the journey of silence

the unit counselling and psychology will do an exhibition tomorrow, and thinking of maybe to do a small clip, acquiring the skill that i learn from the CPPD e-learning module to benefit my unit.

i had token my art work of client, and also some of my friends' and myself, to put in this clip for sharing purpose.

purposely choose the song "stand by me" by Ben E.King
as helper/caregiver/therapist/counsellor, any kind of helping profession

we need to take care of our client, stand with them

When the night has come
And the land is dark
And the moon is the only light we'll see
No I won't be afraid, no I won't be afraid
Just as long as you stand, stand by me

And darlin', darlin', stand by me, oh now now stand by me
Stand by me, stand by me

If the sky that we look upon
Should tumble and fall
And the mountains should crumble to the sea
I won't cry, I won't cry, no I won't shed a tear
Just as long as you stand, stand by me

And darlin', darlin', stand by me, oh stand by me
Stand by me, stand by me, stand by me-e, yeah

Whenever you're in trouble won't you stand by me, oh now now stand by me
Oh stand by me, stand by me, stand by me

Darlin', darlin', stand by me-e, stand by me
Oh stand by me, stand by me, stand by me

thank you for MY ALS members stand by me too

wishing you all happy and be healthy

Summary of learning

from 17th May 2009, it's nealy 2months. I am hardly believe that, WOW, i am finished/ complete the task. really feel a lot of satisfaction. well, i really would liek to go in to depth on sandplay, and i find this small world play module helpful to me.

thinking of the issues, the competency and professional practice, am i eligible? can id do so? it's really make me feel unsecure, especially i am not in receive for proper training, though i attended someworkshop for many jourse, still, it's not enough.

Phaik Nee is fast doing a small world play reflection on her own learning journey. i think, this might be what Alex requested for CPPD E-learning Module, that i didn't really write on reflection on summary. this round, i am doing,
the learning starts on 17 may 2009 where Alex asked us to post some question in groups, and thank you phaik Nee for jot downs the questions as below:

1. What is small world play?
2. Which children would benefit most from small world play?
3. How do you engage withdrawn child into small world play?
4. Is small world play limited to children only?
5. How to apply the small world play? For who? When?
6. How does play therapy show progress in family development for the child?
7. Can play therapy help the behavioural child? What is the role of counsellor in the play therapy?
8. Can play therapy help those special children with no concept skills?
9. Is small world play more suitable for 1:1 or group play?
10. How do I consider/observe the integration/coalition of the small world play?
11. Do we need to have the knowledge of unspoken language/unconscious world/collative unconscious before going into the small world play?
12. Can we trust the child 100% during the play therapy sessions? How about if they keep changing their story-telling for every sessions?
13. How long is the healing process for autistics child?
14. Should we judge the children by their behaviour/action?
15. Should we give informed consent to the children?

then, we are going to pick up small miniatures or objects to make our own world. it's a contact to myself, seeing what position in myself of the small world. i have a better understanding on it. then, we were partner to talk to our group members and talked about the small world make by them. Sharing of the story and also taking different role, as the therapist and also as the clients.

Alex introduce us on the different type of collection on archetype and also kind of material or resources would be helpful in small world play, in mind map. then, we need to practice and do the online supervision with him.
i bring a case of a pair parent-children to play together. it's really a good experience and i do really follow uo what have been told in supervision, with my clients...
then, i draw the relationship with the miniatures, it's help me to perceived the client's play more intensively, i have better understanding on that.

the small world play is introduces us to the use of dramatic representation using small play objects. Small world play is imaginative play where individuals are provided with small objects with which to play creating the small world. The individual is provided with a clearly defined private and delineated space such as at or under a small table, sand tray, play mat or in a small secluded corner. In the process, current preoccupations, inner subconscious and unconscious thoughts and feelings are projected and transferred onto the objects in the ‘small world’. This provides the opportunity for therapeutic aims to be realized.

there is no limit setting that who can do, or can not do for small world play. as long as the individual able to play, is not having the severe mental illness, or learning difficulties, the concept can benefit them to expressive and encourage the creativity of the inner child to shows. when the play in on, children will be going on the "self- recovery" unconsciously.

after the workshop, the group need to complete the "AXIS mUNDI" mission. initial stage, thr group really not worked in same pace, i understand tat each individual worked at different pace and they have own commitment so, when time reach 14 june 2009, it's really make me nervous, and me and melinda even thinking of asking Alex to give us extend time....
and with this mission, the group need to produce a mix media learning package,to deliver knowledge and skills for frontliner workers in social welfare setting so that they could acquire the basic knowledge and skills tt engage with their young clients with the intended aim of developing positive mental health and emotional resilience.

