheywouldliketosubmitsomethingthattestifiedtotheireffortsatbeing-in-the-world.Weinvitedthemtousetheirparticulartalentstosaysomethingabouttheirworld-view. Asaresultindividualsandgroupshavecontributed.Offeringsincludedirectworksofartisticcreation,includingoriginalpaintingsbyJohnJosephandmembersoftheSageArtsproject;poetryfromRobCunliffe,RosKaneandKazReeves;ashortplaybySimonMcCormack(whichwehaveproducedasaliverecordingandpostedontheweb);anoriginalworkofartfromScottFarlow,whoalsowritesabouthisrelationshipwithFranzXaverMesserschmidt,anartistfromthepast;and,includedinalongerpiecereflectingonthecentralimportanceofmusicinherlife,songlyricsfromJenniferMaidman.Othercontributorswroteabouthowtheywereusingtheirowncreativitytomakespacesforotherstousecreatively–theSageArtsproject,theBridgeCollectiveandStart2.StephenGeewritesabouthisexperienceofrunningatheatreproject,IsobelUrquhartwritesaboutartexhibitionsinSanatoriumandUtopia;andMichelSyrettandSuzy

Johnstonwriteabouttheexperienceofwritingitself.DenisPostlegivesusanarticleonwhathecalls‘thepsyCommons’;thisispartofalifetime’sworkinwhichhearguesforare-visioningofpsychologicallifeassomethingtobeheldincommon.WearealsoverygratefultoAlexWiddowson(ofSageArts)whovolunteeredtodesignthisissueasacreativeactreflectinghisownappreciationoftheoverallproject;andofcoursethankstotheAsylumCollectiveforlettingusmakethisissue. Youwillseethatwewantedtoextendtheideaofcreativitybeyondthecorenotionofartandliterature,soastoincludethekindsoforganisationsthathavebeensetuptosupportthecreativeendeavour.Wehavetriedtoreachalittlebeyondourownusualnetworks,andhavemadesomenewlinkswithprojectsupanddownthecountry.Wedon’tpretendtopresentanobjectivesurveyofwhat’sgoingon,andwe’resuretherearemanymoreamazingprojectsandpeopleouttherewhocouldbearwitnessingandcelebration. Wehopethatthisnecessarilyshortselectionofworkwillactasaninspirationandpointofreferencetosustainandinspireyourownefforts,inspiteofthedifficulteconomicandideologicalclimatethatcurrentlyprevails.

Paul AtkinsonandJanet Haney

Special edition: Creative responses to difficult timesEdited by Paul Atkinson and Janet Haney for the Alliance for Counselling and Psychotherapy

3Asylum Spring 2014

EDITORIAL

InSummer2006agroupofpeoplemetintheQuakermeetinghouseinExeter,alloftheminvolvedindifferentwaysininnovative,user-ledprojectsthathadbeendevelopingwithinMindinExeterandEastDevon.Itwasatimeofexcitementandanticipationbecausewehadarrivedatthemomentofrecognitionthatourfuturelayinourownhands:thetimehadcomeforouraspirationstoberealisedtobeanautonomous,collectivelygovernedandrungrass-rootscommunity. Sevenyearslaterasmallgroupsitinacosy,homelyroomincentralExeter,nowtheofficeofTheBridgeCollectiveCommunityInterestCompany,planninghowtowritethisarticle.Someofuswerepresentatthebeginning,othershavejoinedsince.TheBridgeCollective,nowwithitsownpremises,organisationalstructure,employeesandpublicprofile,isthechild,stillnotfullygrown,thatwasconceivedatthatevent.Thecreativeprocessthatbroughtushereisoneforwhichwehadnotemplateorinstructionmanual.Someonesaid,“IfTheBridgeCollectivewasaworkofart,itwouldbeoneofthosewhereyouthrowsometinsofpaintatawallandseewhathappens.” Sohowdoesourexperienceofbeingthereal-lifeBridgeCollectivetodaymatchuptothedreams,hopesandfearswehadsevenyearsago?Andwhathavewelearntalongtheway? HerearesomeofthethoughtswerecordedinthemonthsofplanningbeforewefinallyregisteredasacompanyinApril2007: Someofourstrengths:democraticandrevolutionary;strongbeliefandcommitment;strengthinnumbers;people-power;westickupforourselvesandrespectandlookaftereachother;thewilltofindsolutionsandwaysofworkingtogether;we

alreadyhavesomewellestablishedandrespectedprojects. Possibleweaknesses:Willwesticktogether?Canweresolveinternalconflict?Whatwillhappenifpeopleinkeyrolesbecomeunwell?Doweknowhowtodealwiththeoutsideworld–e.g.funders?Willwegetboggeddownincomplicationsratherthantakingonestepatatime?Howwillweknowthatactionsareauthorisedbythecommunity?Willwehaveanymoney? Opportunitieswesaw:toenhancepersonalrecovery,gainconfidenceandasenseofpurpose;somethingtoputonaCVinfuture;greaterpublicawarenessofthetalentsoftheparticipants;tochangetheworldinasmallwaythroughourtraining;anewwayofthinkingwithinmentalhealthservices;toexpandouractivities;morefreedomofchoicewhereweworkandplay;itmaybehardertofindplaces,butmorefun;toworkwithorganisationstocreateawarenessandbetterunderstandings;tobeenvironmentallyhealthyandaccessfunding,etc.throughthat. Possiblethreats:ourdifferentwayofthinkingmaynotbeunderstood,trustedandfunded;losingsightofourprimarygoalsthroughinternalpolitics;legalrequirementsandworkload;staff/serviceuserthem/usculture;theftordamage. Lookingback,muchofitdoesseemtohaveechoeddownthroughtheyearsofthedevelopmentofTheBridge. WebeganourexistencebynegotiatingasmallgrantfromDevonCountyCouncil,whichhascontinuedbutnotgrown.Wesupplementthiswithmoneyearnedfromtrainingandwithoccasionalone-offgrantsforprojects,butwehaveheldoutstronglyforindependenceandagainstbecomingaproviderofcommissionedservices.Throughthiswehavelearntthatbeingaleanorganisationcanhelpcreativity–likehaikupoetry,whichdependsonfindingawaytoexpressanideawithintightconstraints.(Butpleasedon’ttellourfundersthat!) Wehavealsobeenlearningtoembracemessiness–thatworkingoutwhattodowhenthingsaren’tasweplannedorexpectedcanalsobeasourceofcreativity,onceyoudecidenottogiveintoexasperation.InaworldofbusinessplansandSMARTtargets,wevalueflexibility,roomfornotgetting

thingsrighteverytime,forplaying,andsometimesabandoningtheoriginalideaandfindingwehavecreatedsomethingelsewedidn’texpect.Andwedostillstruggletofindthestructuresthatcanfacilitatethiswhileretainingaccountabilityandgoodcommunication. Andwearelearningaboutboththepowerandthechallengesofdemocracywheninatightspot.Whengoingthroughinternalconflict–asinevitablywehavedone–ithasbothbeendeeplypainfulandhugelyempoweringtobeinaplacewheretalkingaboutdissentandhurthasbeenthebusinessofthewholecommunityandnotsomethingtobedealtwithquietlyinaseparateroombystaff.Wehavelearntmuchandstillhavemuchtolearnabouthowthiscanbeasafeandhealingprocessforacommunity,ratherthanadivisiveone.

Fromthebeginning,theideaofdemocracywaskeyinTheBridge,andthepointofauthorityanddecision-makinghasalwaysbeenthemonthlymeetingthatwenowcallTheBridgeCommunityMeeting.Ourlegalstructureentailsthatwehaveaformalmembershipwhoelectanumberofdirectors,andtheserolesareimportantinTheBridgebecausetheyholdaccountabilityfortheprinciplesofthecompanyandforrunningitwithintegrity.However,involvementinTheBridgeismuchwiderthanformalmembershipofthecompany,and(exceptveryoccasionallyfordiscussionofsensitivepersonalissues)theCommunityMeetingsarecompletely

Creating a Community

4 Asylum Spring 2014

open,withmostdecisionsarrivedatbyconsensus. OneofourmostvaluedpointsofreferenceisourMissionStatement,distilledbytheCommunityMeetingfromattemptsovertheyearstocommunicatetheessenceofTheBridge: “Tobeacompanywhosemembersarecreating:ademocraticcommunitywherepeoplewhohaveexperiences,beliefs,andfeelingsthathavesometimesbeenlabelledasmentalillnessarewelcomedandcantalkabouttheseexperiencesfreely,safelyandwithoutjudgement;aplacetoparticipateinfriendship,support,learning,teaching,discussion,beingactive,andmakingavalidcontributionbothwithinthecollectiveandthewidercommunity.” Hereisasummaryofthegroupsandactivitiesaroundwhichourevolvingcommunityiscurrentlyformed: TheGreenwoodProjectgivesaccesstothephysicalandmentalhealthbenefitsofbeinginwoodlandandotheroutdoorenvironments.Italsoprovidesachancetolearnabouttraditionalwoodlandcrafts.Wefindthatmakingmealsandcookingonourownfireinawoodlandclearing,tellingstoriesandmakingmusicunderthestarsandmakingthingsbyhandfromnaturalmaterialswecollectourselves,allallowustoseeandexperiencelifeinanew,healingway.Ithelpsustoappreciateandfullyvaluethenaturalworld. TheWomen’sArtGroupsessionsaimtogivewomensomemuch-neededpersonalspaceeveryMondaymorning,offeringanopportunitytoexploreartisticideas.Thegrouphasarealsenseofcommunityandarelaxedandcreativeatmosphere. TheSharingCircletakesplaceataseasonalturningpointandhasathemethatreflectsboththecycleoftheyearinnatureandthecyclesofchangeinourlives.Wemeetinpeaceful,naturalsettingsandsharesimplefoodaroundafire.Then,afterashortsilence,eachpersonwhowishestoisinvitedtospeak,maybetoputsomethingtheyhavebroughtintothecircleandtalkaboutwhatitmeanstothem.Thisisachancetoobservetheturningoftheseasons,torefreshourspirits,andtoreflectonwhatisimportanttous.Speakingorsilentparticipationareequallywelcome. TheDiscussionGroupmeetsonceamonthasaspacetoshare

part.Weuseourdirectexperiencetoexplorediverseapproachestomentalhealth.Weaimtocreateenvironmentswhereconversationshappenthatencouragelearningfromeachotherandunderstandingeachotherbetter,andyoudon’thavetobeabrilliantpublicspeakertohaveavoice.Timeandagainmagichappenswheresomeoneunderstandsanewpointofviewbecausethey’velearntfromsomeoneelse’sfirst-handexperience. TheBridgeCollectivehasanopendayeveryThursday–thedoorsareopenforanyonetocomeandhaveadrinkandchatwithwhoeverisabout.Wehavenoreferralprocessandpeoplearefreetocomeandgoastheypleaseanytimebetween10amand4pm. InTheBridgeCollectiveasawhole,timeandagainwhenmaybeweareboggeddowninmessiness,someone–whomayhavebeenpartofthecommunityforyearsormayhavewalkedinthatday–sayssomethingthatcutsthroughsomethingdifficult,andweseeanewpathtocreateandtravelalongtogether.

YoucanfindusatUnit4,KingStreetBusinessCentre,7–9KingStreet,ExeterEX11BQ;[email protected]’reonFacebook,andourwebsiteiswww.bridgecollective.org.uk

differentviewpoints,withnopressuretospeak.Weofferthefollowingprinciplesforourdiscussions:“Everyonebringstothespacevalidknowledgefromtheirownbackground,allknowledgeispartialandincomplete,allknowledgecanbequestioned(from–OpenSpacesforDialogueandEnquiry). RainbowMindisaninformalgroupforlesbian,gay,bisexualandtranspeopleaffectedbymentalhealthissues.WemeetatTheBridgeCollectiveonceamonthforachatandacoffeeinasafefriendlyenvironmentwithlike-mindedpeople. UndergroundSoundisaweeklymusicprojectprimarilyforpeopleaged18to30whoareexperiencingorhaveexperiencedmentalhealthdifficulties,aswellastheirfriendsandotheryoungpeoplewhohaveaninterestinmentalhealthissues.Wehavearangeofmusicalinstrumentsincludingguitars,electricdrums,decksandvariousacousticinstruments,andarecordingboothenablingustoproducegoodqualityrecordings.Withintheprojectthereareopportunitiestobenefitfrombeingpartofagroup,learningnewskillsandbeingcreative,usingmusicalexpression,developingandbuildinguponexistingtalents,learningfromothersandformingfriendshipsthatextendoutsideoftheproject. TheExpertsbyExperienceprojectworkstoestablishthesharingofpersonalexperiences,beliefsandfeelingssometimeslabelledasmentalillness,asapowerfultoolintheeducationandtrainingofhealthandcommunityworkersandinthepersonaljourneysofindividuals.Weaimtobeachannelforeveryone’svoice–whereveryouareat,youcantake

5Asylum Spring 2014

Three poems by Rob CunliffeThefirstisaboutmyexperiencesinanacute-carepsychiatricunit,inLiverpool.Iamverypleasedtohaveitpublishedhere.I’vebeenwriting

poetryonmyownforthelasteighteenmonths.Ionceperformed‘StoddartHouse’atTheBrink–the‘dry’barinLiverpool–butI’mmainly

interestedintappingintomyunconsciousorcreativeprocess,andfacilitatingtheemergenceofmorework.I’veummedandaahedabout

joiningwriters’groups,butnotdonesoyet.Thesecondpoem–‘Lepèresansmerci’–moreorlessexplainshowIcametofindmyselfin

StoddartHouse.BywayofthanksforthesupportoftheAsylumManchestergroup,IthoughtI’dsendathirdpoem,‘TheHousethat“Dad”

Built’.Iwroteitduringthethreedayssincesubmittingtheothers,andhavingreceivedfeedback.Ihopepeopleenjoyitandmayfinditof

interestorcomfortinsomeway.

SadnessofapoignancyThatgrippedtheairbythethroatAndbangeditsheadagainstalonggreywall,Wouldmakeitspresencefelt,Descenduponus,Envelopusentirely,Takeusover,Untilwewerenothingotherthanit.

Weweresadnessanditwasus.

Andwewouldsitthere,floored,Dumbstruck,Aghast.Barelyabletobreathe,Letalonespeak.Takingitallin,Everymoment.OursensoriumsOpentothefourwinds,Utterlyraw.Inaskinlessnightmare.

Resistancewasfutile.Itwasn’tevenonthecards.Despair,thickascream,Toothickforapintodrop,Pervadedeverycornerofeveryroom.

InoneroomAyoungman,Twoyoungmen,Bothinconsolablydepressed,TookturnstositHoodsup,headsbentOveraconvectorheater,Conjoiningitwiththeirbodies.Foranhourortwo,Incompletesilence,TakingtheincessantnoisyblastsOfhotwarmairFullintheface,Somespillingdowntheirchests.Meltingtheicebergoftheirdepression.FeelingohsocoldAndwantingtobewarmagain.

Whateverthereason,TheyseemedtobethebetterforitAfterwards.

Inanotherroom,TheTVroom,Satincomfyseatsandsofas,Theheavilymedicated.Calmernow,moreensconcedThantheyhadbeenAmonthorweekago.Theoddpleasantry,Theoddcomment,Theoddarrangement–Soandso’sgoingtotheshop.Butthebanternowwaswafer-thin,Pipesandwhistles,Dissipatedinaninstant.

AndalongthecorridorsMarchedalldaylongAndmuchofthenightThemassedranksOftheinsanelyanxious,WhosememorieswouldnotletthemgoForaninstant.WhattheywerelivingAndrelivingandrelivingOnlytheyknewAndnooneelsedid.TryingtowalkoutThepainthathadbeendrivenintothemAndwasstilllodgedthereOfaneight-inchcoldsteelknife.Orwordstothateffect.

