The Oaklander Method: Learning Gestalt for Children and Adolescents through Games and Art

Peter Mortola

The main theoretical orientation of Violet regarding her therapeutic work with children and
Adolescents is the theory of Gestalt therapy (Persl et al., 2002). It is a unique approach.
due to his firm and deep belief in the fundamental role that an authentic relationship has
in the therapeutic process "p.3." If there is no what Violet calls 'a thread of relationship' between
The child and the therapist, no therapeutic work can occur." p.3 Understands the relationship
based on Martin Buber's (1969) description of the I/You relationship, in which two
individuals establish a peer relationship and remain open to what the
‘I can offer an encounter’ p.3. ‘As Buber states: ‘All true life is encounter’’ p.4.
It is not useful to assume the role of "expert." The workshop leader must be themselves, and this way the children will be able to.
to be themselves. Violet has formulated a unique perspective that places the relationship between the
therapist and the child at the center of the therapeutic process” p.5.
As she says, "work to strengthen the self, not to control or manipulate it."
this way, their approach reflects 'a deep faith in the innate struggle of every person for the
growth and fullness (Wheeler, 2005a) p.6.

Chapter 1.
First day: Monday–Build a relationship

Why do children go to therapy?

Violet believes that her reasons are linked to sensory experience or lack thereof.
this.
The first problem is related to what 'Violet' calls 'inability to establish a good
contact' or the 'ability to be completely present in a situation, using
all the modalities and senses of the organism to do so: sight, touch, taste, the
hearing and smell p.17
The second basic problem associated with contact is a decrease in the sense of self.
caused by a blockage of one's own emotional and sensory experience" p.17.

Violet states: Anything that takes a child to therapy relates to some form
of lack of communication or disconnection. When I say that children disconnect, I mean
to move away from their ability to connect with their needs and the resources in
your environment to meet such needs.

Violet suggests that the therapist's job is to unblock emotions and help children to
to reconnect with their emotions, body, and their natural ability to face the
life

It is based on the notion of the Gestalt therapy called 'organismic self-regulation'. 'It is the
natural capacity of the organism to maintain balance through awareness of and
pay attention to your own needs. 'This self-regulation makes you feel relaxed,
just like after a good cry" p.18

Therapists can help them establish better contact with their process.
self-regulation reconnecting with all aspects of their organism: their
sensations, emotions and thoughts" p.18.
The exercise of drawing a house, tree, and person is used not to interpret what is drawn.
the child, but to "build a relationship and help children make affirmations about themselves"
mismos” p.20. “Los niños descubren los significados de sus propios dibujos” p.21.

Reflective notes on the first day

Role of the relationship

The importance of creating a non-hierarchical relationship with patients is emphasized.

practices that facilitate it, such as sitting in a circle with them, making jokes about oneself, carrying
casual clothing, etc... That must be contained within an environment of clear rules and limits.
personal and professional.

Chapter 2.
Second day: Tuesday - Establish contact

Examples with children: drawing house-tree-person

Based on the examples of exercises done by children, Violet emphasizes that "the goal of
These drawings are for the child to start communicating with me. I don't use them as a tool.
interpretative, but rather to make a connection” p.28

It speaks about the gestalt concept of 'contact and withdrawal' to refer to the fact that if a child reaches ...
being very uncomfortable with the contact generated thanks to exercise, one must take a step
back. "All organisms, at certain times, must establish contact with
its environment to meet their needs, but also interrupt contact" p.30.
It relates to the sleep-wake pattern and the need for social contact and solitude.

A central concept is that of projection. "When having the opportunity to draw playfully or
create something with imagination, adults and children will project something meaningful from their own
experience in those who create” p.30.

The working relationship

"I have the responsibility to meet the child at their level (in an abstract way and "
concrete), respect its rhythm, be present and in touch, be authentic and consistent (not
manipulative and false, or playing a role), honor and respect the child and the parents
as worthy human beings, with rights (and not to judge them or feel superior), to respect
my own limits and expose them clearly" p.31.