WE try to call each of the ALS members to do the meeting and discussed how things could be done. online teaching ALS memebrs doing and sign up something they had never do so, it's really a good co-operating experience. then, each members come forward and contribute on all the things they do.

and, i did not expect to do the presentation in early, as priscilla said she is wishing the ALS members to do so, that will left me, melinda, seok binn and phaik nee... ai~ finally, i volunteer myself to take over the presentation.

it's really x "enjoying", actually i m nervous (in previous blog, i mentioned how nervous i am"..
but i am satisfy i am complete it with my ALS members' help.

in this 8 weeks, i found that i am aware about the play by clients' and also try to make improvement on mixing the story with play.
it's powerful, as client are big enough, they can have own choice, and able to make decision, it's really no point to repeat the same behaviour as their parents and keep repeat or give advice to them. rather than told the client" u need to do this, must control ur behavior, do not miss with friends who is drug abuser, no go to illegal motor racing",... u know... so, making the story, let them think, how they can take the consequences and using "replacement" --- the third party, the symbolic, the object to say about the experience.... it really make them think.

in directly, i think it's really make the children aware... and started to change.
i can see the changes through the play the projected....
ya.
i must admit that, this module also make me aware of my own insight.... :)

learning reflection SWP #2

Indicative content on small world play module according to CPPD programme is dependent on the baseline knowledge and skills of the participants of the cohort. As the programme adopts an action learning approach to learning, the problems and challenges of practice that participants bring to the module will to a large extent determine the contents of the module. The content will be pertinent to the necessary relevant skills and knowledge required to address the issues brought forth. The indicative contents listed below provide a suggestive area of focus and is negotiable with each cohort.

http://www.cppd.onlineuk.org/Modules/smallworld.htm

when i am trying to practice, i found that the reflection on the play object actualy make the children / clients be with, what they really feel there.

this round, i am doing the small world play with a boy, my previous client, that i didn't see him for 1 years and 2 months. he is 11 years old, chinese boy, and do not know who is the father (An illegitimate child.) the mother is neglected him emotionally and socially as he is not be staying with the mother, the mother just give him an ATM card, and asked him to get money from ATM mesin and abandoned him in a house. for all the while, the children didnot tell anybody untill a visit by a good and kind man, and found that he is living in a house with bad conditions. and the children was send to stay with the grandparents from living place.

This round, i happend to meet with him as he is back to here, as mother would like to take back the custody of taking care of him. i understand that, he is having a good life staying with new family... and he look so anxious when sitting in a corner, untill i notice him.

i invite him to my room and make him play and also tell me the story on the sand play he make.

He is telling me about a story on a country name USA is having so many things happening around. in this USA country, there is consist of island... there are many things/event happend in once...

at the top of the mountain: there is 2 creature having fight severity, but living things and people in the USA country did not aware of it. people are still having usual life.

there is a boat in blue colour broke down, and the 4 wheele car coming to rescue the boat into land. at the opposite of the car, there is a man riding a white horse coming forward to rescure them.

Behind of the boat there is 2 horses, one house is running and another house is drinking water. there is a yellow creature facing at the huse and working hard busyly. yet, in this country, the turtle is coming up to land to "lay egg" , near by the coconut tree. at the other corner, the star fish and the sea hog is laying at the beach getting sunshine.

from the story he make, it really have some relevant experiences to him as it's almost 14 months ++ since the event he never come back to Penang Island. He is anxious, worried and also conflict in between about the choice. as Last time, he choose to leave mother to follow the grand uncle start a new life at new place (somewhere in mainland), and now, he choose to comeback to mother.

he is having adjustment, and also he is not knowing about it. but, very luck this round the press did not notice about him and interupt his life. [previous day, the press like disturb and keep asked about his story, untill he dare not go out from house], in somehow, he is release and feeling safe. though there is noneof the play object represent him, and he is just playing, but, i find that it is good to build out a confidence and also make the children express the unconscious feelings.

we make story and laugh together and talked some things happend in his life.
previously, i did gave my personal number to this children, in case, there is special needs or aids, he can reach me, but he only call once when he depart from penang to new place. in this 14 months, he never call. but, what make me suprise that, he keep my number in his wallet. and he can memorize it.