Andtherewerethetea-drinkers,Thecuppasoupers,Thecafeteriati,Themake-the-most-of-itbrigade.TheirstrongpointConversation.TheirweakpointJustthesame.There’sonlysomuchtalkOnecantake,Anyonecantake,Beforefallingsilentagain.I’mjustgoingtoliedownOnmybedagainforawhile.Andthentherewerethejollyjapers,Thedidn’t-give-a-fuckers,Theopportunists,Die-hards,philanderers.Couldhavebeenanywhere,really,Madenodifference,Allthesametothem.Thepartyanimals,Nevergiveuppers,WhateverwasgoingonOroff,Theywantedtobeintheframe.Eveninalockedward,Lifecanbeariot.I’mSpartacus.No,I’mSpartacus.I’mSpartacus.No,I’mSpartacus.UntilsuchtimesasThedepotinjectionkicksin,Gasps,Andsubductionreigns.

StoddartHouse,StoddartHouse,Bird,beast,man,mouse.

Stoddart House, Stoddart House – (Bird, Beast, Man, Mouse)


The house that ‘Dad’ built

Le père sans merci (Merciless Father)

Iwasmyfather’s“_____”.Hespoketomeasone.HederidedanddevaluedmeAndhecalledmehisson!!!

Hebroughtmeup,hebroughtmedown,Heturnedmeroundthebend.AndwhenIbent,hebrokemyheadAndwatchedthetricklesrun.

AboxIlivedinasaboy,Ahamsteronawheel,ThemetalwallsofpaddedcellWerecomfortingtome.

AcageIlivedinafterthis,Acagenoonecouldsee.AcolddarkcagecontainedmyrageTillitwastimefortea.

Andtea-timecameanddownIwentApologetically.Sorry,boss,sosorry,boss,CaptainofIndustry.

Andmoneywasnoobject,no,Nobaubleonatree.MoneycountedmorethanChristAnd,Christknows,morethanme.

Seconds,thirdsandlessmeansmoreWeretermsdrilledintome.Aworldoffailedemotions,Ofmeasurability.

Emotions,no,nothere,notnow,Notever,really.That’sjustnothowwedothingshereYou’rewrong,youknow,yousee.

AndsoIwitheredonthevineDumb,daft,ditheringme.TellyourDad,youshouldbeglad,Yes,youdamnwellshouldbe.

He’slosthisrag,he’sblownhistop,He’sactingpurplely.Ionlytriedtolendahand,Mistake…Iknow…sorry!

Almightymug,youfool,Youfool.DidyounoteverseeThatwhatyoudidWascreateaflidThatflidfromtreetotree?

DiditneverstrikeyouAsyouwerestrikingmeThathumankindMeanshuman,kind,Notprimitivity?

Igotyourgoat,Yougrabbedmythroat,Asphyxiatingme.Andsilencereigned,You’dwonagain,Iwonderwhat’sfortea?

Andtea-timecamearoundagain,Almightymisery.WheretalesweretoldOfothers’woes,Weakspotsandfrailties.

AndupfromdownthismireMorass,Shiningforalltosee,Wasourcomplacent,Creakingcrown,Ourfoamingfamilytree.

Asiffromhigh,Asif,itwere,Theworldweretheretosee.WecawedandcrowedAndcrowedandcrawed.Superiority.

TheMasterRaceGavemechase.Innate,fortunately,WasmydesireNottoconspireWiththisignominy.

I’dheardoflands,Far,farawayWhereitwasplaintoseeThatotherwaysAndotherdaysLayaheadofme.

Iwasmyfather’s“______”.Iwashiswhipping-boy.IsatinstocksButbrokethelocks…Eventually.

I’vebeenlivingInthehouseOfmyfather’sdepressionAllmylifeWithoutknowingitMostofthetime

WalledupInaboltholeIthoughtWasofmyownmakingUnderaroofDesignedtolastAlifetime

Allmythought-gatesMypostulatesWerepre-fabricatedReadymixedTherelongbeforeIcamealong

SoIsatthereInthedarkRigidTransfixedSoul-mateofGollumWonderingwhatonearthWasgoingon?

I’vebeenlivingInthehouseThatDadbuiltLongerthanIcaretomentionLongerthanIcanrecall

UntilonedayIfoundAnescapehatchAndmademywayOutintoThedazzlingsunshine

AndlaydownInthelonggrassByastreamDazedBreathedinDustedmyselfdownAndcrieduntilIstoppedcrying

ThenrestedforawhileSmelledthecoffee

Andnowit’stimeToheadbackinthereTositwithhimTalktohimSeehowhe’sdoing

He’snotgoingtolikeitOfcourseAtfirstanyway…

Idon’tthinkhethoughtAnyofusWouldmakeitOutofhereAlive

7Asylum Spring 2014

Then Play On by Jennifer Maidman IrealisedIhadamusicalFatherwhenIwasaboutthree.Alargewhitegrandpiano,whichwasbeinggivenawaybythelocalcinema,arrivedatourhouse.Italmostfilledthefrontroom.DadsatdownandplayedandIwatchedandlistened,utterlyspellbound.Hesaidthemagicalsoundhewasmakingwascalled‘boogiewoogie’,andnaturallyIwantedtohaveago.WithmytinyhandsIcouldn’tmanagethewholething,butDadpatientlyshowedmehowtodothelefthandbasspartusingtwofingers,andIpractiseddiligentlyuntilIhaditmastered.Isoondiscoveredthatourhousewasfullofinstruments:therewasabanjo,aviolin,aharmonica,anaccordionandamandolin.Dadcouldmakemusiconallofthem,notalwaystoaprofessionalstandarditmustbesaid,butfrom‘WhenI’mCleaningWindows’to‘WaltzingMatilda’to‘GoodVibrations’,heapproachedeverythingwiththesameinfectiousenthusiasm.Hewasalsoadabhandonthespoons.HeandmyUncleRalphclatteringalongto‘InMünchenStehteinHofbräuhaus’,afteracoupleofglassesofAuntyBrenda’shome-madeSangria,couldputasmileonanyone’sface.(RalphwasabitofaGermanophile,butthat’sanotherstory.)AsIgrewupandmyownrelationshipwithmusicdeepened,bothmyparents’supportandencouragementwasunshakeable.Dadhadthatold-fashionedattitude:‘Ifathing’sworthdoing,it’sworthdoingwell’,butonceheknewyouwereseriousaboutsomethinghewasbehindyoualltheway.HediedsuddenlyfouryearsagoandIstillgreatlymisshim. MyMumisalsoverymusical,butwasalwaysdrawntosong,poetry,literatureandperformanceratherthanplayinganinstrument.At83,shecanstillholdanaudienceinthepalmofherhandwithoneofherself-pennedcomedymonologues.Iam,Isuppose,achipoffbothoftheoldblocks.IthinkI’veinheritedmyMum’sloveofthelimelighttosomeextentbutlikemyDadIplayseveralinstruments,andIalsowriteandproduce. I’vebeenluckyenoughtomakealivingdoingthethingIlove,makingmusic,butI’vealsobeenpersonallyinvolvedwiththerapyandhumanconditionworksincethelate-1970s.Ibecameinterestedinthepsyfieldlargelybecause,despiteenjoyingsuccessbeyondmywildestdreamsinthemusicfield,Istruggledforalongtimetocometotermswithmyownidentity.Ispentmanyyearsinvarioustherapies,notallofthemhelpful,unfortunately.I’vebeenaroundlongenoughtorememberthebadolddayswhengay,lesbianandtranspeoplewereroutinelystigmatisedandpathologisedbypsychiatristsandpsychotherapists.ManyLGBTQpeople,myselfincluded,internaliseddeeplydamagingattitudes,perpetuatedinpartbymembersofthepsyprofessions.Thingshavecertainlyimprovedsincethen,butitdoesseemextraordinarythat‘genderidentitydisorder’hasonlyjustthisyearbeenremovedfromthepsychiatrists’‘bible’,DSM-5.Perhapsonedaypeoplewhoidentifyoutsideconventionalbinarysexandgendernormswillbeseenasmerelyhavingadifferentcallinginlife,asforinstancetheyareintheNativeAmerican‘Two-Spirit’tradition.InthemeantimetheadoptionbytheDSM-5of‘genderdysphoria’,alesspejorativeterm,isprogress,I

suppose.Butasisoftenthecase,peopleonthegroundseemtobeyearsaheadofthemainstreampsychiatricestablishment.Irecentlytookpartinacross-generationalartsprojectwithyoungLGBTQpeople,allofwhomareextremelysavvyabouttheiridentitiesandtheirneedsasserviceusers,andmanyofwhomnowidentifycompletelyoutsidethetraditionalbinarymasculine/femininemodel,asgenderqueerorgenderfluid.Socomeonyoupsychiatrists–keepup! AswellasbeingasingerandmusicianIalsotrainedandpractisedasahumanisticcounsellor,andIdofindthereisconsiderableoverlapbetweentheworldsoftherapyandmusic.Therapy,whenitworks,isaprofoundlycreativeprocess,andmusicandthecreativeartsingeneralhavemanytherapeuticqualities,andnotjustinthedomainofformallyrecognised‘artstherapies’(althoughthoseapproachescanhaveenormousvalueintherightsetting).DenisPostlehasintroducedtheideaofa‘psyCommons’[seethisissue]andIbelievemusic,byitsnature(andinparticularpopularsong,thefolkmusicofourtime),alsotendstowardsbeingasharedcommunityresource,partofthe‘commons’.Asongcanactasa‘container’,spreadingnewideas,offeringsolaceorencouragement,givingvoicetohopes,fearsanddreams.Andonceit’soutthereitcanbecomeacommonresourcetobetappedinto,anemotionaltouchstonewhichcanbeasourceofinspiration,fellowship,resistanceorwhateverelseaparticularindividualorcommunityneeds.Folksongshavealwaysservedthispurpose,oftengivingvoicetotheinnerlivesoftheoppressedandthemarginalised,butduringthetwentiethcentury,massmediahascreatedafarbiggerplatformfromwhichwriterscansharetheirexperienceandchallengeorsubvertthedominantdiscourse. Thesong‘MessageinaBottle’bythePoliceseemstobothdescribeandembodythephenomenonofanindividualbeingabletoreachavastaudience.Itstartswithanapparentlysimplestoryaboutacastaway:‘I’llsendanSOStotheworld–Ihopethatsomeonegetsmymessageinabottle’.Butbythelastverseit’sclearthatthesongisusingthemetaphortopaintamuchbiggerpicture:

Walkedoutthismorning,

Idon’tbelievewhatIsaw

Hundredbillionbottleswashedupontheshore

SeemsI’mnotaloneatbeingalone

Hundredbillioncastaways,lookingforahome.

Infourlines,Stinghitstheexistentialnailfirmlyonthehead.Inanalienated,market-driven,dog-eat-dogworld,manyofusareisolatedanddyingforourdistresssignaltobeheard.We’reall‘washedupontheshore’.Whatweshareisouralonenessandourlongingtobepartofsomethingbiggerandmoremeaningful:thereinliesourcommonality.Therecordwenttonumberoneinseveralcountries. Therightsongattherighttimecanhaveextraordinaryculturalresonance.ThinkofJamesBrown’s‘SayitLoud,I’mBlackandI’mProud’,orTomRobinson’ssimultaneouslydefiant,yetdeeplysatirical‘SingifYou’reGladtobeGay’.Asongcanissueanintergenerationalwake-upcall(Dylan’s‘TimesTheyAreaChanging’),orbeanexpressionofautopianideal(JohnLennon’s‘Imagine’);itcanbeanaffirmationofpersonalempowermentinthefaceofadversity(GloriaGaynor’s‘IWillSurvive’)oralamentabouttheanger


andambivalenceofastrugglingpost-industrialcommunity(‘Shipbuilding’byRobertWyatt). Forme,someofthemostevocativeandbeautifullineseverwrittenareinJamesTaylor’s‘FireandRain’:

I’veseenfireandI’veseenrain,

I’veseensunnydaysthatIthoughtwouldneverend.

I’veseenlonelytimeswhenIcouldnotfindafriend

ButIalwaysthoughtthatI’dseeyouagain.

Thisverypersonalpieceofwritingisallthemorepoignantifweknowthatinthe1960sJamesTaylorwascommittedtopsychiatricinstitutionsseveraltimesduetodepressionandsubstanceaddiction.Hehasapparentlysaidthatthefiresignifiestheelectroshocktherapyandtherainthecoldshowers.ThepersonheexpectedtoseeagainwasSuzieSchnerr,anotherpsychiatricinmatewhocommittedsuicide.FriendskeptherdeathfromTaylorforsixmonthsforfearofdestabilisinghisrecovery;thustheopeninglinesofthesong‘Justyesterdaymorningtheyletmeknowyouweregone–Suzannetheplanstheymadeputanendtoyou’.Yetthemusicalsettingtransmutesallthistragedyintosomethingbeautiful,andTaylor’spoeticgeniuscreatesalyricsouniversalthatwecanallmapourexperienceontothewords.Weallhaveourownpersonalinterpretationof‘fireandrain’,‘sunnydays’and‘lonelytimes’andwe’veallknowntheheartacheofanunexpectedloss.

Itseemstomethat,attheirbest,bothmusicandtherapyaretryingtoachievemoreorlessthesamething:toopenupakindof‘clearing’intheculture,ifonlyforamoment–someroomtoexperiment,aspacewithinwhichmoreauthentic,respectfulandnourishingwaysofbeingandofrelating,bothtoourselvesandtoeachother,canatleastbecontemplatedandmaybeevenhaveachancetoflourish. InmypersonalmusicaljourneyI’vebeenluckyenoughtohavebeenpartofanumberofveryrewardingmusicalprojects.I’vealwayswrittenwordsaswellasmusic,notalwaysnecessarilyforpublicconsumption,butsometimesasawaytogetasenseoftheoverallgestaltofsomethingI’mstrugglingwith,somethingIneedtoexplaintomyselfbutcan’tquitegraspenblocwithoutabitofmusicalassistance.Belowisarecentlyric,somethingI’mstillworkingon.I’mnotsureit’squitefinished,butitseemsrelevantinthiscontextsoIthoughtI’dputitoutthere.Itdoesn’thavetheuniversalityofa‘FireandRain’oran‘IWillSurvive’(ifonly!)butwhenIperformeditaspartoftheLGBTQartsprojectmentionedearlieritdidseemtohavealotofresonanceforotherswho’vehadsimilarexperiences.

Outsidethewindow,thewinterwaswild

Hidundertheblanketatroubledyoungchild

Aheartfullofquestionsandaneedtobelong

Asking‘Isitmyinsideoroutsidethat’swrong?’

Wasitnatureornurtureordestiny’splan?