Contact and relationship

The ideal contact is to have your entire being present in a situation: your senses, body,
emotions and intellect. By establishing good contact, she says, we are able to use
all these aspects of being to face the environment and satisfy our needs
p.33

Self-support means that I feel strong enough to face difficulties.

internal and external and assertive enough to resolve conflicts. Self-support is
necessary for the child to progress in the work of continuing to establish good contact
As more difficult topics arise in therapy.” p.34
Reflective notes on the second day

First, set a relaxed tone where fun and laughter with honored guests
p.43
Secondly, create a safe environment that encourages playful risks. The work of
Violet with children and adults revolves around a series of playful excursions that are carried out.
within the safe and welcoming environment that she creates when interacting with them.
The mediums are playful, for example, crayons and pastels.

Another way to see what Violet is doing through these playful approaches is that
promotes the expression of the sensory, imaginative, and emotional aspects of being. Such
expression and integration are not easily supported when approached only through
words, without having first established a rich context or experiential base. Through their
playful and experiential approach, Violet invites those she works with to bring more of themselves
"the same in the present in a safe way" p.45.

This can be related to what game theorists write (Piaget, 1961; Vygotsky, 1995)
about the importance of play: it involves the willingness to enter into an experience 'as if'.
The result "can the experience of an 'expanded sense of being'" p.46, which is linked to
what Violet defines as achieving feelings of self-support.

The topic of conversation

(…) young or old, we seem more willing to enter the risky 'state of play'
Yes, we can do it by talking through a topic of conversation, and not directly about.
"ourselves" p.47. "Thus, the topic of conversation becomes a kind of
mediator resources, a kind of scaffolding, through which the individual can feel
supported and strengthened. By not confronting the people she works with, Violet provides them
the security that allows them to go a little further and take risks in self-disclosure” p.48.

Paradoxically, as the focus shifts away from the individual and delves into the subject of
conversation, that person reveals more about themselves than in a face-to-face conversation.
method p.49.

Chapter 3.
Third day: Wednesday - Experiencing the Self

Work on oneself

Here it develops what it really means to do therapeutic work that increases

sense of self. It asserts that this is achieved through experiences that involve the
senses, the body, domain, options, self-affirmations and matters related to power and the
control p.52.

She uses different playful materials (objects with various textures, fragrances, sound objects)
to stimulate the senses. For the body, use pantomime (guess the action that is being performed
representing). Affirmations can be reaffirmed with "The Book of Questions"
(Stock, 1988).

Violet explains that the essence of working on oneself is that children learn and integrate.
more things about themselves and increase their sense of self in the process. This allows them to
Establish a better connection with others and their environment. 'A greater sense of self.
help the child expand their boundaries,' she says. So that children strengthen their sense
From them, they can also be helped to identify things they excel at (e.g., reading, playing)
volleyball or making friends) and things they can choose (e.g., friends, belonging groups,
etc.).”p.55.

Violet says that a therapist can also help children increase their sense.
of themselves giving them a certain feeling of power or control in the session" p.55 For example,
choose which material they are going to work with.

Oaklander therapeutic process

Establish a relationship
Work with the contact
Strengthening the self (working on oneself)
Work of aggressive energy
Emotional expression
Self-care work
Confront persistent problems
Closure and completion
Figure 5 p.56.

Reflective notes on the third day

Structure of the workshops and therapy

In the early days of the program, Violeta works to establish a relationship of

trust of the 'I/You' type, so it uses more harmless experiences that require less.
personal revelations. A kind of warm-up that helps to
establish the relationship. On the second and third day, the experiences are more challenging.

Violeta introduces people at work before urging them to experience events.

deeper and more challenging.

Structure of the therapeutic experiences Oaklander

The author acknowledges that in Oaklander's therapeutic experiences there are four steps that
they are repeated in working with children and adults.

1. Imaginative experience: 'Imagine it...'

2. Sensory expression: 'Do it, draw it...'
3. Narrative and metaphorical description: 'I know that...'
4. Significant expression: 'Does it fit you?...'

These experiences are based on childhood strengths (imagination and artistic expression)
based on the sensory.

Violet's theoretical stance is that every conversation topic created, whether it be a drawing
The safe place or a clay figure will necessarily reflect something of its author. Also
he believes that when he gets clients to start talking about his creation, they cannot
avoid describing it in terms that reflect your own ideas, feelings, thoughts and
experiences. This is the concept of 'projection' (Freud, 1953, 1957) in action" p.77.