i might not help much, but, in the time beings, when he is in difficult situations, maybe i give some emotional support for him, allowed him to able to faced with critical life.

in the small world play,

it is depends on children, the client, the adult, or the eldery to express in their own way.
different culture make different meaning of the objects he/she choose. and different element of play make bring children psychology reaction differently.

working with "small world" team

it is finally a release, after the presentation, just need to focused on my personal reflection journal, and post this on my blog.
to accept the "small world" ALS members is really drive me mad, in first place... every of them, except me and Melinda, and Sok Binn, is so so so worried, how it is? WHERE and WHAT have been other group members gone?

trying to set up mind meister, trying to set up the power point and calling for online conferencer... finally, got respond...
from the beginning, the chemical of group norms, is really low, and then going to develop the basis of trust, then compromising and finally agreement to wok with

it's just like the process on the Therapeutic use of group process...
the five stages...
AH.........

but, incredibely, this group is really not bad. expecially Priscilla, she really make me impressed. she can work till midnight, to edit and refinalized as we turn to wrong way... Phaik Nee also give a lot of commitment, as well as Cheng.
i know cheng unable access online, but borrowing a centre online facilities to work with her online tutorial and online group discussion.
great effort!

just that, the crystal, not really knowing her.. but i am really happy that she is able to make it and come to our discussion, finally.

thank you for the information shared in email... i think u try the very best to do so

this team really make "big effect"...

nice to working with you.. everyone...
i would like to convey my thankfulness to each of you.
i will going to miss our time. and i do do do hope, we can continue our journey on how to make our cookbook be "real", as promoting the creative arts too

you are best!!

learning reflection SWP #1

i have no idea what is small world play in first place when i came to the workshop. and with kind of blur-blur emotion, i enter the class, and we have to do the collection of small mini object to do a small world of our own. i think, after come to the end, i have a better understanding on what is small world play.

in our cook book, we define the small world play as an imaginative play where client are provided with small objects/miniatures of using the small table, sand tray, play mat or in a small secluded corner to play. in the process, current preoccupations, inner subconscious and unconsious thoughts and feelings are projected and transfer onto objects in the "small world". through the world projected, it actually give me the opportunity to realized and also understand of clients better. beside, the small world play also intented to provided the individuals with the opportunity to develop the self awareness, self conscious, and allow to express of feelings "silently"

the small world lay i learn in CPPD i am trying to apply into my work with clients. I do not have the opportunity to choose what kind of clients, but i am open to do it with any referral (FOC). today, i received a case, 12 years old Indian girl, run away from home, mother would like to send her to social welfare girls home for behavior change. she had attempt to runaway at court, and the social officer able to notice her, and send her back to office. of course, court order can't be done today, and after the social welfare officer send her to office, they just abandoned her in a corner.
happend that today office under renovation, thus, they abandoned the children in my office.
i know i will never to meet v this girls again, thus, i decided to use story telling and integrate with play in sandtray.

i found it is helpful, to cooling down the girls, and make her release in her emotion. she cries and tell me that she do not want to go into institution, she want to run away. she do not likes to stay in the house, mother beat her, brother hit her, some one kick her, pull her hair ....
i am not sure whether the children is talking the truth or telling lies... but i am acknowledging her feeling of pain and reflecs on her statement.

anyway...
after attending this small world play module, i found that it;s really make me more opportunity to practice and develop the foundation skills of therapeutic play through the use of small world objects.

another things is, i try to apply the small world play concept on sand tray with one family, having the court order to fulfill the bon, actually my intention is would like the children and the father have positive communication, and i find the session is satisfy. the intractive component is worked. i believe the process of play will bring the positive integration and involment of the relationship between the client and the father.

the play is amazing... it's touch my feeling each time i am doing this.
from here.. i can see and feel of the 'magic' work by ordinary beings.
i really enjoy the process.......

Ethical Framework: SWP

Yesterday night having a 1st online TUOS, and happendly just would liketo sahre a story of a boy, and unaccidentally talk about the background of the boy,
indly, ALEX help remind of the confidentiality and remain client identity.