Asidentityslippedthroughmyfingerslikesand

Alittleonelostinastrangeforeignland

Inmyheartlivedsongsthatcouldneverbesung

Dreams–overbeforethey’dbegun

Born–suchalongwayfromhome

AsIlaytherealone

Iwouldprayforrelease

IwoulddreamofaplaceI’dbefreetobe

Wheremysoulcouldfindpeace

SoIsentupaprayer

PleaseGodtakemethere

Letthisstrugglebeoveranddone

Letmedance,letmeplayinthesun

Mybodyandspiritasone

Itriedtobehonest,Itriedtobegood

Thoughfeelingmisshapenandmisunderstood

Buttheteachersandpreachersandshrinksallagreed

Thisthing’sadisgracetotheirbinarycreed

ButIwaseasilybrokenandeasilyled

Andexpertopinionplayedtrickswithmyhead

Dissected,rejected,itleftmefordead

Butthenlovecame

Rekindledaflameinmyheart

There–deeplyingrainedfromthestart

Stillsomethingwascallingmehome

AsIlaytherealone

Crossing the border (a song in progress)

9Asylum Spring 2014

Getting It Down on Paper by Michel Syrett and Suzy Johnston

Therelationshipbetweenmentalillnessandcreativeself-expressioniscloseandwell-established.Depictionsofthehighsandlowsofbipolardisorder,schizophreniaanddepressionhaveoccurredinvisualart,dance,actingandsculpture.Butthemostcommonandaccessiblemediumforself-expressionremainsthewrittenword.Writingisopentoeveryoneanditsvariousformshavemadeanimportantcontributiontoourunderstandingofmentalillness–andalsotoitstreatment. In2010therewasaconferenceinNottingham,‘MadnessandLiterature’.OrganisedbyNottinghamUniversity’sProfessorPaulCrawfordincollaborationwiththeArtsandHumanitiesResearchCouncil,itexaminedquestionssuchas‘Howdoesastudyofauthorswho

writeabouttheirmentalillnessinformourunderstandingofthereal-lifeconditionsexperiencedbypeople?’and‘Canpoetryaidpsychotherapy?’ Dozensofpaperswerepresentedatpaneldiscussionsoverthethreedays,fromexaminationsofmadnessinShakespeareantragedy(particularlydementiain‘KingLear’),toanexplorationofthepsycho-physiologicalinfluencesinthewritingsofWilliamBlake.However,youdonothavetobeShakespeareorBlaketoinformcurrentthinkingonmentalillness.Anybodywithamentalhealthconditioncanwriteabouthisorherexperiences,andbroadentheunderstandingofthisconditionamonglocalGPs,psychiatrists,communitypsychiatricnursesandsocialworkers. Writingcantakemanyforms,andtheseare

Iwouldprayforrelease

IwoulddreamofaplaceI’dbefreetobe

Wheremysoulcouldfindpeace

SoIsentupaprayer

PleaseGodtakemethere

Letthismadnessbeoveranddone

Letmedance,letmeplayinthesun

Mybodyandspiritasone

Wellyou’veallhadyourchancetodiscusswhyIdancetothistune

Fromhormonestochromosomestobrainwavescontrolledbythemoon

WellthanksbutI’llbidallyourtheoriesandqueriesadieu

‘Costhey’realldouble-dutch,I’vediscoveredthismuchtobetrue

I‘msotiredofdefendingawallthatrunsrightthroughmysoul

Andaslongasit’sstandingmyspiritcanneverbewhole

NowI’vefoundmyownvoice

Andit’stimetorejoice

IntheGodgivenrighttobefree

SoI’mcrossingtheborder

Nomore‘genderdisorder’

Justme

Iamcrossingtheborder

JenniferMaidmansingsandplaysguitar,bass,pianoanddrums.Shehasbeenmakingmusicforoverfortyyears,workingwithJoanArmatrading,GerryRafferty,DavidSylvian,RobertWyatt,TheProclaimers,BonnieRaittandVanMorrison,amongstothers.ShehaswrittenforBoyGeorgeandSamBrown,andproducedalbumsforPaulBrady,MurrayHead,LindaMcCartney,andherpartner,trombonistAnnieWhitehead.SheplayedextensivelywiththeoriginalPenguinCafeOrchestra,andwithotheroriginalmembersrecentlyformed‘TheOrchestrathatFelltoEarth’.WithSarahJaneMorris,shesingsleadvocalswith‘Soupsongs’andhasrecentlybeenworkingwithTerryReid,TonyO’MalleyandthepoetMichaelHorovitz.JenniferhaswrittenforTherapy TodayandSelf and Society,whichsheco-edits.ShetrainedasahumanisticcounselloratEastKentCollegeandisamemberofBACPandthe‘LeonardPiper’groupoftheIndependentPractitionersNetwork.Sheliveswithherpartner,bytheseainEastKent,andiscurrentlyplanninganalbumofherownsongs.


broadeningallthetime.Keepingapersonaldiaryisacommontherapy,andtherehasalwaysbeenpoetry,personalcorrespondenceandshortorlongprose.Withtheimpactofnewtechnology,letterwriting–alwaysamiddleclassoccupation–hasincreasinglybeenreplacedbyblogging,tweetingandexchangesinthesocialmedia,whichattractspeoplefromallbackgrounds. Whatpurposedoesallofthisfulfil?Well,firstandforemost,writingisacommunicationwithone’sownself.Keepingapersonaldiary,or‘journaling’asitissometimescalled,enablesyoutocharthowyourfeelings,emotions,moodsandperspectivesshiftovertimeandthusachieveabetterunderstandingofhowyourchangingmentalhealthaffectsyourdailydecisionsandyourbroaderoutlookonlife. Secondly,aswehavealreadyseen,personalaccountsofmentalillnesscaninformthethinkingofyourhealth-careteam,avoidingmisdiagnosisandthefaultyprescriptionofmedicationand/orothertreatments. Forexample,arecentstudyfoundthat69%ofpeoplewithbipolardisorderareinitiallymisdiagnosed,andmorethanone-thirdremainedmisdiagnosedfortenyearsormore.Thediariesofpeople’sexperiencesofmentalillnesscanhelpGPsandconsultantsidentifykeysymptomsearlyenoughtoprovideamoreaccuratediagnosis.Personalaccountscanalsoprovidepeopleundergoingcognitivebehaviouraltherapy(CBT)withhardwrittenevidencethatwillhelptoadjustoverlydarkordestructiveperceptionsoftheirlives. Thirdly,personalwritingcan,iftheauthorchooses,bepublishedtoamuchwideraudience,openingupnewcareerorlifestyleavenuesthatcanaidlong-termrecovery.SuzyJohnstonhassufferedfromdepression,anxietyandpsychosissinceshewasastudent.Inherthirties,followingseveralperiodsofin-patientcareinlocalpsychiatricwards,shewroteandpersonallypublishedaseriesofbookschroniclingherexperiencesandtreatment.Thesereceivedwidespreadpublicity. Asaresultoftheauthoritythisgaveher,shewasrecruitedasaservice-userresearcherattheDepartmentofMentalHealthandWellbeingattheUniversityofGlasgow,wheresheistakingpartinstudiesofhowcognitivebehaviouraltherapiescanaidthetreatmentofpsychosis. Suzyisthefirsttostresstheperilsofadoptingsuchapublicwayofusingatalentforwriting.Asshecomments: ‘IfIhadn’twrittenthis,youwouldn’tbereadingit.However,perhaps,indoingso,Ihaveletalittlepieceofmespillontothepage?Andthere’sthechallenge.Howdoyouwriteabookaboutyourveryownpersonalexperienceofhavingachronicmentalhealthconditionandyetnotletyourselffeeleithervulnerableorexposed,orboth?

‘Therearepeopleouttherewhohavebeenkindenoughtoreadmybooksandnowthinkthattheyknowme.Clearly,theydon’t.WhattheydoknowiswhatIfeltreadytoshareonthewrittenpage,andbeencertaininmyheadthatnothingthatIwritewillevercomebacktohauntme.TheotherstuffIeitherkeeptomyselforshareonlywiththoseclosetome.Asa“mentalillnessperspective”author,thatistheresponsiblethingtodo. ‘Iwritebooks(andsongs)tohelpmyselfunderstandandcompartmentalisethemanyvariedandsometimesterrifyingexperiencesthatIfoundmyselffacingasIpassthroughlife,andalsotoremindmyselfofthegoodinlifetoo.Itismyhopethatthese“reflections”willhelpothersfindpeaceandasenseofcomradeshipaswell. ‘Myadviceforanyonethinkingofpublishingsimilarexperienceswouldbe:Rememberthatonceyoupublishsomethingyoulosecontrolofmanythings:whoreadsit,whatreadersthinkaboutit,howpeopletreatyouafterwardsandthat,shouldyouhaveanyreservationsaboutcontent,it’ssimplytoolatetodoanythingaboutit. ‘Writingcanbethemostliberating,catharticandrewardingexperience.Justpleasetreadcarefully,becausewhenyougotobedatnightandcloseyoureyesyouhavetobecertainthatyouare100%comfortablewithwhatyou’vepublished.Because,ifyou’renot,thewrittenwordcanunintentionallybecomeadiabolicalformofpsychologicalself-harm.So,please,takecare.’ Aimingtohaveyourworkpublishedisthereforesomethingyoushouldreflectoncarefully.Thereisplentyofopportunity.Manymentalhealthcharities,includingMindandBipolarUK,havemagazinesthatacceptbothpoetryandprosefromtheirmembers.Thereisagrowingportfolioofbooktitlesfromauthorsdescribingtheirexperiencesofmentalhealthproblems.Thereareevenpublishers,mostnotablyChipmunka,whichspecialiseinpublishingbooksbyauthorswithmentalhealthproblems. However,asSuzyJohnstonstresses,puttingyourselfinthespotlightinthiswaycanputyouunderpressure,creatingexpectationsandobligationsthatyouneedtobesureyoucanfulfil. Nevertheless,thereisnodoubtthatcommittingtopaperorcomputeryourexperiences,thoughtsandreflectionsaboutyourmentalhealthconditionis,initself,atherapeuticwayofcomingtotermswiththeconditionandgeneratingabetterunderstandingofitamongthepeoplewhosupportyou.Getwriting! MichelandSuzyare married. Both suffer from depression, anxiety, and psychosis. Michel is an Honorary Fellow of the Spectrum Centre for Mental Health Research at Lancaster University. Suzy is a service-user researcher at the Department of Mental Health and Wellbeing at Glasgow University.

11Asylum Spring 2014

usandsharetheirskillsinexchangeforspace.Theyhaveintroducedourmembershiptodifferentmediumsincludinganimation,film,sculpture,andcollage. WearebasedinBrentford*–justuptheroadfromtheGlaxoSmithKlinebuildingandastretchofotherimpressivebuildingsalongtheGreatWestRoadthatshowthewealthofthiscountry.Ourwarehouseisslightlydilapidated,butwefigurethatworksinourfavouraswedon’twantanyonetobuyitjustyet,atleastuntilwehaveaPlanB. Theprojectattemptstorunalongthelinesofademocraticcommunitywhereanindividual’sinvolvementdependsuponhowmuchresponsibilitytheyfeelabletotakeon.Asaregisteredcharity,somepeoplehavetakenonTrusteeresponsibilities,othersactasresidentartistcaretakersandkey-holdersandworkshopfacilitators,whilstothersparticipateintheprogramme.Theserolescanchange,sothatsomeonecouldbeinapositionofleadingorsupervisingaprojectbutsimplyaparticipantinanotheractivity. Werecognisethebenefitsandvalueofcombiningskills,andourmembershipincludespeoplewithahistoryofbeingdiagnosedwithamentalhealthillnessandexperienceofusingmentalhealthsupportservices,alongwiththerapists,localartists,artistsexiledfromtheircountryoforigin,musicians,aretiredaccountant,ahorticulturalexpertandapictureframer. Recentcutstoserviceshavemeantthatpeoplewhoareoutsidefamily,socialandoccupationalnetworksmaynotbeabletofindsupportintheircommunity,particularlyiftheyexistonatightbudget.Asaresponsetothis,wewanttocreatemoreopportunitiesforpeopletobeconnectedtoothersthroughart. WeareallvolunteersbuthavebeenabletocreatesomepaidworkthroughArtsCouncilEnglandandlocalauthoritygrants.

Someyearsago,inanacutepsychiatricunitIsawsomeonehadwrittenonthecorridorwallnexttotheobligatorynoticeboard:‘Amanknowshehasnopowerwhenhecannotinhabitthewallshelivesin’.Idon’tknowwherethisstatementcomesfrombutitremainspotentforme,asIimagineitmightforotherswhoclockeditonthestarkinstitutionalwall.Whodothewallsbelongtowithinaninstitution?Howdoweinhabitourlivescreativelywithinthestructureswefindourselvesin? TheideaforSageCommunityArtsdevelopedoutofconversationswithartistsusingmentalhealthserviceswhoweredriventodevelopanindependentcreativeservice,withstructuresthatwouldallowpeopletosharetheirskillsandexperiencewithothers. Backtotheissueofwalls.FindingspaceinexpensiveWestLondonisarealobstacleforanon-profit-makingcharity,andduringourten-yearhistorywehaveworkedwithotherorganisations,exchangingskillsfromourmembershipinreturnforspace.Aboutayearago,goodfortunecameourwayandwewereofferedalargeabandonedwarehousefreeofchargeuntilthepremisesaresold.Thesheersizeofthebuildinghasofferedusnewpossibilities,includingbeingabletoworkonamuchlargerscaleandinvitingprofessionalartiststoworkwith

A Sage artist’s experience – Anonymous: I have been using art throughout my life in different ways. I began as a musician in northern Iran, and at 7 years old I was already playing the violin. After my father’s death, when I was 17 years old, I became a teacher of Iranian literature in a primary school, and I started a choir. Influenced by communism, I joined the Tudeh Party, ‘the people’s party’, which opposed the Shah’s rule. My involvement cost me six years in prison. Whilst I was there a friend gave me a book on Impressionism. I took up painting and was able to sell my work to buy extra food. After leaving prison I joined a film company as an assistant cameraman, until I set up my own film company with my brother, eventually winning awards for best camerawork in an Iranian international festival. This was my life then. But the revolution forced me to leave everything and move with my family to London.


‘Creativitytakescourage’HenriMatisse

After so many ups and downs I had what you would call ‘a breakdown’. I joined an art therapy class in a day centre, but I didn’t want to analyse myself. I was asked so many questions and I felt too old for that. ‘It is what it is’ – that’s my wisdom. But I was interested in other people in the group and I began to paint portraits of them. Another member told me about the arts collective Sage Arts. I like it here because I have my own space and there’s a good feeling – open, not oppressive. After leaving Iran I was led to a place of despair, but hospital for me was 100% worse than the Iranian prison. Someone with my history cannot tolerate a hierarchical or oppressive system. I had already escaped that, and what I needed was compassion and friendship, to give and receive. I found this connection through portraiture and through what I can offer from my experience to others.

Sage artist’s experience – Samuel Toussaint: I am, first of all, a human being, politically aware, and then an artist. I was brought up in a Christian working class family. By the age of 12 I was busking in the West End of London. By the age of 20 I was homeless. I have moved around the English countryside and been involved in the squatting, travelling and illegal rave scene. Throughout this time I have been involved with various theaters, community spaces, gatherings, art studios and other arts-related projects. I now live and work in London with a group of about 70 artists who go by the name of Sage Arts. I have also taught art and am a committed Christian involved in commissions for my local church.

My work is deep and thoughtful. It bears the deep scars of a childhood in which I attempted to integrate my faith in God, who I love, with the hypocrisy of the abusive behaviour shown to me by my Christian care-givers. Here lies an imaginary landscape, a bridge between two worlds, where I explore my own private mythological and inner world. Death and the ability to change or not to change are recurrent themes.

Backtothewalls!WehaveexhibitedourworkinvariousvenuesacrossLondonandarecurrentlyexhibiting100artworksintheheadquartersoftheWestLondonMentalHealthTrust.Ourintentionistosupportadialoguebetweenservice-userartistsandmanagementbybringingourexperienceintotheheartoftheorganisation.

IfyouwouldliketovisitusorbeinvolvedyoucancontactusatSagearts@hotmail.co.ukorvisitourwebsitewww.sagearts.co.uk

Andrea HeathOnbehalfof Sage Community Arts

*SincethisarticlewaswrittentheprojecthasmovedtoanewvenueinWestLondon.


Three Poems by Kaz Reeves

Likearichwoman

Surroundedbypreciousthings

Yeteachonehardtohand,

Drytomouth,

Achingtoaheart

NeverabletobeSteady

Alwaysracingsearching

Graspingtofindthefallen

lostnessofherlife

Shestandsatthewindow

Wherepretenceonceheldherso

well

Pridethatshecouldkeepagood

faceonitall

Fallenasthestrokeofneuralslip

Tracksherwastedlife

they are all gone ‘way away

Treasurespiledeverywhere

cannot

Distractthejudgement

Intheiravoidance

Howevermuchshehaspaidis

neverenough

Theyhavealreadyleft

Thelastbushasgoneandhercar

Vandalised.Sheistootiredto

walkorbike

Sostandshereatthewindowat

thewindow

Theyalwayswarnedher

Shedidn’tlisten

ShethoughtifIdon’tlisten

Itwon’thappenI’llmanage.

Wrong.

they are all gone ‘way, away

Sheiswhattheysaidshewas

Notfair

Theysorightinmakingherall

Sheeverlongednottobe

Gone

Hopeofbeingdifferent

Onlynow

Sheisthedifferenthorridthing

Theysaidshewas

Theyalwayswarnedher

No-one will like you

With that face on

If the wind changes you’ll be

stuck

Sheis.