Chapter 4.
Fourth day: Thursday–Working with aggressive energy and anger

Working with aggressive energy

We are always using aggressive energy, like when I bite into an apple. From the
on the contrary, we could never satisfy our needs" p.92. "Proceed to define the
aggressive energy, from a positive perspective, as a natural form of energy that they use
all organisms to meet their needs in the environment where they live.
In order to provide a therapeutic container to practice the healthy expression of energy
aggressive, Violet sets four conditions:
Aggressive energy work must be done in close contact with the therapist.
The work must be done in a safe container or boundary where the child knows that
The therapist will not let you lose control.
3. The expression of aggressive energy must be exaggerated.
4. Working with aggressive energy should be entertaining and not intimidating.
Violet says that these conditions help the child face worries and fears with
regarding a verse overwhelmed by aggressive impulses, or embarrassed by expressing them
p.92.

It is not the same to work with anger as it is to work with aggressive energy. Aggressive energy may not
being related to a specific content of rage. For example, hitting with all the
you force a piece of clay "helps that child feel and express aggressive energy.
It allows you to feel more of yourself, have a better perception of yourself and your
capacities. Such perception provides the self-support necessary to face and express
other difficult feelings such as pain and anger. Thus, working with aggressive energy
it lays the groundwork for deeper emotional explorations, but it does not relate to
specific themes or contents p.93

It is about providing a safe place for the child to experience their power.

Working with anger

The expression of anger often frightens children. "But at its root, anger is merely
"expression of the self" p.95. "Anger, he adds, is the way the self makes it clear that it has
"crossed a line." There is a difference between everyday anger (irritations and annoyances of the day
a day) and rage as an unresolved matter (unresolved facts from the past, such as abuse or
abandonment). Provide examples of exercises to address both angers (p.95-104)

Chapter 5.
Fifth day: Friday–Musical experience

Give two examples of expressive work with instruments

1.- Musical dialogue. One person picks up an instrument and plays for a few seconds,
the other person takes another instrument and they play together for a few seconds. The first person
stop playing, letting the second one play alone. Until the first person chooses another
instrument and accompanies it, and so on.
2.-Represent moods with instruments. "This exercise helps them to differentiate
better their emotional states and expand their expressive repertoire" p.115.
3.- Group exercise. 6 people sit in a circle and each chooses two instruments.
after having tried them all. When indicated, a person begins to make a
sound (it should not maintain rhythm or melody) and the rest will come together when I feel it.

Reflective notes on the fifth day

(...) the way Violet works with children in therapy: first, she focuses on establishing
contact and build a relationship with the child before addressing areas of distress in their life.
The self-support that a child achieves by establishing good contact with themselves and with the
therapist is used to address more difficult personal issues” p.120.

The intensity at work is increasing, however, he/she is always checking on the

children and adults before continuing with a deeper job. "Thus, although Violet helps with
many ways to create an environment free of expectations and demands with children and adults,
it also offers those people opportunities to increase or decrease the intensity of their
experience at the right moments p.122.

Imaginative experience: facilitating engagement

Highlight the importance and role of images and details. Cite Tannen (1989): "The
details create images, images create scenes and scenes awaken emotions,
allowing understanding and involvement...ideas are communicated largely to
through the creation of a shared world of images, achieving understanding
(p.135) p.123.

The images that Violet asks her students to visualize and express constitute the
essence of therapeutic experiences. Example: the yellow bed drawn by a student
It made her reflect on the support she perceives from her stepmother.
In therapeutic experiences, it is these images that become the themes of
conversation.

These simple images begin from the imagination and are expressed through a
sensory medium such as paper, clay or musical instruments. They form the basis of the
Therapeutic experiences of Violet often lead to rich stories and metaphors that
they help children and adults better understand themselves and their world” p.124.

These images are powerful when they come from the same person.
They must be interpreted or evaluated only by their creator.
Adults who work with children should have the experience of creating such images.
to truly understand its power and relevance

Chapter 6.
Sixth day: Monday - Sand tray day

This exercise has multiple uses and is analyzed from different levels:
The overall appearance of the tray (ordered or chaotic)
The process by which the child works (slow, detail-oriented, etc...)
The 'level of making sense' in response to questions like 'talk to me about your scene'
Recognition of any of the projections that may have been presented before
questions like 'is there anything here that reminds you of yourself or your life?'