The ethics in Counselling and Psychotherapy is much much important to help maintain the identity or client's problem. As Counsellor or Psychology they assert they are skilled in helping others people with their personal problems, that they deserved to have licenced or certified by state ang Goverment thay have the right to fair payment for the helping profession. and To be responsible professional, the counsellor must show's it competency to intervention and bring good result for client. so, it is important that Ethics is apply in professional work.

i remember that when i am taking this Ethical Conduct, it's is crazyly to memorieze all the rules and regulation, doing case study with lecturer aboutwhat can be do, how things can be done, also if there is risk, or client do harm, shall a counsellor reveal the confidentiality, the limitation, the dual relationship and so on..... that's is student time, NOW, i am doing the real work, there is no more case study for my self... so, maintaining the client's profile, client's record, respect client's dignity will be my privillege. YET, in my workplace, it is hard to maintain as the needs to reveal to certain parties, like the Social Welfare officer who as Children Protector, the Police Department and also the bind by Court Order.

Looking at this part, i should be gain more awareness and consent on the duty to break. Today,
i am revising the Ethic in Counselling and Psychotherapy, standards, Research, and Emerging Issues (2nd Edt. by Elizabeth Reynolds Welfel), of ACA and APA codes of ethics. The ethics of both ACA and APA refer extensively to confidentiality, emphasizing is place at the foundation of professional behavior. yet, in Malaysia, there is Board of Counsellor who play the same role as screening role, and maintaining the qualification of the counsellor. and there is also a Counsellor Act 1998 [Act 580] and Regulations abide the counsellor who should registered.

Under sec. 3 Code of Conduct
(1) A registered counsellor shall abide by the Counsellor Act 1998 and perform his duties accordingly.
(2) In order to uphold and maintain the dignity, standing and reputation of a counsellor, a registered counsellor shall -
(a) always given priority to interest of his client and not exploit the client for his personal interest;
(b) respect the rights of the client to privacy and treat all information gathered during the counselling as confidential unless, in the opinion of the counselor, the information so gathereed is or is deemed to be detrimental to the client or others around him;
(c) protect the physical and psychological well being of his client;
(d) inform the client that the client is responsible for his own development and bahvior and that the registered counsellor shall respect all decisions made by the client thereafter
(e) explain to the client of the needs, processes and implications of the counselling service; and
(f) refer the client to a relevant specialist if the registered counsellor finds that the client requires expert service which is outside his own expertise.

(3) In regard to the responsibility of a registered counsellor towards his organization and employer, a registered counsellor -
(a) shall be responsible in explaining to his employer and organization the level of his expertise and efficiency in counselling;
(b) shall establish interpersonal relationships and working agreements with his supervisor and staff, with regards to the confidentiality of information received, differences in general and personal facts, work load and accountability as a counsellor; and
(c) shall subject himself to professional assessment by the Bpar from time to time

In the Small World Play,
we suggested that, jus based on the 6 principal of ethics framework will do. Small world play is something fun, to play, to make connection with reality environment of children and his unconscious emotion. while, anybody would do, if they received training 'as usual, grounds rules apply, and :-

1. Fidelity : honouring the trust placed in the practitioner
2. Autonomy: respect children's right to be self-governing - interests of the child are paramount
3. Beneficence: Promoting the children's well being
4. Non-Maleficence - Avoid Harming the client
5. Justice: fair impartial treatment, equitable access
6. Self-respect: Practitioner's self acknowledge and care for self

Below is the book published by Board of Counsellor Malaysia
The standard of practice Counsellor- Qualification and Training
Piawai dan Kelayakan Latihan KaunselorDisediakan oleh Jawatankuasa Teknikal Pendidikan dan Latihan Lembaga Kaunselor 2003

Counsellor (Registration And practising Certificate) regulations 1999
Peraturan-peraturan KaunselorKelakuan dan Tatatertib Pendaftaran dan Perakuan Amalan 1999


Counsellor Code of Conduct
Kod Etika Kaunselor



Counsellor Act 1998 (act 580) and regulations
Undang-Undang Malaysia
Akta Kaunselor 1998 (Akta 580)

Symbols and Symbolism from Alex

Today, i received email from Alex, regarding the symbols and symbolism documents. This is year 2006 CPPD program on the symbols and symbolism. To say that this will consider in preparing us to consult our ‘higher consciousnesses’ or ‘SELF’, are drawn from the Tarot decks.

i have no ideas about symbol, but somehow, in my work, i found that symbols is part of the things that i need to understand, for my own and also my clients.

i decided to google online and read out, what's the meaning of "SYMBOLs"