Isshe?

they are all gone ‘way, away

comeback

She’ssorry

Wheredoesthisgriefgo?

Thereisaplaceforeveryfeeling

Adestination,boardedclear

Forhateendsindeath

Andlove,life’sfullstop

Istheverybeginning.

Sorrowraw,pukesoutofplace

Andknocksthegobintoscreams

Howeversilent

Nooff-muteswitchworks

Enoughforyounottobe

Disturbed

Seetherushingpeople

Holdingtogetheralltheyhave

Longingtoreachsafehaven

Oratleastthemeanstogothere

Rattlingsoundsarrivetocomfort

Thereisacarriageforthisjourney

Sheseesnone

Themessinessshecarries

Spillsoutanyway

Avertedeyesembarrassed

Splitluggage

Seentoomuch

Woundsthatneverheal

Nohomeforthischild

Pretendingsheiswithsomeone

Notlost,justwaiting

Watchoutincase

Thepoliscome!

Shetireseasilynow

Eachmovealittlelesscertain

Sureitwasthishaltthat

Wastobesafespace

Shestartstodrifttoandfro

Occasionallypausingasif

Lookingforsomeone

Noplacelikehome

Touchingtherawplaces

Showshowtenderweallare

ThebalmofthisSamaritanoil

Theonlyhealingshecanfeel

Reachingsoftasmother’smilk

beneath

Whatliesbeneathhersoul

Alaterconstruct:fornowherbody

knowsenough,

Shefeelsitwasn’tlongatall,the

centuries

passingintheslowmovementofthe

lovecomingandgoingbutalways

returning

Foretellingwhatcanbecome

ofthefallenontheroad

shewaits;willhereturntopaythe

bill

Neverlettingonitwasagirlwhofell

barelypresentinthisshadowed

story

buthealedenoughtovoicerecovery.

Justpoppingintoseehow,orshould

wenowsay,who,youare?

St Pancras International

Itwasn’ttheirritationrubbing

Usupwrong

Itwasthethought,theache

Oflosingoneanother,thatoozeof

fear,

Beforeshehadhardlybeguntoheal

Shehadlostotherloves,broke

contact,

Neverpresenttothemforlong.

Buttohim,

Tohimshehadrevealedherself,in

theraw

Honouringthathefelttheacheand

messtoo

Theshameofit,seepingthrough

everystitchshewore

Shewasntstrong,allexposedtofear,

tocruddysmellyhideitawayinjury

Ifshelosthimtoothatwouldbe

toomuch

Raw truth

Last stand – one time friend


The psyCommons by Denis PostleOrigins Ihavelongbeenactiveintheresistancetothestateregulationofcounsellingandpsychotherapy.Iwroteandpublishedwellover300,000wordsontheeIpnosiswebsite,plusacoupleofbooksopposingwhatIsawasthecaptureofcounselling,psychotherapyandpsychologybythestate(Postle2007,2012). Iwasintermittentlyawarethat,overalongperiod,sustainingdissidencecanresultintheunconsciousabsorptionoftheethosandeventhemethodsofwhatisbeingopposed–thatwecouldcometomirrorwhatoffendsus.Andadevotiontocritiquecandefendusfromtheawkwardrealitiesofdevisingandimplementingapositiveprogramme. Imadeoneortwohalf-heartedattemptstoquit,butthemomentumoftherushtoregulatetendedtopullmeback.My20-plusyearsofeffectivepractice,framedinarigorousformofcivicaccountability(IndependentPractitionersNetwork)countedfornothing:theHealthProfessionsCouncilwassetonpreventingpeoplelikemefrompractising. However,aswithanyheadlongpoliticalcampaign,apauseisasgoodasarest,andacoupleofyearsbackIwokeuptoarealisationthatmyvantagepointonthepsychologicalprofessions,somesectorsofwhicharestillseekingtheendorsementoftheirexpertisebythestate,wasfromtheoutside.Ihadquit.Aquitepainfulcollapseofsolidarityhasfollowed. IhadlongviewedUKCP,BPS,BACP,alongwiththeRCP,aswalledgardensofprofessionalisedtherapy,gatedcommunitieswithahighentrancefee.Butnowthisvisionreverseddirection:Isawthoseprofessionsnotasoasesofnourishmentandcarebutasdeeplyproblematic.Theynowlookedlikeenclosures–enclosuresofacommonsofordinarywisdomandsharedpowerthatenablesthree-

quartersofthepopulationtogetthroughlifewithoutthehelpofthepsyprofessions.IcalledthisthepsyCommons.

The psyCommons Inrecentyearsconfidenceinthestateandmarketshaslookedincreasinglymisplaced.Whetherathome,atwork,orinlocalandnationalgovernment,therehavetobebetterwaysoforganisingourselvesthanthosewepresentlystrugglewith.Theyseemdailymoreandmoretoxic,inequitableandunsustainable. Onepromisingoptionistolookbeyondthemarketandthestate,andtoreviveandrevaluetheideaofthecommons–theatmosphere,theoceans,rivers,forests,seeds,theinternet,andourgenes–ourcommonheritage,andonethatcomeswithsomewell-understoodcommons-stylegovernance. ThepsyCommons,aself-sustainingfeatureofthehumancondition,isanadditiontothislistofcommons. IidentifiedtwohumancapacitiesinthepsyCommons:rapport–thecombinationofeyecontact,gaze,gestureandbodylanguageonwhichrelationshipsride;coupledwiththephenomenonoflearning from experience–howwechange,survive,recoverandflourish.FeedbackfromacolleaguesuggestedIaddchat–whatwesaytoeachotherandtoourselves,andhowwemakesenseofwhatisgoingoninourlives. Betweenthem,thesethreecapacitiesgeneratethesharedpowerandordinarywisdomweneedtobepsysavvy,tobeabletoshapehow,andwithwhomweshareourlives. ThepsyCommonsinitiative seekstobuildaframeworkforthevalidationandpromotionofwaysinwhichwecanallbecomemorepsysavvy.(Thatsaid,itisimportanttorememberthatintheUKsomethinglike45millionpeople

appeartogetthroughlifewithoutneedinghelpfromthepsychologicalprofessions.) Inrecentdecadeswehavegreatlybenefitedfrombetternutrition,betterpublichealthandamuchmoreawareapproachtobodilyself-care.Tensofthousandsarecapableofrunningthetwenty-sixmilesofamarathon,whilstmorethantwentythousandcyclistsrecentlypassedtheendofmystreetonthewaytoridingahundredmiles.Millionsofothersrunalittle,cyclealittle,swimalittle,dancealittle.Thebodypartofthebodymindisincreasinglywelltakencareof.Wearelivinglonger. However,becomingpsysavvydoesn’tyetreceiveanyoftheattentionthatwegivetophysicalfitness.Iarguethatbecomingpsysavvy–psychologicallysavvy–isasimportantaspayingattentiontophysicalfitness. Butthereareobstaclesintheway.

Enclosures Asdailylifeunfolds,ourpsyCommonsofordinarywisdomandsharedpowermeetsinnumerableinfluencesthatshapehowwerelatetoeachotherandhowwedoordon’tlearnfromexperience.Forexample:religion,science,andcapitalism. WhilemuchofwhatwasforcenturiestakentobeGod-given–suchassin–hasmovedtowardsbeingseenasahumanconstruction,theabsolutetruthsofreligionstillhavewideappeal.Science,despitethenarrownessofitsremit,continuestobeperceivedasasourceofTruthratherthanassimplyahighlyspecialisedformoflearningfromexperience.Alongside,capitalismrewardsmonetaryvalueanddenigratesandignoreslocal‘usevalue’:marketfundamentalismdismissesthesocialdamageitcausesas‘externalities’andblindsustoalternatives. Institutionslikethesecertainlymakecontributionsto


life,buttheyalsotendtodeformordistortthedailylifeofthepsyCommons.Asdotheprofessions–thelaw,themilitary,academiaandmedicine.Eachcarriesaportfolioofexpertiseaboutour‘shoulds’and‘oughts’and‘havetos’. EachoftheforegoingcreatesandsustainstheenclosureofthepsyCommons.TheydefinetheterritoriesofthepsyCommons,patentthem,copyrightthem,privatisethem,academiciseandbureaucratisethem.Theybuildfences,installgatekeepers,andchargeforaccess. ThefocusofthisarticleisthatpartofthepsyEnclosurewhichisownedandoperatedbythepsychologicalprofessions.ThoseprofessionsplayacentralpartinthelifeofthepsyCommons,andIbelievetheyimpoverishanddemeanit.

psyEnclosures Asreligion’sgriponthepsyCommonsloosened,thegripofthemedicalprofessionreplacedit:doctorsbegantodeveloppsychologicalknowledge.Psychiatry,psychoanalysisandpsychologybuiltprofessionalenclosuressoastopromoteandprotecttheirknowledgeandexpertise. OwnedandoperatedbyoffshootsofMedicine,thosepsyEnclosuresbroughtwiththemthemedicalethos–ideasofillness,deficit,dysfunction,diagnosisandtreatment.Unavoidableaspectsofthehumanconditionsuchasbereavement,anxiety,attraction,disappointment,resistancetooppression,andevensexualdiversity,wereseenas‘illnesses’.Theideaof‘mentalillness’wasborn,andwithitthemirrorimage,‘mentalhealth’.PrivilegedaccesstocountlessmeetingswithclientsenabledthepsyprofessionstominethepsyCommonsandtoextractandprocesstherawmaterialtheyfound.Thisrawknowledgewasthenrefinedintoavarietyofexpertsystemsfordealingwiththat‘mentalillness’whichtheprofessionshaddiscovered.Orhadtheycreatedit?

Allofthisextractionandrefiningwas(andstillis)heldinthetightlypolicedprofessionalenclosuresofpsychiatry,psychology,psychotherapyandcounselling.Asoccupations,theyworkhardtobeasprestigiousastheprofessionsaroundthem. Thesepsyprofessionsclaimexclusiveownershipoftheexpertsystemstheyhavedeveloped.Inmostcountriestheysought(andmainlysucceeded)inhavingthestateendorsetheirmonopolisticpossessionandstewardshipofthisknowledge. Whilethereareundoubtedlylotsofcaringandgenerouspractitioners,whatmattersisthedownsideofthesepsyprofessions.Fortheyinstilintherestofthepopulationawidespreadbelief

concerningthenatureofdifficultiesofthehumancondition:thattheyconstituteadangerousterritory,awildernessfullofmysteryandthreat–thatmonsterslurkandswampscantraptheunwary. Andsoifanyonetakesupresidenceinthispsywilderness,orlookstobeabouttodoso,thecommunityresilienceandresourceofthepsyCommonstendstoevaporate.Mostlikely,‘qualified’or‘expert’helpissoughtbymeansofareferraltooneorotherofthegatedcommunitiesofthepsyprofessions. Thispresumptionofdanger,andoftheneedforrescue,isveryimportant.Itgeneratesasociety-widetabooaboutvaluingandunderstandingtheemotionalandimaginalaspectsofthehumancondition.

ThepsyCommons,anintroductionanddefinition:http://youtu.be/5lipKokm5-A


Everyoneknowsthatadiagnosisof‘mentalillness’onaperson’smedicalrecordinvokesastigmawhichisalmostimpossibletoerase.Unsurprisingly,difficultieswiththehumanconditionarecommonlyeitherconcealedordenied. Andbecauseofthis,accesstoprofessionalpsyknowledgeandexpertiseisusuallytheresultofacrisis.Infact,itveryoftenrequiresone.Andthecrisisisthenoftenprolongedandconsolidatedbythetreatment. Therearecertainlyexceptions,butthegazeoftheprofessionalpsypractitioner–especiallyofthoseintheNHSandalliedservices–hasbeentrainedtoseedeficits,dysfunction,pathologyandillness.‘Evidence-based’measurementsofnormalcyarelikely

tobeaccompaniedbydiagnostic‘category-fitting’,andtoooftenthisisfollowedbybiochemicaltreatmentofsymptoms. Thepsyprofessionstendtoensurethat,asaclientorapatient,anyoneenterstheirenclosureasasupplicant.Itisassumedthatthepersonwillpassivelyacceptthepsyexpert’sgifts.Power-sharingisabsent.Professionalexpertiserules. Thisisnottodenythecapabilitiesofanyparticularexpertbuttounderlinehow,paradoxically,itcontributestotheimpoverishmentofthepsyCommonsofordinarywisdomandsharedpower. DiffusionofknowledgebackintothepsyCommonsisinhibitedbothbythelegalisedcaptureofknowledgeaboutthehumanconditionbythepsyprofessions

andbytheshameandsecrecyduetosuchacontactwiththepsyEnclosure. Solongasweensurethatdistressduetothehumanconditionisseenasillnessratherthanaspointertoaneedforcommunitysupport,forpersonalre-evaluation,orforpoliticalchange,tothatextentwecanexpecttofinddependencyanddespair. Andthereisanotherdownsidetotheenclosuresbythepsyprofessions.TheprovisionofapsychologicalservicebythemcannevermatchtheamountandthecostofhumanconditiondistressthatislikelytobemanifestinthisoranyotherpsyCommons.YettheprofessionswhohavebuiltandwholiveinandoffthepsyEnclosuresseemcontenttomaintainthisconditionofscarcity.Wecanimaginewhy:itsustainstheirpoliticalandeconomicleverage.

psySavvy Physicalfitness–beingsavvyinknowledgeandpracticeaboutthebody–isincreasinglycommonplace.Complementingthisachievementwithamatchedincreaseinpsy-fitness–becomingsavvyinknowledgeandpracticeaboutthemind–isbothtimelyandachievable. BydissolvingthepsyEnclosuresandtakingbackthepsyknowledge–whichcamefromusandwhichbelongstous–thepsyCommonscouldbecomeabundantlypsy-savvy. Let’sdoit!

This is an edited version of the second of four forthcoming videos about the psyCommons. For more information, see the psyCommons blog:psycommons.wordpress.com

ReferencesPostle,D(2007)Regulating the Psychological Therapies: From taxonomy to taxidermy.PCCSBooks.Postle,D(2012)Therapy Futures: Obstacles and opportunities – introducing the psyCommons.Lulu.comIndependentPractitionersNetworkhttp://i-p-n.orgeIpnosishttp://ipnosis.postle.net

ThepsyCommonsandItsEnclosures:Professionalizedwisdomandtheabuseofpower:www.youtube.com/watch?v=pxuFnUuLqyc


Does No One Remember A S Neill? by Ros Kane

Whenjuvenilecrime’sontherise InpubliceyesLotsofsillywomen,men PontificateandsquealButdoesnoonerememberASNeill?

Thetalk’sallofdiscipline,punishmentComingdownheavyListentotheirsuddenzeal!ButwhydoesnoonerememberASNeill?

Fightingthechild PuttingitinuniformKnockingitintoshapeImposingtheadultwillwereallanathemaToASNeill

Beingonthechild’ssideJoininginitsanti-socialdeedsSoitwouldn’thavetofightyouSothedeedslosttheirappealThesewerethemethodsofASNeill

Heliked,heunderstoodkidsLetthemdecidesomeoftherulesShowedthembyexampleNotbypreachingandprayersAteverymealSuchwasthewayofASNeill

Anditwasn’tjustNeillWhofreedkidsfromdelinquencyBeforehim,HomerLane Afterhim,DavidWills,BobMackenzie,MichaelDuaneAndotherswho’vetriedtheirhandInmanyalandpaulButthesearepioneers,GetcrucifiedbytheStateOrfinishtheirdaysInsomeout-of-the-wayprivateschoolForgottenbynearlyall

Theywouldn’tbeboughtout AndwhowasthatinnovatorofoldWhowasintoturningtheothercheekAndwaskilledforhisrebellionAndwhoseteachingsunderpin–wearetoldOurrespectedBritishchurch,stateAndestablishment?

TheoneswhospoutaboutmilitarytreatmentTalkinadazeThey’veneverrunaplaceOrsatfacetofaceWithkidswho’vehadithard NotlistenedtotheirlivesWonderedabouttheirworriesOrwhytheycarryknives

Iftheyonlyknew…buttheirwaysareofwarMachotothecoreIthinktheyarefrightenedtofeelNowondernoonewantstorememberASNeill.