Like in the other exercises, Violet asks people to speak like each figurine.
what was installed in the tray scene.
Reflective notes on the sixth day

Sensory expression: stimulate activity

It is reflected that the means used by Violet have been a tool of expression.
that has accompanied all the cultures of the world for thousands of years. However,
there is a dismissive attitude towards these media in applied psychology. They are based instead
in drugs than in puppets or clay.

I am also convinced that the participants' practical experiences with

these expressive and creative means are what help to revive something deep and vital in them
p.142.

By incorporating sensory activities into therapy, Violet helps children regain a strong
sense of self by allowing them to have an experience of themselves” p.144.

Give metaphorical meaning: to borrow the meaning

Metaphors serve to transfer the created image and apply it to personal life.
Metaphor has the same Greek root (ferry) as transfer, and means to transfer or to pass on.
Metaphors make us feel things because they are charged with emotion based on
something familiar that we already feel, and also for being composed of images and ideas
strange things that don't make sense immediately.

Violet helps children "(...) to enter the emotional world of giving metaphorical meaning. To
doing this helps make the experience of the adult or the child emotional. In other
words invite you to have an emotional experience and then work to address those
emotions and integrate them with their other thoughts, feelings, and experiences. Thus, the
The use of metaphor in Violet's work supports one of the main objectives of her
therapy approach: helping children to 'become more whole' by becoming more aware of their
emotions and integrate them with the rest of their broader self.

On page 147, it explores aspects of Gestalt therapy, in case I am ever interested.

investigate further.

Cite Lakoff and Johnson (1986) in their book 'Metaphors We Live By': "It is as if
understand the experience through metaphor outside as a sense, like sight, the
touch or hearing; as if metaphors were the only way to perceive and experience
large part of the world p.147.

Chapter 7.
Seventh day: Tuesday - Stories, metaphors, and puppets

Give examples of exercises that can be done by combining storytelling, the

puppet functions and metaphors in the therapeutic process. "In essence, says Violet,
stories that serve as metaphors for children's experiences help them feel
that these are understood and ratified" p.160.
Demonstration with an adult: Lark and the medicinal cards

It shows a narrative and metaphorical technique that resembles a lot to an exercise that
we perform. Use tarot cards 'The medicinal wheel'. Each card has a drawing of
animals, insects, and birds of the spiritual tradition of Native American tribes.
There is a book that describes the customs and habitat of each animal. She asks to choose one.
letter that represents who you are now
Who would you like to be in the future. p.163.

She delves deeper than us when asking questions about the selection. Additionally, she has more
subsequent steps “(...) the next step would be for you to make a drawing with those three figures”
(...) the interesting thing is to observe the drawing and make the animals talk to each other, and
you would be each one of them, and see where you place them, how close or how far

It also describes the 'mutual storytelling technique' with an example. It asks the child to speak.
as a guest at the story station. The narration must have a beginning, development, and conclusion.
She begins, 'Once upon a time, a long time ago...' and the boy continues, 'a shark that
"ate some people", he asks her to tell him more about this shark, and then she continues.
weaving a story that metaphorically refers to the child's experiences in life
real. p.165.

Reflective notes on the seventh day

Reflect on the importance of stories in Violet's work. She found out about
theme and discovered that narrative is a broad field of study in different disciplines.
In recent times, narrative studies have become key for many
humanities researchers, in particular, learn about the way in which the
people understand their life and build their identity, as individuals and social beings” p.168.
In this way, I want to highlight how the narrative aspect of Therapeutic Experiences
of Violet (along with aspects that involve imagination, sensory expression and
metaphors) serve an essential function in their work: to help children and adults to give
sense to previous or current problems in their experience and reach a new understanding
about themselves and their world” p.169.
(...) no story is told separately, and how we tell it depends
who is listening and what is their response” p.172. “Thus, stories are often the
'co-construction' of the narrator and a trusted listener” p.173.