A symbol is something such as an object, picture, written word, sound, or particular mark that represents something else by association, resemblance, or convention. For example, a red octagon may stand for "STOP". On maps, crossed sabres may indicate a battlefield. Numerals are symbols for numbers.
All language consists of symbols. The word "cat" is not a cat, but represents the idea of a cat.
Psychology has found that people, and even animals, can respond to symbols as if they were the objects they represent. Pavlov's dogs salivated when they heard a sound which they associated with food, even if there was no food. Common psychological symbols include a gun to represent a penis or a tunnel to represent a vagina.[1] See: phallic symbol and yonic symbol.
The psychologist, Carl Jung, who studied archetypes, proposed an alternative definition of symbol, distinguishing it from the term "sign". In Jung's view, a sign stands for something known, as a word stands for its referent. He contrasted this with symbol, which he used to stand for something that is unknown and that cannot be made clear or precise. An example of a symbol in this sense is Christ as a symbol of the archetype called "self".[2]


from: http://en.wikipedia.org/wiki/Symbol


it let me think of ancient time, those old days, when language is not develop yet, people using symbols to record, to memorize, and to communicate with each other.



thinking again...

what kind of symbol i had ever seen in my daily life...
interestingly, i found that this symbol, is the symbols i had seen daily everywehere

it contain the religious, life, and when i see the picture, i definitely know, what's it's mean and how should i go
































i have some basic understanding on symbols and it's like a new page of knowledge to me.
hmm... interesting...
each of us carry different symbol in our daily life, i think by conscious and unconsciously, the symbol do make some meaning. yet, we can't judge the person who wear the symbols....

happend to find a website on symbols and religious, just have a look...
http://www.crossroad.to/Books/symbols1.html

making the small play kit b real?

the ideas of the small world play tools kit, actually is from priscilla
i think, she is really creative...
i used to see the art tool kis at the BORDER, or the Popular bookshop
is it possible to make the tools kit real?
haha...
really amazing...
it can be work.

people always start to do something with dreams
dreams motivated to go for reality and transform it to be

symbol journal article

just happened to find out that there is a list of article about symbol...

would like to know if any of u have this article/ journal?

if yes, do forward to me :)

Symbol Journal Articles

Following is a reference list prepared by Kay Bradway of specific material on symbols, which have appeared in the Journal of Sandplay Therapy. Back issues of the Journal may be ordered online.

Specific Symbols

• Bear
  "The White Bear: Friend or Foe," Janet Tatum, Vol. VIII, No. 2, 1999.
• Bones
  "Bones," Mary Townsley-Murray, Vol. V, No. 1, 1995.
• Cross
  "The Christa: Images of women on the cross," Randa C. Miranda Diamond, Vol. IV, No. 2, 1995.
  "The Shadow and the Cross," Estelle Weinrib, Vol. V, No. 2, 1996.
  "The San Damiano Crucifix in Sandplay: Invitation to individuation," Daniel C. Nelson, Vol. VIII, No. 2, 1999.
• Dreidel
  "The Dreidel as a Symbol," Liza J. Ravits, Vol. III, No. 1, 1993.
• Egg
  "Exploring the Egg: The creative center," Patricia Dunn-Fierstein, Vol. 2, No. 2, 1993.
• Fox
  "The Significance of the Hare in Reynard the Fox," Dora M. Kalff
  Vol. 1, No.2, 1992.
• Ganesa
  "Ganesa: Lord of Obstacles," Liza Ravitz, Vol. IV, No. 2, 1995.
• Hare
  "The Significance of the Hare in Reynard the Fox," Dora M. Kalff, Vol. 1, No. 2, 1992.
• Kuan Yin
  "Kuan Yin: A winter reverie," Joyce Camuyrana Cunningham, Vol. V, No. 1, 1995.
• Lighthouse
  "The Lighthouse," Carla Sharp, Vol. IX, No. 2, 2000.
• Mermaid
  "The Mermaid," Lois E. Gradwell, Vol. 1, No. 2, 1992.
• Mirror
  "On Moons and Mirrors," Sherry Renmu Shepherd, Vol. VIII, No. 2, 1999.
• Moon
  On Moons and Mirrors," Sherry Renmu Shepherd, Vol. VIII, No. 2, 1999.
  "Sun and Moon in Sandplay," Kay Bradway Vol. 1, No. 2, 1992.
• Mound
  "The Mound as Healing Image in Sandplay," Sachiko Reece, Vol. IV, No. 2, 1995.
• Octopus
  "Eros: The Way of the Octopus," Joyce Camuyrano Cunningham, Vol. VI, No. 1, 1997.
• Pelican
  "The Pelican," Audrey Punnett, Vol. XII, 1, 2003 (pp. 61-75).
• Rose
  "The Image of the Red Rose in Sandplay," Pratibha Eastwood, Vol. IV, No. 2, 199
• Seals
  "Creatures of Two Worlds: The clinical significance of seals in sandplay therapy," Darcey Ortolf, Vol. XI, 1, 2002. (pp. 93-108).
• Snake and Serpent
  "Snakes: Separation and Individuation," Joan Hoeberichts, Vol. XII, 1, 2003 (pp. 77-88).
  "Kundalini: The Serpent Energy," Elaine Molchanov, Vol. XI, 2, 2002 (pp. 91-101).
• Sun
  "Sun and Moon in Sandplay," Kay Bradway Vol. 1, No. 2, 1992.
• Tree
  "The Palm Tree," Claire Boers-Stoll, Vol. XIII, 1, 2004 (pp.109-115).
• Turtle
  "The Turtle: Symbol of ancient wisdom and new life," Susan Gillotti, Vol. XI, 1, 2002 (pp. 51-61).
• Umbrella
  "The Umbrella as Proprioceptive Defense in Sandplay Process: The liminal space between autistic shape and Autistic object," Barbara Waterman, Vol. XIII, 1, 2004 (pp. 91-106).
• Virgin of Guadalupe
  "Virgin of Guadalupe: Dark mother of the lost and forsaken," Maureen Wallace, Vol VII, 1, 1998.
• Well
  "A Drink at the Well," Janet Ross, Vol. VI, No. 1, 1997.
  "The Well: A symbol of our community," Joyce Camuyrano Cunningham, Vol. VI, No. 1, 1997.
• Whale
  "Images of the Whale in Sandplay: Women with issues of molestation," Mary Jane Markell, Vol. III, No. 2 1994.
• Wolf
  "The Wolf in Sandplay," Mariellen Griffith, Vol. V, No. 2, 1996. (also in Symbols On-Line, above)