RosKaneisapsychotherapistwhosetupcarefreekids.orgsoshecouldhelpchildrenwithemotionaldifficultiesandgivethemachancetofindnewwaystoexpresstheirtroublesandconcerns.Aconvertedminibus,parkedintheplayground,providesamobilespacewherevolunteerswelcomechildrentoplay,draw,talk,andjustbethemselveswhiletheyexpressandworkthroughtheirtroubles.Someofthevolunteersaretrainingtobecometherapists,somearenot,butallofthemareabletobewiththechildrenwithoutjudgingorguidingthem.RosstartedherprojectintheeastLondonBoroughofWalthamForest,wheresheandherteamnoworganisebetween40and50volunteerswhovisit25primaryandsecondaryschoolsintheneighbourhood.Inadditionthereareanother40-plusvolunteersstillintrainingwithcarefreekids.Regularstudydaysareheldbycarefreekids,attheendofwhichvolunteersmightbesurprisedtofindthemselvesjoininginwithasessionofcountrydancingwithmusicandstepsdrawnfromthemanyculturesacrosstheworld.Buoyedupbythesuccessoftheproject,Roshasdevelopedacourse–ParentsofTomorrow–forteenagedboysandgirls,whichhelpsthemtothinkaboutwhatitisreallyliketobecomeaparent,andtounderstandtheemotionalneedsofbabiesandchildren.HerambitionistogetthiscourseincludedintheNationalCurriculum.


IhavenevermetFranzXaverMesserschmidt.ButIfeellikeIhave.HediedinAugust1783,alittleover185yearsbeforeIwasborn.Also,hewasGermanandIamnot.MesserschmidtgrewupinMunich,whereasthehopgardensandorchardsofKentandSussexweremyplayground.HetrainedasasculptorinGrazbeforebecomingassistantprofessorofsculptureattheImperialAcademyofVienna,in1769.IstudiedlandscapearchitectureatLeedsandManchesterand,afteralengthyperiodofprofessionalconformity,Inowpractiseasanartist,makingimaginativeandparticipatorytransformationsofthepublicrealm. So,asanartistsoapparentlydifferentfromme,whatisitaboutMesserschmidtthatIidentifywith?Whydoesthisprogressiveandcosmopolitanartisthavesuchanappealforme? In1771hesuffered‘confusioninthehead’,andsadlyhisexpectationsofbeingpromotedtotheChairofSculptureweredashed.Afterfurthercareerdisappointments,MesserschmidtfinallysettledinPressburg(nowBratislava)wherehefocusedhisconsiderabletalentasacraftsmanontheproductionofaseriesofextraordinarycharacterheadsof‘verystrangeaspect’,andforwhichheisbestknown. LikeMesserschmidt,mylifewentlessandlesswellasImovedfurtherintomythirties.Ialwayswantedtobeanartist.However,therulesofconventionandcircumstancedeterminedthatthejourneytofulfilmyaspirationwouldbemorecomplicatedthanawalkinthepark.FortwentyyearsandmoreItrudgedthroughlifereluctantlyacceptingmyratherunremarkablewanderings.Ibecameanincreasinglyunwillingparticipantinmyownlifeandanuncomfortableoccupantofmyself.

ThemoreIsearchedforameansofescape,themoreentrenchedIbecameinmyowndelusionalexistence.ThemoreIfeltstuck,themoreisolatedIbecame.Iwasanalcohol-addict.Iwaslivingalieandtheonlywayoutwastoimmersemyselfinanabstractstateofotherness.Ofcourse,ethanol-inducedunconsciousnessisnotasustainable,long-termorproductiveexitstrategy.IndeeditisnotastrategyatallbutthecunningmeansbywhichIdevolvedresponsibilityformyself.SubconsciouslyIrealisedthis,andeventuallyaninnateactofself-preservationprovedtobeoneofuncharacteristicandilluminatingforesight.FiveyearsagoIcaughtanearlymorningtraintoAberdeen,andaweeklaterIwasadmittedtoarehabilitationclinic. Messerschmidtissaidtohavehadhallucinations,andIhadblackouts.Sowebothsufferedfrommentalconfusion,butbybringingmany‘divergentelementsintoharmony’wewererebornasartistswhowerenolongerstrangerstoourselves.Ultimately,thisprovedtobeliberating,andourinstinctiveresponsetodisillusionmentandpreviousdisappointmentswastomakeartthatistruetoourselves.LikeMesserschmidt,Inowwear‘anunpretentioushatratherthanaself-glorifyingwig’.ThesedaysIgetonwiththebusinessofstayingcleanandsober,andworkingasanartist.Iamusuallyabletoretaincontrolofmyconsciousresourcesandavoidfalling‘intoincoherence,ramblingorvacantembroidering’.Inmanyways,myconnectionwithMesserschmidtissubtle,anditrevolvesaroundacceptance,humilityandauthenticity.Bybeingcastout,wewerebothsetfreefromoppression.Ourworkemergesasalayeredresponsetoboththeexperienceofexileandareturntofamiliarity;anantidotetothepastandakeydriverofthepresentmoment.Itbroadlyengageswiththe

Messerschmidt & Me by Scott Farlow


Names, a short play by Simon McCormack Thisisashortabsurdistsketchthatexploresthenatureofcreativitywithinawidercontextofmentalhealthintheworkplace.ItwasprovokedbytheARTvsREHABfocusgroup,inwhichwediscussedhowthementalhealthhistoryofapractitionerimpactsonorinformsdelivery.Iwasinspiredbytheideaofaddressingmentalhealthproblemsanddiagnoseswithouttalkingaboutmentalhealth. ThemaincharacterinNames(Ringtone)isconstrainedcreativelybyademandtofitin,intermsofproducing‘scroll-friendly’copy,insubscribingtotheofficenorm,andbythedictatesofaprofit-drivenmobilephonecompany. Thereisconflictdrivenbytheeconomyoflabels,anexampleofwhichisMusic’s‘GypsyFire’andRingtone’s‘ForgottenPaperLanternofaQueerColour’–adebatepositioningthedemandforeasilyaccessibleyetimpoverishedsignifiers,favouredbyProgramming,againsttheartistic,independentand‘difficulttoexplain’relationshipRingtonehaswithsounds. Thereisanecessityhere.Sound–liketheindividual’sexperienceofmentalhealthproblems–isa

thinginitself,experiencedatadeeplypersonallevel,yetwerequirewords,commonground,inordertogrowinunderstanding.Names,takingplaceinanisolatedandconstrictedspaceanddrivenbyacorporateneedforquickresults,isasketchinwhichtherightquestionsareneverasked. ThedebatemayalsomoveintothedivisionofInspiredandProfessional–thereisaverydelicatelinetobewalkedbetweenhelpinganothertoexploretheirowncreativevoiceanddirectingsomeonetoreproducewhatyouthinktheirvoiceshouldsoundlike.ThisargumentistouchedoninNames.

psychologicalandgeographicalhinterlandsoftheknownandtheunknown,anditisanexpressionofourtrueself.Ourworkissetagainst‘thebackgroundofthegeneralhistoryofstyle’,orfashion,andconfrontsmanypersonalissuesandsocialcontextsofourtime.Ultimatelyitchallengesexpectationsandpreconceptionsofusashumanbeingsandartists,aswellasthoseoftheviewerandtheparticipant. IwasrecentlyinvitedbyHannahHulltoparticipateinanARTvsREHABfocusgroupentitled:‘“TheOther”andtheMentalHealthHistoryofArtPractitioners’.UnlikeMesserschmidt,myownmentalhealthbackgroundisnotexplicitinmywork,andthefocusgroupwasanunexpectedcatalystforevaluatingwhethermypastaffectsmycreativemotivationandprocess.ForthefirsttimeIpausedforamomentandthoughtmoredeeplyaboutwhyIdowhatIdo.MyponderingsreturnedmetoMesserschmidtandhisexperiences.Irealisedthatalthoughourlivesareseparatedbynearlytwocenturiesoftransformation,andourworkoccupiesdistinctlydifferentgenres,weare,inmanyways,nonethelessthesame. Ihaveslowlyrealisedthatformesobrietyandcreativepracticearesymbiotic.IamanoutsiderandIoftenworkontheedgesofplaces,withpeoplewhoappeartoexistonthemargins.Iaskpeoplehowtheyfeelaboutwheretheyliveoriftheyfeelthatthey‘fitin’and,inthesamebreath,InowrecognisethatIamactuallyaskingthesamequestionsofmyself.Ismywork,andsignificantly,whereIchoosetowork,thereforeareflectionofhowIseemyself?DoIidentifywiththesocialrealityandgeographicalcontextofwhereI

workmoredeeplythanIpreviouslyunderstood?Ismyinstinctivequesttocreateameaningfulplatformforothersalsoasubconsciousmeansofenrichingmyownlife?Ismypracticeaprocessofpersonalaffirmation?SuchistheparadoxandImustgently–perhapsobviously–concludethatyes,theseappeartobetrue.Inwhichcase,mypracticeissomuchmoreaboutthestateofmymindthanIhadeverappreciated.Thereisthuscatharsisinmypractice,avalidation,andavisceralneedtodowhatIdothatIhadnotfullygrasped.Thisiswheremylifebecomesrealorauthenticforme. Inthissense,Ialsosuspectthatthedistinctionsbetweenartistswithmentalhealthissuesandthosewithoutarenotasclearasmightbeexpected.Itisthisfascinatingandrevealinglycomplexprocessofreflectionthatnowoccupiesmythoughts,andIwonderif–everconsciousoftheproximityofmyinsanity–mycreativespiritkeepsmesane.Thiscommonpurposeistheparadigm.

ReferencesARTvsREHABwww.artvsrehab.comDonaldKuspittA Little Madness Goes a Long Creative WayThomasBHess&JohnAshbery(Eds.)The Grand Eccentrics. Collier Books,1971.www.artnet.com

This article was written in response to ART vs REHAB, a critical catalyst for those working creatively in addiction, homelessness, criminal justice and mental health. For more information, please visit artvsrehab.com.

An audio version of this play has been produced by Speech Acts (Janet & John Haney) especially for this issue of Asylum magazine. It can be found onthe Asylumwebsite: http://www.asylumonline.net/play/

We would like to thank actors Derek Dempsey, for playing ‘Ringtone’; Christopher Poke, for playing ‘Programme’; and John Irvine, playing ‘Music’. Thanks also for technical support and sounds from Ri Iyovwaye, Bid, and Denis Postle.


Lights Up. On stage we see three office workers. They are facing the audience, sitting at identical desks (small computer to the right-hand side, a phone on the left). The desks are separated by partitions. Behind them hangs a logo for Elephant Mobile Phones Ltd. The office worker to the left picks up phone and dials. The phone in the middle cubicle rings. The middle office worker picks up phone and answers.

Ringtone Hello.ThisisRingtones.Programme Hi.ThisisHeadofProgramming.Ineedto speaktotheguyinchargeofringtones.Ringtone He’sonofficialbusiness.CanIhelp?Programme Ihopeso.Doyouknowanythingaboutthe newapprange?Ringtone Yeah.What’sup?Programme It’sthelabels?Ringtone Whataboutthem?Programme Well.Theydon’tsoundliketheotherlabels.Ringtone Howdoyoumean?Programme They’renotuser-friendly.Ringtone IsthisontheInspiredrange?Programme No.No.TheInspiredrangeisperfect.The problemiswiththeProrange.Ringtone That’smyrange.Programme Didyouheaditup?Ringtone Iguessso.Programme Isee.Whatdoyouthinkofsoundfour?Ringtone Soundfour?No,can’tremember.Programme DoyoumindifIgettheMusicguyon conference?Ringtone What’sthisabout?Programme Holdon. The phone in the right-hand cubicle starts to ring. It is an up-tempo ringtone. The office worker is finishing something on the computer.Programme Recognisethat?Ringtone SoundsliketheGroovesTurbo.Classictone. Officeworkerpicksupphone.Music Hello.ThisisMusic.Programme HiMusic.ThisisProgrammes.I’vegot Ringtonesonconference,ok?Music Sure.Programme WasthattheGroovesTurboringtone?Music Yup.Programme Classic.Music Sureis.Programme Ringtonethinksit’saclassictoo.Ringtone Huh?Yeah.Oneofthebest.Programme Whatmakesitaclassic?Music?Music Trickyoneboss.Itcouldbethebreak-beat andthatdescendingbassreverb.It’sgot thatdarknessmovingintolightflavour.Funny story–thebassisarecordingofmycat snoring.Modulated,ofcourse.Madreally. Peopleseemtolikeit.IprefertheGrooves SmoothLatinthough.Ringtone SmoothLatin.It’saguiltypleasure.Programme It’satriumph.Itdoeswhatitsaysonthetin.Music It’sbothsmoothandLatin.Programme Music,canyoubringupsoundfouronthePro range?Music Justamo. We hear a double chimeProgramme Howwouldyoulabelthat,Music?Music Hey,Ijustmakethesounds.Ringtone IthinkIseewherethisisgoing.Programme BearwithmeRingtone.IfyouhadtoMusic.

Music Oh,Idon’tknowifIcan.Ringtone It’sok.Goahead.Music Well.It’sanEastEuropeanchordchange.It’s arisingtone.There’sabelloweffect.Kindof accordion–kindoffolksy.Idon’tknow.Ifeel sillywithlabels,but,tentatively,GypsyFire.Programme Yeah,Ilikethat.Short,sharp,user-friendly yetdescriptive.NowRingtone,canyou explainthejourneyyoutook,creativelyeven, fromhearingthatsoundtonamingit ForgottenPaperLanternofaQueerColour.Ringtone It’sdifficulttoexplain.Programme It’snotthefirsttimeisit?Music Guys?AmIneededhere?Programme StayonthelineMusic.Ringtonehereused toworkonThemes.Doyourememberthe bigheadachelastyear?Music ThePrecisionZenjob.Programme Ringtone?WhatwasThePrecisionZenjob originallycalled?Ringtone Idon’treallywanttogetintothis.Programme HecalleditTheCum-faceLottery.Music Butitwasjustasunflowertheme.Programme Yup.Music Jesus.Ringtone Igetit,ok,Iwasfindingthingshard,but what’swrongwithForgottenPaperLantern ofaQueerColour?Music It’sgotaniceringtoit.Programme Itdoesn’tdothejob.Ringtone Can’twetranscendthejob?Music We’renotheretotranscendRingtone.It’sin thecontract.Theyaskforatwo-tonecall- waitingchime,Igivethematwo-tonecall- waitingchime.Programme ThanksMusic.Ithinkyouhitthenailonthe head.Ringtone Youwantmetochangeitthen.Programme Yes.Andwhileyou’reatitcanyouchange MottledLeavesClingingtoAutumn’sTapered Fingers,andTheSoundofTwoContradictory ThoughtsBeingHeld,andDaydream RenderedonaShowerScreen.GoodGod Ringtone–theworlddoesn’tworkthisway. Tohellwithit,justchangethelot.Ringtone Whendoyouwantthenewlabels?Programme Yesterday.Music Okthen.Bye.Programme Don’tletmedownRingtone.Ringtone NoSir.Bye.

All three replace phones and return to computer screens.

The End

This creative writing piece was written in response to ART vs REHAB, a critical catalyst for those working creatively within addiction, the criminal justice system, homelessness and mental health. For more information, please visit artvsrehab.com


Some Reflections on Theatre, Psychoanalysis and Verse as Medicine

by Stephen Gee

Studio Upstairsisanartandperformancespace.Peopleattendonceortwiceaweekforawholeday.TheyapplyindependentlyorarereferredbyCMHTsorsocialworkers.Itwasfoundedinthe1980sbyDouglasGillandClaireManson,whometontheGoldsmithsArtPsychotherapycourse.Theiraimwastocreateanopenstudioontherapeuticcommunitylines,runbytrainedtherapists.PeoplewhoattendtheStudiobecomemembersratherthanserviceusers.Thetherapistsarecalledstudiomanagers.Fromtheoutsetthisrepresentedadeliberatelinguisticchallengeandhelpedallthoseinvolvedwiththelifeofthestudiotothinkthroughprevailingassumptionsinthestructuresofcareinthesocialandmentalhealthservices.TherewereanumberofinfluencesontheethosoftheStudio:phenomenology,psychoanalysisand,followingFoucault,anattentiontohowlanguagecanbeusedtopreservepowerrelationsthatareoftennormalisedasmeredescriptions.ThestudiowasheirtoatraditionbeginningwithRDLaing,andtothisdaytriestokeepaliveanalternativetomainstreampsychiatryandtotheoutcomeculturesoprevalentintheNHS.