Links Gestalt theory to narrative theory. In Gestalt theory, "(...) the images
loaded with emotion that are created with various means allow issues
unfinished issues come to the forefront and people address them (...)” p.173. This same
what function stories fulfill in narrative theory. “Therefore, stories are told
to close something in our past and thus be able to move towards the present and the future,
understanding better who we are and what we are

Chapter 8.
Eighth day: Wednesday - Practice day

Violet suggests that much of what she does includes fantasy. She considers it to be
it's important to learn to go along with fantasy because if I '... let myself be carried away and I
I allow myself to imagine these things, I return to myself, they are always projections.
projection. So, ironically, fantasy gives us access to our own
"real experience" p.180.

On page 184 there is a transcription of an interview with Violet about the history and
to become of his method.

Chapter 9.
Ninth day: Thursday - Self-care work

They do an exercise based on the book 'Demons' by Randy La Chapelle (1975) that has
cartoons of demons. Quote from the preface: "I think we take ourselves too seriously
our demons. They are serious business, but that doesn't mean our view of them has to
Why be so gloomy. In fact, such an attitude seems to make them reproduce more.” p.193.
The exercise consists of drawing our demons.
This is the instruction: “I know we all have several demons, this is why I want you to
think of one of them. It could be a part of yourselves that you dislike or that
sometimes it bothers them. It doesn't have to be so horrible or bad, but still something that
they would prefer not to have. It could be one of these things or another that they think of. They can draw
Your demon using the style of the book or however you like. It can be very abstract, just
colors and shapes. I repeat: it doesn't have to be artistic. And it doesn't have to be as smart as
theirs. Just express your own demon using whatever you want. Then give it a
Write your name on your paper. That is what I would like you to do now." p.193.
They represent them with pantomime.

Give an example of a job with a child that a demon did and when he talked to his.
the demon told him that he hated him because he always broke things and was clumsy. And he himself
it links to him, he has hurt himself and feels clumsy. Violet takes a fairy godmother puppet and
ask the boy 'what nice thing could this fairy godmother say about you?', he answers
‘Although I make many mistakes, at least I try new things.’ p.195.

Violet says that one of the objectives of this type is 'to help children understand that it is
well be kind to yourselves'. Such demons, he explains, are the result of introjects
early negatives or negative messages about the self that occurred early on
age. The self-care work is designed to tackle in a very proactive way
these negative introjects

In general, follow these steps: it is about 'differentiating' the demon by drawing it and talking.
as if they were the devil; it is about identifying how long it has been
wandering and the age the child was when he appeared. Then, he tries to get the children to
They speak at that age with the most compassionate voice of a fairy godmother character.
When giving an example of work with a disabled girl, recommend the book 'My Friend'
the Sauce” (Mills, 2008) p.199.

Reflective notes on the ninth day

What lies in Violet's work is multiply complex: its rooting in theory

from Gestalt therapy; its continuous and fundamental respect for the I/You relationship; its capacity
to give their clients the freedom to 'have no expectations' in their work with her; their
willingness to get deeply and openly involved in the game: their remarkable faith in the
processes of contact and organismic self-regulation that allows it to 'let the work be
develop instead of anxiously pressing for something to happen
It is considered more of an art than a technique, in the sense that it has created its own
method based on the different theoretical incentives. It has been very creative in the way in
that developed her method. "So, a fundamental lesson in Violet's approach is
It's important to apply your own personality, style, and creativity to this challenging work, and not
just follow a recipe to do therapy” p.204.

Take a photo of page 206, 209, and 210.

Chapter 10.
Tenth day: Friday – Closing activities

Violet asks them to draw how their experience in the training was and then everyone
they share.

Program closing

Violet reads a Dr. Seuss book 'Oh, the Places You'll Go' that talks about finishing the
studies and launch into life full of ideas and enthusiasm. Also read 'A Fairy Went A-
Marketing" (Fyleman, 1992) that talks about letting go and releasing. Words are dedicated among everyone.

They do a closing exercise where each one chooses a musical instrument.

Violet starts playing, and after about a minute, the person sitting over there will continue.
After playing together for a while, a third participant will join. This will continue until everyone is present.
playing together. Then, at a certain moment, she will stop playing, and after a few
minutes, it will be done by the person sitting next to her, and so on until silence.

In the epilogue p.225, it discusses the intercultural relevance of the method applied in South Africa.