General Symbols

• "Symbol Dictionary," Kay Bradway, Vol. 10, 1, 2001.
• "Before Reaching for the Symbols Dictionary," Betty Jackson, Vol. I, No. 1, 1991
• "So You Have to Write a Symbol Paper!" Barbara Weller, Vol. VI, No. 1, 1997.
• "Resonance on Symbol Papers," Pratibha S. Eastwood, Vol. VIII, No. 1, 1999.
• "Number or Structure: What Brings Symbolic Meaning Into Sandplay?" Wolfgang Everling, Vol. IX, No. 2, 2000.

Journal of Sandplay Therapy, 1991-2004 (No. 1) Kay Bradway, 2004

Small pLay for Big eFFecT

actually i was been assigned to send an invitation to Alex...
so, i didn't do much, just send out the card for him. our group do not want to delay it anymore, as we feel that it's time to closed the session :P
the initial date proposed is on 4th July 2009; 8.30 pm online, and 2ndly on 5th july 2009 after the groups at Disted College.
finally, we menage to get the permission from Alex and do this, thanks Alex, and all...


haiya~~~ finally done!
today i am so nervous, while doing the presentation on this Small World Play Cook book!!
it's really hot, and spicy

it's not first time i am doing presentation.
i used to do the presentation when i am in unversity, in my work place, i even conduct some training program/ or deliver a teaching psychoeducational group in previous jobs. In current jobs, it's also need me to do the public speaking or do some talk.

somehow, the nervous, the anxiety attacking me...
hai~~
so hard, and though is tough, but manage to do the presentation.
Thank you all the team members for giving me a lot of support and also ack me up at the end.
The question that asked by Elaine, Alex and DANIEL
really make me thought of the possibility and limitations on small world play.
how can it be, and how true can it be carry out?
there is some weaknesses somehow, but, this cook book is a sharing and also some guidelines on teaching and sharing of experience, that equip the front line worker with basic play skills, basic fundamental therapeutic skills to work with children.

hai~~ so sayang..
all the team mate didn't take a "family photo"....

PIAGETIAN STAGES IN CHILDREN 'S SAND PLAY

JONES (1986)
The results of this study established a body of evidence that supported the assumption that the structure of children's creative expression in Sandplay is consistent with Piaget's principles and chronological stages of cognitive development. structural complexcity of the sand worlds increased with age in accordance with Piaget's developmental sequences.