IranaperformancegroupattheStudioforfouryears,intheearly2000s.MybackgroundwasintheatreandIhadjuststartedapsychoanalytictraining.Memberscamealongeachweekforaday.Somepeoplewereregulars,otherscameandwent.Thedaywouldstartwithmovementandwarm-upexercises,togetusedtothespaceandtoeachother.

Thewholegroupwouldworktogether,aswellasinpairsandsmallergroups,thenperformtoeachother.Wedidalotofimprovisationaswellastextwork.Therewereoftenpowerfulmomentsintheimprovisations,whichweallknewcouldneverbereproduced.Asinananalyticsession,thesemomentscanbedescribed,buttheatmosphere,thecurrentsoffeelingandlayersofmeaningcanneverbefullyrepresented.

Totaketheanalogywithanalysisfurther:whatmightbestirredupiscontained,andthecontinuityofsessionsensuresacertainsafetyandlinkagebetweenonesessionandthenext.Thesameprincipleoperatesforagroup.Theatregroupsandcompaniescanbecomerifewithrivalries,personalvanitiesandloveaffairs.There’salsotheexcitementandconfidencethatcomesfromworkingtogether.Thiswasnolesstrueofour

group.There’sanotherimportantfactor.TheStudioUpstairsheldtheviewthatanimportantpartofthetherapeuticprojectwastheinterfacewiththepublic–artexhibitionsand,inourcase,publicperformances.The‘asylum’oftherehearsalspacewouldontheseoccasionsopenitselftoareceptiveworldoutside.

Atitsbest,theatrelendsusallexperiencesofotherworldsandstatesoffeelingthatwewouldotherwisenotknowabout.Itmightbeawonderwe’dneverimagineoraterrorwewouldtakeflightfrom.Toavoidjealousyapersonmightshunintimaterelationshipsaltogether.Isaw‘Othello’recentlyattheNationalTheatre,andwitnessedtheconsequencesofextremejealousyplayedoutinthatgreattragedyofShakespeare.Theproductionsparedtheaudiencenoneofthedetails:themadnessthatdrivesamantokill,theterrorofawomanbeingstrangled.ThemurderofDesdemonawastawdryandhorrific.

But,onceletintosuchanexperience,inwhatstatedoweleaveit?Howdoestheatreachievesuchintensityandavoidinflictingfearandtraumaontheaudience?Itcan’tbecompletelyexplained,butsomethinginthenatureofagreatworkofartoffersakindofprotection.InShakespeareitisthepacingofthestory,thedramaticarc,andthepoetrywhichcanarticulatehorrorandotherintenseemotionalexperiencesinsuchawaythatweleavethetheatreelevatedratherthandepressed.Astorysimilartothatof‘Othello’mightappearinThe Sun,andshutusupinterrorandfearoftheother.Forsome,itmightbecomealuridkindofpornography.WithintheShakespeariandrama,wecanenterintoitandexitfromit,movedandevenhealed.

TheFrenchpsychoanalystJacquesLacanwasabitlikeShakespeareinthat,amidstthecomplexityandobscurityofhiswork,thereweresomeusefulproverbsandsayingsforthepsychoanalyticpractitioner.Onewas:‘Resistanceisalwaysonthesideoftheanalyst’.Putsimply,ifthingsarestuckbetweentheanalystandpatient,don’tblamethepatient.Theanalysthastheresponsibilitytoloosenhisownresistancetomovinghismindelsewhere:toenterintothematterofthesessionfromanotherplace,andthenfindawayoutofthemutualimpasse.


Incasesofpsychosis,thereisanothersayingadaptedfromLacan:‘Metaphorisonthesideoftheanalyst’.Thisisbecause,ifsomeoneissufferingfrompsychosis,itmaybeverydifficultforhimorhertomakeuseofsymbolsandmetaphors,sotheanalysthastokeepthisinmindandnotinterprethisorherspeechinwaysthatwouldeithermystifyordisturb.Icanperhapsgivesomesenseofhowthisworkedinthegroupbygivingtwoexamples.

ThefirstwasafailureonmyparttoheedthisdictumofLacan’s,withpainfulresults.IhadgivenoneofthemembersoftheperformancegroupasinglephotocopiedsheetofashortextractfromChekhov’splay‘TheSeagull’.ItwasthepartofNina,whichshewastolookoverbeforethenextrehearsal,thefollowingweek.Thismemberhadhadsomeconnectionstothetheatreinthepast.Theextractcontainedthelines:‘WhydoyousayyoukissedthegroundItrodon?I’mnotfittolive.Oh,I’msotired,Ineedarest,arest.I’maseagull.No,that’swrong,I’manactress.’

Thenextweekwemetandshewasverydistesssed.Anactormightrefuseapartatcertaintimessayingsomethinglike:‘Thisistooclosetomyexperience(oflossorgrief)atthemoment.Idon’twanttodothepart.Ican’tgetenoughdistancefromitinmyownlifetoplayit.Iwon’tdoitjustice.’Thismemberhadamuchmoreextremereaction.Shecouldn’tputthescriptononesideandsaysomethingliketheabovetome.Shereproachedmeforhavinggivenher‘thatsheet’thepreviousweek.The‘sheet’andthewordsonithadbecomethreateningandfilledwithforeboding.Partoftheproblemwasperhapstakingthe‘sheet’home.Hadwekeptitwithintherehearsalspace,heremotionalreactionalmighthavebeenrecognisedandcontained.

AnotherproblemhereistherealismoftheChekhovtext.WeweresaferwithShakespeareandverse.AndthefollowingexamplesservetoshowhowShakespeare’sversecanworktohelppeoplegetafeelformetaphorwherenonecanbedrawnonintheirownuseofspeechandlanguage.

Ontheotherhand,Icanmentionasuccessfuluseoftheatre.Onepieceweusedwastheopeningsoliloquyin‘RichardtheThird’:

‘Now is the winter of our discontent

Made glorious summer by this sun of York.’

Therewasoneyoungmaninthegroupwhoseconversationwasfragmentedthoughstrangelypoetic.Itwas,however,withouttherhythmofordinarysensewhichfacilitatesthetransactionsbetweenpeopleindaily

life.InShakespeare’sverse,rhythmisthekeyelement.Itiswritteniniambicpentameter,anditwasthisthatgavethispersonaspringboard.Hememorisediteasilyand,whateveritmeanttohim,therewasanevidentenjoymentinhisrecitingofthelines.Itbouyedhimup.Hiswayofspeakingwasmomentarilytransformedintoaliltingcoherence.Thestructureoftheverse,theresoundingassonancesandrhymelenthimakindofsensetoplaywith.

AswellasbenefitingfromthemedicinaleffectsofShakespeare,membersofthegroupwouldsometimeswritetheirowntexts.Toanextent,weallcarryaroundprivatetheatres,dramasweplayoutinourmindsandenactunconsciouslywithourfriendsandpartners.Inapsychoanalysisanother(theanalyst)canenterintothisworldandhelpustointerpretsomeofthemoreobscureplotswegetsopainfullystuckin.Forsomemembersofthegroup,breakdownhadledtoabreachintheirinternalprivacy.Uneasycontainmentmayhavebecomeenforcedthroughmedication.

Hamletfamouslyproclaimsthatthere’s‘method’inhismadness,andonoccasionwewitnessed‘madness’ascreativity.Onemembergavemeasheetofpaperwithwhatmightbedescribedasamanifestoonit.Itdescribedhisconcernsaboutinternationalconflictandhisproposedsolution.Thisconsistedinareformtotheworldfinancialsystem.Thecurrenciesoftheworldwouldbechanged.Therewouldbenomorepoundssterling,noeuros,nodollars,noyen,noroubles,nopesos,butallwouldbereplacedby...shirtbuttons.Ireadthisoutasakindofproclamation,whilehemovedrestlesslyaroundthespace.Theendoftheperformancewasgreetedwithapplausefromtheothermembersandhewasdelightedtohavehisviewspubliclyairedinthisway.Sincethefinancialcrashof2008,myrespectforhishumorousdiagnosisoftheworld’sillshasgrown.

StephenGee is a member of The Site for Contemporary Psychoanalysis, and has a private practice in South London.


‘The Spirit of Utopia’ Utopia,alwaysasocialcritiqueofitstimes,hasbeenallaroundusrecentlyaswereflectonthevariousrevolutionsandmassproteststhatsprangupwithsuchhopesforbetterwaysofliving,bettermodelsofsociety.2011,saidZizek,wastheyearwefellto‘dreamingdangerously’,whenradicalismandemancipatorypoliticsseemedtoigniteacrosstheentireglobe.Theyoung–andsomenotsoyoung–tooktothestreetsandthetents,certainthattheywouldbethedifferencetheywishedfor.Buttheireuphoriawasnottolast.RemembertheclusteroftentsoutsideStPaul’sinLondon–itsinhabitantstalking,disputing,imagining,claiming‘Thisiswhatdemocracylookslike’,andhowtheirenthusiasm,theircreativeenergyandtheirwilltomakeabettersocietydroppedoutofthepubliceye,seeminglyoverwhelmedbyincoherence,conflictandcompromise?RememberhowwewatchedwithmountingexcitementanddreadastherevolutionsinTunisia,EgyptandLibya,andtheprotestsinGreeceandSpain,roseandfell,inpulsesofemancipationandrepression,euphoriaanddisappointment?Rememberthemassprotestsofworkers,studentsandsixth-formers,theirkettledbitternessstillinourears: Hard to imagine blue plaques for us/troublemakers and shit-starters/commemorated in elegant white letters/anarchists and atheists, who dreamed/of dismantling those grand houses/brick by brick.*

Perhapsrespondingtothesetimes,asitssummerexhibitionin2013theWhitechapelGallerypresented‘TheSpiritofUtopia’,inwhichartistsknownfortheircommitmenttosocialchangeexhibitedtheirreflections.AccordingtoOwenHatherley,utopianartshouldbestrange,inspiringanddisturbing.Itshoulddisturbthecomfortableworldandsocietyinwhichweoftenresideunquestioningly,whilesimultaneouslyunsettlingourassumptionsabouttheformsandpurposesofart.Strangecreaturesshouldemergefromourdreamingimaginationswhich,inthelightoftheeveryday,inequalmeasureappalandfascinate.Artcandothis,anditoftenhas.Sometimesthisisbymeansofshocktactics,butalsothroughmoresubtlesubversionsandprovocations,forexamplebyplayinggameswithourusualexpectationsofhowtobeavisitortoanartgallery,orwithwhatwethinkart‘does’forpeople. ItwasthelatterapproachthatwasmoreprominentintheWhitechapelthissummerwhere,accordingtoitsownpublicity,theexhibitionwas‘aremarkableseriesofinstallationsandevents[which]engageusinplayful,provocativeandcreativelypragmaticmodelsforsocialchange’. Forsome,however,theexhibitsseemedabittame–merelycuriousratherthanwildlystrange.Forthem,theexhibitsneitherdisturbednorinspired:theyamountednottovisionsofUtopiabuttosomethingwhimsical,evencharming–butquiteincapableofsmashingoroverthrowingeconomicsystemsor

‘THE SPIRIT OF UTOPIA’ & ‘SANATORIUM’Who are we? Where are we going? What are we waiting for? by Isobel Urquhart


oppressivegovernments.Butperhapsthesecriticsshouldhavepaidmoreattentiontothetitleoftheexhibition.Ratherthanthe‘hardanalysisofeconomyandstate’thatmadeatleastonewonderwheretheMarxistswerewhenyouneededthem,whatwasonofferwas‘thespirit’ofUtopia–somethingcondensedordistilled,itsessencepreservedinthecautiouslyrespectfulwhitecube,itsheadyperfumefaintbutstillevocative.

The spirit of Ernst Bloch Thetitleoftheexhibitionechoedthebookofthesamename,writtenbyErnstBlochin1917.Hiswordsintroducetheexhibition:‘Whoarewe?Wherearewegoing?Whatarewewaitingfor?’Thus,theshowinvitedcomparisonbetweentwohistoricalmoments,bothemergingadecadeorsointoanewcentury.Itcontrastedmodernutopianvisionswiththatearlierepoch,whentheartisticimaginationwascapturedbywhatnowseemsaverydifferentkindofoptimism.Thatwaswhenitseemedthat,asHobsbawnputit,‘political action was the way to improve the world’.Asthe20thcenturyunfolded,however,withnomarkedimprovementinthepersistenceofwar,inequality,persecutionandhumanity’snever-endingcruelty,theutopianimaginationdarkenedanditsproposalsfellintodiscreditasunforgivablysimplisticandnaïve.Ontheotherhand,thecurrenttriumphalismoftheneoliberalcapitalistworldseemstohavecreatedadystopicvisionofgreedandself-interestwhereweravagethelandwestandonandpoisontheairwebreathe,andcontinuetofindourselvesconflictedandunhappywithinourselvesandwithothers. Nevertheless,sincethefinancialcrisisof2007–8wehavealsowitnessedextraordinaryeventsaspopularreactionrespondedtowhat,atleastforabriefmoment,appearedtobethebustedflushofcapitalism.Newanswersweredemanded,andtheutopianspiritseemedreborninpoliticalrevolutionandmasscivilprotests,orintheoccupationsofWallStreetandStPaul’s,withtheireuphoricslogans:‘Thisiswhatdemocracylookslike’and‘Wearethe99percent’. FortheartistsintheWhitechapelexhibition,socialchangeseemstobeconceivedverydifferently.Incontrasttotheomnipotenceofthoseuniversalist‘bigtheories’whichcharacterisedthe20thcentury,today’sUtopiaseemsaquieterplace,itsoptimismmoremodest,itsvisionmorepragmatic.Theexhibitshavenothingoftheearly20thcentury’ssweepingcallto‘eraseallthetraces’,inaground-zeroapproachtoimaginingabetterworld.Incontrast,theirhuman-scaleexplorationoftheutopianstaysclosetotheeverydaynessofpossibilityinpeople’slivesintheworldasitis–suggestingsmallrepairstoourlossofconnectiontotheearth,teasinglychallengingourconsumeristassumptions,orgivingexpressiontotheyearningsforaworldinwhichpeoplecouldbetterrelatetothemselvesandtoeachother.