Observing sand worlds of children, who fell within Piaget's developmental stages, Jones found as follows:

Stage I (0-1 years)

1. No evidence of a world view or a cohesive perspective, parts, and themes are scattered and fragmentary.
   
2. Worlds extend beyond the boundaries of the tray, few figures (25 percent or less are within the tray)
3. Figures are placed side-by-side, while orientation is unintentional
4. Llittle sense of focus or physical co-ordination, resulting in figures that are heaped and scattered across the room as well as the tray.
5. Relationship between figues is "bizzare" and highly subjective"
6. Sand is dropped and thrown inside and outside the tray - figures are plunged in and out of it.
   
7. No boundaries are created within the tray by grouping of figures

Stage II (2-4 years)

1. There is an emerging sense of perspective with the sand world in which momentary situations and partial connections are depicited. However, there is still a chaotic missing figures.
2. Most of the figres are placed within the boundaries of the tray, but often figures are also placed outside. Most of the tray is generally used in this stage, but it is not uncommon to have only part of the tray used as well
3. Use of orientation of figures maybe either intentional or unintentional, depending upon involvement in simple dramaitc play
4. sand is used primarily for burying and unburying figures, which may result in a vague sense of boundarythrough this simple dramatic play
5. Although figures are not used explicitly to create boundaries, boundaries may appear without apparent intention.
   

Stage III (5-7 years)

1. There is sense of a partial constuctions that is neither entiely global nor diffuse and that reflects the beginnings of various relationships
2. The sand world is generally created within the boundaries of the tray, occupying between 91 percent to 100 percent of the tray
3. Two figures are deliberately oriented as well as interpersonally and functioanally related.
4. when there are more than two figures, dramatic grouping is a simple one (such as two witches around a cauldron)
5. Dramatic action between figures is clear through placement, action and relationship between figures
6. sand is used to create permanent structures and clear, though diffuse boundaries, even though somewhat diffuse
7. Boundaries created by figures are simple ones (such as baby animals grouped together with mothers nearby)

Stage IV (8-12 years)

1. There is a coherent world view, often with a single concrete theme, which brings together simple part. objects are grouped in meaningful relationships that include a sense of symmetry (such as a holiday theme, without the complexity and richness that older children and adults might include)
2. The figures are entirely within tray and 91 to 100 percent of the tray is used
3. The orientation of the figures is intentional and scale and placement become important
4. some dramatic play still remains, usually centring around the c0-operation between figures
5. There is increased complexity of classification, in which, for example, human neighbourhoods are clearly potrayed
6. There is some simple and construction, although sand is generally left untouched
7. Either boundaries are defined by figures that are somewhat clear or there are no boundary figures present.

Stages V (13 - 18 years)

1. symbolic as well as realistic worlds are formed, characterised by : (a) a single themes, encompassing comples parts that may be completely integrated; (b) an abstract theme, uniting seemingly unrelated figures; or (c) a single clear theme with parts exhibiting interdependence and integration
2. The figures are entirely within the tray and 91 to 100 percent of the tray is used
3. Intentional orientation of figures is clear - figures are altered (placed in seated or prone positions to increase the drama, for examples) and bridges over water are used
   
4. No dramatic play is used; groups of figures are complexly organised in a creative way to show dramatic movement
   
5. Figures displaying the human community are clearly established or an integrated, lone figures may be used
   
6. sand is extensively used to create land and water forms as well as boundaries
7. Boundaries are also created by well co-ordinated groupings of miniature, which may relate to a compplex world.

http://books.google.com.my/books?id=Opm_JcRWSxwC&pg=PA91&lpg=PA91&dq=Jones+1986+piagetian+stages+in+children%27s+sand+play&source=bl&ots=Jpq_mjoSSB&sig=CY7DuoEhYlrLgvW_zFsYGc_CbiY&hl=en&ei=Hr9QSp-ON4P-tQOxzfCqDQ&sa=X&oi=book_result&ct=result&resnum=1

online discussion 2.7.09

o.. this round really amazing. each of the members play vital role to make this happends
and Crystal make her own effort to do so..
a gratitude for her for able to make herself to join this.

cheng had make herself able to convey in "sound", no more text....
so good...

i think, we can submit this in short while.
the cook book in hot, and it's ready to be serve .......soon

Categories of Toys:

Categories of Toys: include some of each category for a well-rounded selection

LIVING CREATURES
ordinary man, woman, child
soldiers from at least two different armies
entertainers, dancers, circus, sports figures, etc.
people from the historical past: knights, cowboys and Indians, etc.
people from different races and cultures
animals — domestic and wild
animals from the past — prehistoric

FANTASY/FOLKLORE
Cartoon characters — Disney, Smurf, my little pony etc.
Comic Book.. characters — Batman, Superman, Wonder Woman
Educational— Sesame Street, Muppets, etc.
Other world- — Space creatures and explorers
Monsters — all kinds, vampires to the Hulk, witches, Godzilla, etc.
MODERN MYTHS — Hero vs. Villain themes ( choose a few collections)
Star Wars collection
Masters of the Universe collection
GI Joe collection
Transformers, Robots, etc.
Note: new series are coming out all the time

STORY BOOK CHARACTERS
The Wizard Of Oz, etc.
Fairy Tales Characters — Little Red Riding Hood, Snow White, etc.

STRUCTURES & LANDSCAPE
houses, castles, fire stations, gas stations, etc
blocks which can be put together to represent structures fences, stone wall imitations, etc.
trees, bushes, flowers and plants of many varieties

TRANSPORTATION
bridges or blocks which can be used for a bridge or overpass cars, trucks, trains, planes
road equipment, farm equipment, police cars and helicopters transportation signals (stop. signs, etc)
school desks or equipment
hospital equipment, beds, nurses, stretchers, etc.

TRANSPERSONAL IMAGES
from Nature — shells, rocks, crystals, wood
from Archetypal images of fire, water, earth, air etc.
from Myths and Books — wizards with wands or crystals, wise man or woman with crystals, animals with crystals i.e. Unicorn, Pegasus, etc.
from fantasy stories - Merlin, King Arthur, Yoda from Star Wars, etc
from Archetypal Material: mandalas, circles, sacred stones, and sacred images in general.
any image can be Transpersonal from the perspective of the maker.

Lowenfeld on SandPlay

as now adays we perceive, the sand play can be divided into 2 mainstream. the first category is by Lowenfeld, and the 2nd is by Dora kaff.

Sandplay, Sand Tray Therapy, The World Technique are all names given to a non-verbal therapeutic tool developed by Dr. Margaret Lowenfeld in London, England in the 1920’s.

Today the term Sandplay is most widely used to denote this method of the use of sand and water in a tray in which toys or miniatures are placed.

The scene or "world" gives both the maker and therapist a sense of what is going on intra-psychically.

Lowenfeld began her training as a pediatrician and while engaged in research on infant feeding and the problems of child care she began to make observations which led her to recognize the significance of children’s play.

In 1928 she founded a Children’s Clinic for the treatment and Study of Nervous and Difficult Children. It was here that Lowenfeld developed a research and therapeutically oriented approach to child psychiatry and to develop "toys for reading a child’s mind" or The World Technique. The story is told that Lowenfeld placed a sample of toys before a child client who cried out in excitement, "Caw Mam, it’s a whole world to play with".



Transpersonal Sandplay Therapy Center
Sandplay, Sand Tray Therapy, The World Technique are all names given to a non-verbal therapeutic tool developed by Dr. Margaret Lowenfeld in London, England in the 1920’s. Today the term Sandplay is most widely used to denote this method of the use of sand and water in a tray in which toys or miniatures are placed. The scene or "world" gives both the maker and therapist a sense of what is going on intra-psychically. Lowenfeld began her training as a pediatrician and while engaged in research on infant feeding and the problems of child care she began to make observations which led her to recognize the significance of children’s play. In 1928 she founded a Children’s Clinic for the treatment and Study of Nervous and Difficult Children. It was here that Lowenfeld developed a research and therapeutically oriented approach to child psychiatry and to develop "toys for reading a child’s mind" or The World Technique. The story is told that Lowenfeld placed a sample of toys before a child client who cried out in excitement, "Caw Mam, it’s a whole world to play with".

In 1931 Lowenfeld’s clinic moved to a new premises in order to accommodate the ever increasing demand for child psychiatry and its name was changed to the Institute of Child Psychology. By 1935 she and her colleagues had opened the first child psychotherapy training program in England. Also that year Lowenfeld published her theoretical ideas on play entitled, "Play In Childhood", still considered a classic text on the subject. Lowenfeld saw in her unique therapy technique that play is a cognitive process which gives the therapist access to the ways in which children think.