‘Sanatorium’ Ifbothartandpoliticsareaboutimaginingandmakingchange,soistherapy.Andsowecometo‘Sanatorium’,aworkinwhich,usingideasdrawnfromtherapyandpolitics,theMexicanartistPedroReyesexplicitlylinksperformanceartwithanintentiontochangetheworld.Hehassaidof‘Sanatorium’thatacertainkindofart,performingandplayful,worksonpeopleas‘awarm-upphasethatpreparesusforchange’. In‘Sanatorium’,Reyescreatesamock-upofacool,turquoisegreenandwhiteclinicalsetting.Sixroomseachofferadifferent‘therapy’,facilitatedbyvolunteers(‘therapists’)inwhitelabcoats.Challengingthepharmaceuticalprofiteeringthatliesattheheartofhowwecurrentlypalliateourillsinmodernurbansociety,‘Sanatorium’asksthequestion:Howcanwehealourselvesofouremotionalillsbyusingtheritualsandsymbolismoftraditionsofhealingandtherapytoimaginealternativewaysofdealingwithwhatismissingfromthelivesweoftenfeelforcedtolead,andforceotherstolead,underthebrutaleconomicsofcapitalism?Psychotherapyhasoftenbeencriticisedforitsfocusonadaptingtheindividualtotheverysocietythatmakesherill.However,acoreutopianinfluenceonReyes’creativeexpressionistheinventorofpsychodrama,Moreno.Andhecontendsthat: ‘A truly therapeutic procedure should have as its objective nothing less than the whole of mankind.’ With‘Sanatorium’,Reyesinventsaspaceinwhichpeoplecouldjoininaperformanceexperimentinalternativeways,soastoconnectwithothersandwithone’sself.DrawingontheeducationalideasandparticipatorytheatreworkshopsofFreireandBoal,Reyespreferstosaythattotakepartistoengageinanimaginativegamethatneitherpathologisesnormedicatesourdis-easewithourlives.Intheunconditionalityofplay,theactivitiesin‘theSanatorium’offeropportunitiestobespontaneousandcreativeinwayssimilartothe‘spect-actor’ofBoal’swork:thespectatorbecomesanactor.Itistheparticipantswhoactuallymaketheartwork.Theyprovidethematerial:theirownstories,thequestionsandthediscussionsfortheevents.Untiltheyareinaction,‘theSanatorium’isjustawoodenconstruction.JustasinaBrechtianplay,eventhoughparticipantsareawareoftheset-up,thatdoesn’tpreventitfromdoingthetrick.Participantsdecidetobelievetemporarily,justaswhenpeopleagreetoplayafantasygameorshareajoke. Activitiesin‘theSanatorium’rangedfromreflectivelycuratingamuseumofyourownlifetimebyusingarangeofsmallobjects;askingquestionsaboutlifeandliving,andthenrollinggiantdice-


bouldersthatofferupforcollectivediscussionoracularquotationsfromthevariousschoolsofwisdomoftheworld;aroomwhere,inprivate,youcanconfrontandexertphysicalrevengeonalife-sizedummystandingforsomeonewhohasharmedyou;oruncoveringthesecretsofstrangers,hiddeninbottles. Ifthisfulfilstheexpectationthatutopianartshouldbestrange,disturbingandinspiring,itshouldbenotedthatvisitorsdiscoveredhowmucheasieritwasthantheysupposedtoplaytogetherspontaneously,tohelpeachother,andtosharetheirfeelings.Overandagaintheyreportedanunfamiliarpleasureinfindingthemselvesconnectingwithcompletestrangers,sometimesquiteprofoundly.Whentheyweregiventhespaceandtime,peoplecouldfocusonanaspectoftheirlivesthattheyfelttheyhadnotaddressed:theirloveandconcernforothers,theirneedforacatharticclosuretoangerorhurt,achancetostepoutsidetheirday-to-daylivingandreflectonwheretheyhadcomefrom,wheretheyweregoing,whatmatteredtothemmost. Byfarthemostpopularoftheindividualtherapieswasthelastroom,theMuseumofHypotheticalLifetimes.Thisiswhere,byusingsmallobjectsdisplayedonshelvesinamodelexhibitionspace,theindividualcuratesaspectsoftheirown(potential)lifetime.Peoplesaidtheyfoundthisrestorative.Theywereintriguedaboutwhatemergedunconsciously,beyondtheirrationalisedchoicesofitems,andwheretoplacethem.Theytookphotographsoftheirfinished‘exhibition’,toreflectuponlater. Thisneedtospendtimethinkingaboutone’sorigins,aboutwhathadhappenedinone’slife,aboutwhereonewasgoingorwantedtogo,isnotunfamiliartotherapists.Itseemedtotapintothesamedesireformakingsenseofone’sselforlife,apurposethatsometimesbringspeopleintotherapy,andisthecolophontotheexhibition:WhoamI?WhereamIgoing?WhatamIwaitingfor?Certainlythereseemedtobeaneagernessthatisn’tansweredintoday’ssocietytohavethiskindofspaceandtime,andinwhichindividualsmightperhapsfindtheirownutopianvisionsofhowalife,andothers’lives,mightbebetterspent. Andso‘Sanatorium’seemedtoenabletheparticipantstorecognisethattherewassomethingmissingfromeverydaylivesthataresobusy,sobrusque,sounabletotakethetimetonoticewhatwe’refeelingorwhatourlivingisdoingtoouremotionalandrelationallives.Byprovidingthesebriefandplayfulinterludes,‘Sanatorium’allowedpeopletoreflectonthedisavowalsthatinureusmostofthetimetowhathurtsus–wherewebothknowanddon’tknowthatwefeelalienatedfromtheearthandfromeachother;wherewebothknowandforgetaboutthevastnumbersofpeoplewhosufferfromdepression,loneliness,anxietyanddisappointment,disregardedandunattended;wherewe

bothknowanddon’tknowhowsuppressedrageandfrustrationexplodesfromtimetotimein‘inexplicable’violentoutbursts,riotsorsuicides.

The value of art Isthisallpointlessdaydreaming,aratherfutilearty-fartyactivity?Shouldwebeharder,morelikethetoughrealistswhocome‘grinningintoourparadise’,asBrechthasit,knockingbackourillusions,refusingusoursoftfantasies? Foranswer,wecanturntoLenin,whoarguedagainstthetoughrealistsinhisownparty,andallowedthatdreamingwasessential.InWhat Is To Be Done?,hewrites:‘… if man were completely deprived of the ability to dream in this way, if he could not from time to time run ahead and mentally conceive, in an entire and completed picture, the product to which his hands are only just beginning to lend shape, then I cannot at all imagine what stimulus there would be to induce man to undertake and complete extensive and strenuous work in the sphere of art, science, and practical endeavour .... The rift between dreams and reality causes no harm if only the person dreaming believes seriously in his dream, if he attentively observes life, compares his observations with his castles in the air, and if, generally speaking, he works conscientiously for the achievement of his fantasies. If there is some connection between dreams and life then all is well.’ Onecriticcommentedwrylythat‘TheSpiritofUtopia’represented‘avistaofbrokendreams’.However,returningtoBloch,wemightarguethatthesedreams,tentative,charminglycomicalorplayfulastheyseem,canbeunderstoodasfragmentsofautopianfuture,ahiddenpotentiallyingdormantinthepresent.Reyesimaginesafuturefor‘Sanatorium’asatravellingroadshow,pitchingupinadustytowninMexico,asitwere,forpeoplesimplytocomealongandplayagameofdreamingdangerously,inordertochangetheworldtheyinhabit:askingthebigquestions,sharingfearsandhopes,reflectingonwhatalifemightbeandmean–‘inordertoworkconscientiouslyfortheachievementofthosefantasies’,asLeninputit. OurimaginationsaboutwhatUtopiawouldbelikeareinextricablytiedupwithourcommitmenttohowtobringaboutthatbetterworld,whichisourpolitics.Thoseconnectionsarewhat‘Sanatorium’hopestoleaveitsvisitorswith,andwhytheimaginativevisionofUtopia,evenwhenhousedinthepoliteworldofaprivateartgalleryliketheWhitechapel,isvital.

*DeccaMuldowney:The Bright Day is Donehttp://www.scribd.com/doc/173321725/The-Bright-Day-is-Done-Zine

IsobelUrquhartis a member of the Cambridge Society for Psychotherapy. She is committed to a radical and socialist stance in her work in education, psychotherapy and politics.


“Artopensyoureyestodifferentconnections.Itmakesyouseetheworlddifferently.”Start2user

Keepingwellinmindandbodyissomethingweallaspireto.Manystudiessuggestthathavingmeaningfulandactivelivesisthekeytowellbeingandhappiness.Harnessingnaturalcreativitycanbeapowerfulwaytobuildtheseintoourlivesandenhanceoursenseofwellbeing,too.Themorewelearnaboutwellbeing,themoreweunderstandthatusingournaturalcreativityisfundamentaltoasenseofwellness.Creativeactivitiescanbuildmanytransferableskillsthatcrossoverintodailylifeandhelpwithself-management. Start2isanengagingonlinewellbeingresourcethatgivesustoolstounderstandhowweourselvescanboostandmaintainpositivementalhealth.Thisuniqueresourceshowsnewwaystoapproachandtakecontrolofourlives,throughlearningtoemploytheinstinctivecreativitythatweareallbornwith. Start2useseasyandenjoyablecreativeactivities,mindfulness,OccupationalTherapyexercisesandimaginativephysicalhealthactivities. Whentalkingabout‘creativity’somanypeoplesay“I’mnotartistic”,usuallyfollowedby“Ican’tdraw”.However,‘beingcreative’isn’tspecificallyaboutartisticabilitybutmoretodowiththewiderabilitytoaskquestions,makeunusualconnectionsandcomeupwithimaginativeapproachestoproblemsolving.Quitesimply,openingourselvesuptolivelifemorecreativelyallowsustoseethingsdifferently,andcanbenefitusinallareasofourlife. Creativeactivitychallengesustolearnnewthingsandbuilduponexistingskillsandknowledge.Studiesshowthatcreativeactivitycanbuildself-esteemandconfidence,concentrationandfocus.Itstimulatescuriosityintheworldaroundusandhelpswithfeelingsofconnectiontooursurroundings,andtootherpeople.Itoffersthechancetoexpressourselves,exploreourownidentity,anddevelopnewthinkingskillsthatinturnbuildpositivelifeskills.Researchshowsthatcreativeactivitycanhelpwithpainmanagementandrelaxation.Bymakingcreativeandartisticactivityapartofourregularroutinewecanstrengthen,repairandrevitaliseourselves,andbuildupresistancetooldenemies,stressandanxiety.Wecanevenhelpourimmunesystems!Inawell-knownstudyfromtheBehavioralMedicineClinic,HarvardUniversityresearchersshowedthatwhenwetakepartincreativeactivity,itcanslowheartbeatandreducebloodpressure.Thismaybeduetothefactthatexpressiveartisticactivityreleasesneurochemicals,includingendorphins,intothebrain.

Theseneurochemicalsassistdeepconcentration,slowdownpulseandbreathing,andboosttheimmunesystemthroughwhatistermed‘TheRelaxationResponse’.1 Anotherfascinatingandveryusefuleffectofcreativeactivityistoheightenourproblem-solvingabilities.Duringsomeresearchwithgroupsofwomenattendingartworkshops,occupationaltherapistJenniferCreekshowedthatexercisingcreativemusclesthroughartsactivitiesactuallystimulatedproblem-solvingskillsatthesametime,probablybecausethebrainbecomesusedtothinkinginnewwaysandviewingsituationsfromnewangles.2

“Doingtheactivitieshasopenedmymind.Inoticethingschangingaroundmenow.”Start2user

Start2hasbeendevelopedbytheartsandwellbeingteamatStart,anaward-winningNHSservice,whichispartofManchesterMentalHealthandSocialCareTrust.TheStartmethodaidsrecoveryandwellbeingthroughartsandgardeningcourses,withauniqueemphasisoncreativity.Thecoursesencompassself-caretechniques,andaredesignedtobuildonemotionalresilienceandinsightintopersonalresources.Thisallowsindividualstomoveonindependentlyfromtheservice,withresourcesthatworkfortheminlinewiththeiraspirationsandgoals.Start2isanextensionofthisservice.IttakesStart’srecoverymodelandsharesitmorewidelyasafree24/7onlineresourcethatanybodycanusetobenefittheirwellbeing. Start2encouragesuserstoregularlypursuecreativeactivitiestobuildoninnerresourcestoenhancetheirwellbeing.Likemanythings,talkingaboutmakingcreativeactivityaregularpartoflifeiseasiersaidthandone.Wheretostart?Withthisinmind,Start2developedtheWellbeingThermometer.Thisisauniquelyadaptedversionofthevalidatedoutcomemeasure,theShortWarwickandEdinburghMentalWellbeingScale(SWEMWBS),andhasbeencreatedwithaclinicalpsychiatristandpsychologist.Itisaninteractivetoolthatprovidesusaneasywaytonavigatearoundtheresourceand,crucially,allowsustolog,measureandunderstandpatternsofourwellbeing.AlongsidetheWellbeingThermometersitstheStart2Mentor,whichoffersguidancearoundwellbeingscores,givesadviceandsignpostsustoachoiceofthreecreativeactivitiestosuitusbest.AWellbeingMapshowsallhistorical‘Temperatures’,whichcanbeaneffectivewayofsharingandtalkingaboutourmentalhealthwithothers,whetherafriend,familymember,carerorprofessional. Start2activitiesarecategorisedunderthethemes:‘LifestyleCoaching’,‘StressBusting’and‘BrainBoosting’,andgiveclearindicationsofwhatwecanexpectfromthatsection.Eachsectionisbrokendownfurtherintoparticularwellbeingareas,forexample,


‘RelatingtoOthersConfidently’and‘BeActive.’Underthesetherearearangeofcreativeactivitiestochoosefromtobenefitusinthatarea.Wellbeingbenefitsareclearlystated,offeringpracticalexamplesofthebenefitstoourdailylives.Followingcompletionofanactivitywe’reencouragedtofillinaReflectiveDiary,whichallowsustofurtherbuildaportfolioofactivitiestosuitus.Activitiescanberepeatedasmanytimesaswewouldlike–maintainingpositivementalhealthandgivinginspirationforcreativeprojects,giftsorsimpleenjoyment. Start2isattheheartofinnovationinuseofdigitaltechnologiestoopenupself-careandreducepressureonservices.Start2offerspalatableandnon-stigmatisingresourcestosupportwellbeing.Itspresentationofeverydayattentiontowellbeingasdesirableandnormalisabigstepforwardinencouragingthepublictoengagewiththeirmentalhealth. Beingonline,theStart2resourcehaswideappealandisusedbyindividuals,inone-to-oneandgroupsettings.Abroadvarietyofprofessionalsandthepublicusetheserviceworldwide. People’sideasofwhatisrelaxingandenjoyablevaries,sotheStart2teamhavemadesurethereisavastassortmentofcreativeactivitiesavailabletochoosefrom,suitableforawideagerange.TheStart2resourcehousesexcitingonlineinteractivefeatures,including:

• ananimationgenerator• e-cards• virtualgalleriesandmuseums• curatortalks• videoandaudioalongsidestep-by-stepguidance andexperttips.

Ausercanexploreover100evidence-basedcreativeactivities,togetherwithinsightsintotheparticularwellbeingbenefitsembeddedwithinthem.There’ssomethingforeveryone,witharangeofcreativewriting,seasonalspotterguides,textiles,collage,papercraft,artappreciation,photography,drawingandpaintingandmoodboostingactivities.Non-interactiveactivitiescanbedownloadedandprintedtodoawayfromthecomputer. Userscanregisterprivatelyandforfree,andenjoytheirownprivateOwnzone.Hereapersoncansetgoalsandtracktheirprogress,storeanimations,uploadedimages,MediaAlbumslideshows,WellbeingTemperatureandReflectiveDiaryarchivesandbookmarkfavouriteactivities.WhetherpeopleprefertomakeuseofStart2onlineoroffline,theycanbegintobuildupa‘wellbeingjournal’ofactivitieswhichtheyenjoyandwhichtheyknowtobenefitthem. Start2hasbeenreceivedpositivelybyuserswithsuccessfulpilotsbyanumberofprofessionals,professionalservicesandserviceusers,attracting

feedbackasanaccessibletooltobenefitmentalhealth.Whatsomepeoplesay:

“IreallyenjoyedusingStart2andIwouldrecommendittoanyonelookingforsomethingdifferent.Thereisavarietyofactivitiesonoffer…Ifeelithashelpedwithmydepressionandanxietyasitgavemeanoutlettobecreative,aswellashavinginterestingfeatures.”ServiceUser,ManchesterMentalHealthandSocialCareTrust

“IthasbeenbothpersonallyverybeneficialandprofessionallyfascinatingtoexploretheexercisesandresourceswithinStart2.Ithinkthisisareallyvaluableresourceforhelpingpeopletoexploreandbuildoninternalresourcestheymaynothaveknowntheyhad,plustoengagewithrealworldresources‘outthere’whichcanenrichtheirlivesandwellbeing.IhavealreadybeguntorecommendStart2toothersandhopethisissomethingthatcanbecomeadynamicanddevelopingresourceinthemonthsandyearsahead.”AClinicalPsychologist

“Start2isanothertherapeutictoolforpatientsstrugglingwithmentalwellbeingandIwelcomethefocusonpositiveactivities.Thisisagreatapproach.Ithasinspiredmetobemorepositivewithpeopleandstarttothinkaboutwellbeingnotjustproblems.Keepupthegoodworkandgettheartsoutthere.”AGP

byTamzinForster

1Benson,H&Klipper,MZ(2000)The Relaxation Response.AvonBooks.2Creek,J(2001)Measuringtheoutcomesofacreativeactivity.Mental Health Occupational Therapy 6 (2)18–20.

Startyourownjourneytolivelifemorecreativelyhere:www.start2.co.ukJoinus:www.facebook.com/start2artFollowus:@start_2Start2isanonlinecreativewellbeingserviceusingevidence-basedmethods.Theserviceofferstothepublicarangeofexpertlydesignedcreativeactivitiesthathavebeenproventobenefitmentalandphysicalwellbeing.


News: AVATAR THERAPY FOR HEARING VOICES


FundedbytheWellcomeTrust,anavatarsystemthatenablespeoplewithschizophreniatocontrolthevoiceoftheirhallucinationsisbeingdevelopedbyresearchersatUCL.Itisclaimedthatthecomputer-basedsystemcouldprovidequickandeffectivetherapythatisfarmoresuccessfulthancurrentpharmaceuticaltreatments,‘helpingtoreducethefrequencyandseverityofepisodesofschizophrenia’. Apilotstudyofthisapproachinvolvedsixteenpatientswhohaduptoseven30-minutesessionsoftherapy.Nearlyallthepatientsreportedanimprovementinthefrequencyandseverityoftheirvoices.Theavatardoesnotaddressthepatients’voicesdirectly,butthestudyfoundthatthereisimprovement,asanoveralleffectofthetherapy.Afterexperiencingsixteen,thirteenandthree-and-a-halfyearsofauditoryhallucinations,threeofthepatientsstoppedhearingvoicescompletely. TheUCLteamhasnowreceiveda£1.3millionTranslationAwardfromtheWellcomeTrusttorefinethesystemandconductalargerscale,randomisedstudysoastoevaluatethisnovelapproach.ItwillberunatKing’sCollegeLondon’sInstituteofPsychiatry. Thefirststageinthetherapyisforthepatienttocreateacomputer-basedavatar.Thisisdonebychoosingthefaceandvoiceoftheentitytheybelieveistalkingtothem.Thesystemthensynchronisestheavatar’slipswithitsspeech,enablingatherapisttospeaktothepatientthroughtheavatar,inrealtime.Thetherapistencouragesthepatienttoopposethevoice,andgraduallyteacheshimorhertotakecontrolofthehallucinations. JulianLeff,EmeritusProfessorinMentalHealthSciencesatUCL,leadstheprojectanddevelopedthistherapy.Hesays: “Eventhoughpatientsinteractwiththeavatarasthoughitwasarealperson,becausetheyhavecreatedit,theyknowthatitcannotharmthem,asopposedtothevoices,whichoftenthreatentokillorharmthemandtheirfamily.Asaresultthetherapyhelpspatientsgaintheconfidenceandcouragetoconfronttheavatar,andtheirpersecutor. “WerecordeverytherapysessiononMP3sothatthepatientessentiallyhasatherapistintheirpocketwhichtheycanlistentoatanytimewhenharassedbythevoices.We’vefoundthatthishelpsthemtorecognisethatthevoicesoriginatewithintheirownmindandreinforcestheircontroloverthehallucinations.” Thelarger-scalestudybeganenrollingpatientsinJuly2013.Thefirstresultsofthisstudyareexpectedtowardstheendof2015. ProfessorThomasCraigofKing’sCollegeLondon’sInstituteofPsychiatry,wholeadsthebiggertrial,says:

“Auditoryhallucinationsareaverydistressingexperiencethatcanbeextremelydifficulttotreatsuccessfully,blightingpatients’livesformanyyears.Iamdelightedtobeleadingthegroupthatwillcarryoutarigorousrandomisedstudyofthisintriguingnewtherapywith142peoplewhohaveexperienceddistressingvoicesformanyyears. “Thebeautyofthetherapyisitssimplicityandbrevity.Mostotherpsychologicaltherapiesfortheseconditionsarecostlyandtakemanymonthstodeliver.Ifweshowthatthistreatmentiseffective,weexpectitcouldbewidelyavailableintheUKwithinjustacoupleofyearsasthebasictechnologyiswelldevelopedandmanymentalhealthprofessionalsalreadyhavethebasictherapyskillsthatareneededtodeliverit.” Worldwide,schizophreniaisdiagnosedforabout1percentofthepopulation.Themostcommonsymptomsaredelusions(falsebeliefs)andauditoryhallucinations(hearingvoices).People’slivesareoftendevastated–theirabilitytoconcentrateisseverelyimpairedandtheyfinditimpossibletoworkandtosustainsocialrelationships.Evenwiththemosteffectiveanti-psychoticmedication,aroundoneinfourofthosediagnosedwithschizophreniacontinuetosufferfromdisablingpersecutoryauditoryhallucinations. CurrentguidelinesfromNICErecommendschizophreniaistreatedusingacombinationofmedicationandtalkingtherapies,suchascognitivebehaviouraltherapy(CBT).However,intheUKfewerthan10percentwithaschizophreniadiagnosishaveaccesstopsychologicaltherapy. TedBianco,DirectorofTechnologyTransferandatthetimeofreporting,ActingDirectoroftheWellcomeTrust,said:“Atatimewhenmanycompanieshavebecomewaryaboutinvestingindrugdiscoveryformentalhealth,wearedelightedtobeabletofacilitatetheevaluationofanalternativeapproachtotreatmentbasedonthefusionofatalkingtherapywithcomputer-assisted‘training’.Inadditiontotheattractionthattheinterventionisnotreliantondevelopmentofanewmedication,theapproachhasthebenefitofbeingdirectlytestableinpatients.Shouldtheresultsofthetrialproveencouraging,weexpecttheremaybefurtherapplicationsofthebasicstrategyworthexploringinotherareasofmentalhealth.” Avatartherapyhelpssilencevoicesinschizophrenia.UCLNews29May2013.

Letter to the Editor

ItwaswithamixtureofsadnessanddismaythatIreadMegKelly’sarticle,‘OutofSight’,onherexperienceoflivinginaPhiladelphiaAssociationhouse(Asylum 20:3,pp.17–19).Sadnessthatthiswasherexperienceofhertimethere,butdismaytoo,inthatIsimplydidnotrecogniseourhousesinMeg’sdescription. Iwrite,Ishouldmakeclear,assomeonewhowasdrawntothePAinpartbecauseofitshouses.IwasinvolvedinsettinguptheFreegroveRoadhousein1995,andhavenowworkedtherefor10years.Withthehelpofcolleagues,Iwroteabook,An Uneasy Dwelling(PCCSBooks,2010),becausethehousesareuniqueanddeservetobecelebrated.

Treatment? Thecentralpointofdifferencebetweenusistheideaoftreatment.ContrarytowhatMegsays,wearenotinvolvedintreatment;wehavenotreatmentplans,noprogrammeofactivitiessuchascleaning,shoppingorcooking,notimetables.Rulesarekepttotheminimumforthewellbeingandcontinuationofthehouse,beyondthetimeanyresidentisthere:paytherent,donotdoviolencetootherresidentsorthehouseand,yes,cometothehousemeetingsandgotoyourowntherapy. ThereisnotreatmentbutthereiswhatIwouldcall‘atherapeuticwork’ofthehouse,andpeoplecominghavetoengagewiththis. Themeetingsaretheretotalkaboutanythingandeverythingtodowiththelifeofthehouseandtheindividualsinit.Withoutthem,thecommunitywouldnotexist.It’safantasytothinkthecommunitywouldsomehowcohereorcometogetherofitsownaccord,spontaneously,organically.Ofcourse,peoplecometogetheroutsideofthemeetings,butthereisasubtledialecticbetweenthetwo.Theyneedeachother. Themeetingsarealsoawayoftryingtoensurefairplay.Thehouses,aswithanyothergroupofpeople,cangiverisetoasubtle,orevennotsosubtlebullyingorstruggleforpower,orevenjusttotheexclusionofcertainpeople.Thehousemeetingsareplaceswhereeveryonecan,overtime,findtheirvoices,havetheirsay.Ihaveseenthishappentimeandtimeagain. Ofcourse,ifpeopleareinabadwayorjustneedtimeaway,nooneisgoingtoforcethemtocome.Butifpeoplehavearealproblemwiththem,thenmaybethehouseisnottherightplace.Nooneistryingtocontrolanyone.Thisisthewaywework.Intheend,comingtooneofourhousesisachoice.Noonewouldclaimthatitsuitedeveryone.

Power Megtalksofa‘starkimbalanceofpower’inthehouses.Yes,thereisamassivedifferenceinthestatusofhousetherapistandthatofhouseresident.Butpower?Powerhastobepowertodosomething,butinthecaseofourhousesI’mnotsurewhatthispoweramountsto.We,thehousetherapists,donothavethepowertosaywhocomestothehousesorwhodoesnot,nordowehavethepowertoorderpeopletoleave.(Megsayswe‘vet’potentialresidents.Wedon’t.Wemeetthemtoseeifthehouseisaplacetheymightbenefitfrom,oriftheyarelookingforsomethingelsealtogether.)Powerissomethingsharedwithresidents,asitoughttobe. Wherethereisahugeimbalanceisthatthehousetherapistshavemassiveresponsibilities–forthewellbeingofalltheresidents,forthecareofthehouse,andforitscontinuation.Weareresponsible,too,tothePhiladelphiaAssociation,asacharitywhichisinturnresponsibletotheCharityCommission.Wedonotoperateinavacuum.Megspeaksofadenialofthe‘autonomyofcommunity’,butthisisamisunderstandingofthestatusofthehouses.Theyarenot,andcannotbe,autonomous.TheyexistbecauseofthePhiladelphiaAssociationwhichbroughtthemintobeing,andtheyhavecontinuedtoexistbecauseofthatrelationship.Residents,howeverlongtheymaystay,andhowevermuchtheymakelookafterthehouse,aresoonerorlatergoingtobemovingon.

Experience Thehousetherapistsarenotexperts,andnoneofuswouldclaimtobe,butwedohaveexperienceandnoneofuswouldpretendthatwedon’t.Wehaveconsiderableexperienceofbeingwithpeoplewhoaredisturbedanddistressed,sometimesextremelyso,and,overtheyears,wehavecometohavesomeideaofwhatmaybehelpfulandunhelpfulinengagingwiththem.Ofcourse,residentshaveexperiencetoo,and,timeandtimeagain,wehaveseenindividualstakeupkeyroles,whetherinperiodsofcrisis,oroverthelongerterminamoredailyway,whentheyhaveheldthehousetogether.Again,thereisasubtledialecticatworkhere.Thehouseswouldnotsurvivewithouttheactiveinvolvementandcareofresidents,butthisneedsthecontextofabiggerpresence–thePAintheshapeofthehousetherapists.

Psychiatry IfinditsadthatMegshowsnoawarenessthatthePAhousesdonotliveinavacuum.Weliveinacontextthatisnotofourmaking,andthisisparticularlytrueofourrelationshipwithpsychiatry.TheearlyPAhousesinthe1960sandearly70s,cameintoexistenceaspartofamovementthatwasquestioningtheassumptionsofpsychiatry.Now,biologicalpsychiatryisdominantasneverbeforeandtherangeofpsychiatric


Struggling for community:A letter in response to Meg Kelly’s article criticising a PA house

oftolerance,whatcanbepermitted,what,aboveall,ishelpful? MegstartsherarticlewithaquotationfromHughCrawford,animportantfigureinthePAinthe1980s,especiallyarounditshouses:‘Weproposemerelynottosilencetheunspeakable’.Butthisdidnotmeanthatanythingwaspermitted.Thiswastheman,itshouldberemembered,whowould,ifhefeltsomeone’spresenceorbehaviourwasunhelpfultothehousehold,simplytellthemtofuckoff.

Fearless speech Meg’saccountofhertimeinthehouseisclearlyinfluencedbythethinkingoftheFrenchphilosopher,MichelFoucault.Personally,Idon’thavealotoftimeforFoucault–hiscavalierattitudetothefactsofhistory,hisendlessrepetitivemantrasaboutpower,theironcageofsocialcontrolhefoundeverywherehelooked.Butin1983,theyearbeforehedied,FoucaultgaveaseriesoflecturesinBerkeleyonthesubjectoffearlessspeech–whattheGreekscalledparrhesia.ThisIdofindvaluableinthinkingaboutwhatwedo. Iamnotconcernedwiththeproblemof‘thetruth’,Foucaultsaid,butwiththeproblemofthetruth-teller, or of truth-telling as an activity,whoisabletotellthetruth,aboutwhat,withwhatconsequences,andwithwhatrelationstopower.Thepersonwhopractisesparrhesiahascourage,issomeonewhotakesarisk. Thereisalsoimplicitintheideaofparrhesia,theconceptofduty:itissomethingwehavetodo.It’simportantalsotosaythatparrhesiahasnothingincommonwithbeingprovocativejustforthesakeofit.It’snotaboutbeingreckless,either. Tomethisispartofwhatweareaboutinthehouses,asweareintherapy.Wetrytomakepossiblethistruth-tellingaboutthesoul,andforustobeabletospeaktruthfullyinourturn.Weprovideaspacewherepeoplemaycometospeakfearlesslyandwherewe,too,mayspeakfearlessly.Weholdoutaninvitationtobetruthful.

Paul Gordon

interventionhasexpandedtoanunprecedentedscale.Moreandmorepeoplearediagnosedashavingsomethingwrongwiththem,andfrighteningnumbersareonsomesortofmedication.Manypeoplecometoourhouseswithextensivepsychiatrichistories,10oreven20years,andonmedication.Itwouldbeirresponsiblenottoengagewithpsychiatricservices.Thereisalotofsimplisticthinkingaroundaboutmedication,asthoughit‘salwaysbadandasthoughpeopleshould,somehow,justcomeoffit.Reallifeisalotmorecomplicated. Therealwaysseemedtomeacompleteabdicationofcareandresponsibilityinvolvedinsomeofthemoreextremeanti-psychiatrypositions,suchasthoseofThomasSzasz.WhenIwasworriedsickaboutsomeonewhohadleftthehouseinastateofconfusionanddistressandwhoIconsideredtobeinrealdangerofkillinghimself,Iwasrelievedtogetacallfromthepolicesayingtheyhadarrestedhiminatrainstation.And,yes,whenhethreatenedtobreakmyjawinthepolicestationwhereIhadgonetomeethim,Iwasrelievedthatthepolicetookhimaway. Callthis‘meshingwithdisciplinaryinstitutions’ifyouwant,buttomeitiscommonsense.Ihavearightnottobeassaulted,andtheresidentinthiscasewassavedfromendingupinprison. Sometimes,sadly,solidarityisnotenough.

Other voices IsaidatthestartIwassaddenedthatMeg’sexperiencehadbeenasitwas.Butwealsoneedtorememberthatmanyotherswhohavepassedthroughourhouseshavehadverydifferentexperiences.Theyincludepeoplewhoseliveshavebeensavedbythetimetheyspentinourhouses.Moreoftenpeoplehavebeenabletomakesignificantchangestotheirwaysofbeingintheworld.Whenourcolleague,BruceScott,contactedasmanyex-residentsashecouldtotalktothemabouttheirexperiences,thiswasoverwhelminglywhathefound.And,yes,sometimespeoplehadhadterriblestrugglesthere–withotherresidents,withthehousetherapists–buttheyhad,intheend,benefited.

A fantasy of permissiveness? Megdoesn’tmakethisexplicitbutIgetastrongsenseofsomethingunderlyingheraccount,whatacolleaguecalls‘afantasyofpermissiveness’,theideathateverythingispermitted,orshouldbe.Butwecannotinthehousespermitchronicneglect,say,letaloneseriousdamagetopeople;wecannotallowbillstoaccumulate;orendlessnuisancetoneighbours.Everythingcannotbeallowedandthis,again,iswhywehavethestructuresinplacethatwedo,thatMegsoobjectsto–sothatthesethingscanbetalkedabout.Whatarethelimits


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