SANDPLAY—SILENT WORKSHOP OF THE PSYCHE

Sandplay is a growing field of interest for Jungian and other psychotherapists. Sandplay—Silent
Workshop of the Psyche by Kay Bradway and Barbara McCoard provides an introduction to
sandplay as well as extensive new material for those already using this form of therapy. Based
on the authors’ wide-ranging clinical work, it includes in-depth discussion of sandplay
processes with material from a wide range of clients, both adults and children. These case
studies are extensively documented with over ninety illustrations in black and white and color.
There is an examination of symbols they have researched and collected in their work and a
discussion of the use of symbolic concepts in sandplay.
Clearly written and soundly based in theory, this book provides a historical background for
understanding sandplay and notes on the establishment of sandplay as an international
therapy. The text goes on to discuss how sandplay works in practice.
Kay Bradway and Barbara McCoard bring their indispensable personal experience of clinical
and seminar work to the subject. They stress the healing potential of sandplay throughout and
reflect on the nature of a therapy where the psyche works largely in silence.
Kay Bradway is a Jungian analyst and founding member of the C.G.Jung Institute of San
Francisco, the International Society for Sandplay Therapy and of Sandplay Therapists of
America. Barbara McCoard is a Jungian-oriented psychiatrist in private practice and a
consulting editor of the Journal of Sandplay Therapy.
SANDPLAY—SILENT WORKSHOP
OF THE PSYCHE

Kay Bradway and Barbara McCoard

London and New York

 First published 1997
by Routledge
11 New Fetter Lane, London EC4P 4EE
Simultaneously published in the USA and Canada
by Routledge
29 West 35th Street, New York, NY 10001
Routledge is an imprint of the Taylor & Francis Group
This edition published in the Taylor & Francis e-Library, 2005.
“To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”
© 1997 Kay Bradway and Barbara McCoard
All rights reserved. No part of this book may be reprinted
or reproduced or utilized in any form or by any electronic,
mechanical, or other means, now known or hereafter
invented, including photocopying and recording, or in any
information storage or retrieval system, without permission
in writing from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloguing in Publication Data
Bradway, Kay
Sandplay: silent workshop of the psyche/Kay Bradway and Barbara McCoard.
Includes bibliographical references and index.
1. Sandplay—Therapeutic use. 2. Sandplay—Therapeutic use—Case studies.
McCoard, Barbara 1944- II. Title.
RC489.S25B73 1997
616.89´165–dc20 96–16802

ISBN 0-203-97757-2 Master e-book ISBN

ISBN 0-415-15074-4(hbk)
0-415-15075-2(pbk)
 Contents

List of plates vi
List of figures vii
Foreword ix
Preface x
Acknowledgements xii

Introduction 1

Part I Background and reflections 3

1 Introduction to background and reflections 5
2 What makes sandplay work? 7
3 Beginnings 11
4 Comparison of three authors 15
5 Jungian analysis and sandplay 27
6 Co-transference 31
7 Rorschach and Rogers 35
8 Expression vs. experience 37
9 Judging 39
10 Sandplay appreciation 41
11 The fourfold base: freedom, protection, empathy and trust 43
12 Sandplay language 45
13 On interpretation 49
14 Sandplay is meant for healing 51
15 How I do it 53
16 Some essentials 57
17 Sandplay with children and adults 59
 v

18 Understanding and interpretation 61

19 Levels, stages, sequences and themes 63

Part II Symbol studies 71

20 Introduction to symbol studies 73
21 Turtles and transitional objects 75
22 Bridges and the transcendent function 93
23 Toriis and transformation 101
24 Sun and moon 109
25 Hestia and Athena 111
26 Developmental stages in the sandplay of children 119

Part III Individual cases 125

27 Introduction to individual cases 127
28 Kathy: self-healing in the sandtray 129
29 Jim: the development of the masculine 139
30 Ida: a woman’s individuation through sandplay 143
31 Ilsa: a journey in five trays 155
32 Irene: from sandplay into life 163
33 Rhoda: seeking the spiritual 167
34 Ursula: ten trays in fifteen years 175
35 Amy: feeling trapped, feeling angry, feeling strong, feeling free 183
36 Emmy: the co-transference 195
37 Debbie: preparing to die 203

Appendix 213
What I look for in final case reports 215
Lines from Kay 217
Bibliography 219
Index 223
 List of plates

Plate Discussion
1 Chapter 21
2 Chapter 21
3 Chapter 21
4 Chapters 2134
5 Chapter 21
6 Chapter 21
7 Chapter 33
8 C hapter 33
9 Chapter 33
10 Chapter 33
11 Chapter 33
12 Chapter 23
13 Chapter 37
14 Chapter 37
15 Chapter 37
16 Chapter 37
17 Chapter 37
18 Chapter 37
19 Chapter 37
20 Chapter 37
21 Chapter 37
22 Chapter 37
23 Chapter 37
24 Chapter 37
 List of figures

3.1 13
22.1 94
22.2 95
22.3 97
22.4 97
22.5 97
22.6 98
22.7 99
22.8 100
23.1 102
23.2 103
23.3 103
23.4 104
23.5 105
23.6 105
23.7 106
23.8 106
26.1 120
26.2 121
26.3 122
26.4 123
28.1 131
28.2 131
28.3 132
28.4 133
28.5 133
28.6 134
28.7 135
28.8 136
28.9 136
28.10 137
29.1 141
30.1 144
30.2 144
30.3 145
30.4 146
30.5 148
viii

30.6 149
30.7 149
30.8 150
30.9 151
30.10 151
30.11 151
31.1 156
31.2 157
31.3 158
31.4 159
31.5 160
32.1 164
32.2 164
34.1 176
34.2 177
34.3 178
34.4 178
34.5 178
34.6 180
34.7 181
35.1 184
35.2 187
35.3 189
35.4 190
35.5 193
36.1 196
36.2 196
36.3 197
36.4 198
36.5 199
36.6 200
 Foreword

This book is about a healing process—more specifically, about a way Kay Bradway has found
in sandplay to contain and further the process of her clients. What makes this book stand apart
from so many others in humanistic psychology that have emphasized the importance of
individual process in personal healing and growth is that it focuses not just on a stream of
feeling that must be listened to respectfully, empathically, and without judgment if it is to flow
in its own unique way toward the goal of greater human expression, but on a spontaneously
selected sequence of images that give material, symbolic density to the stages of the course. In
this, Dr. Bradway’s emphasis is Jungian, because she believes just as much in image as in affect
when she writes of the current of life energy that psychologists call process. But unlike many, if
not most Jungian analysts, Bradway is not an interpreter of archetypal images, bent on
developing an effective hermeneutics of unconscious imagery. Her approach, rather, is to value
and to hold the image that appears in the sand, selected by the client from a universe of
possible objects to express a feeling state, and to let that image have its way with her and her
client with a minimum of commentary. Her interest seems to be above all in honoring the fact
that this image and no other is there in the tray and thus has become part of the fate of the
person seeking orientation to the purposes of the psyche by means of the sandplay work.
Although the resultant image could be used either for diagnosis or as a springboard for various
kinds of creative therapeutic intervention, Dr. Bradway’s overall technique, as she explains it
with Dr. McCoard in their section called “Reflections,” is a method of “appreciation,” and it is
her rare capacity to appreciate the symbolic process of other people that gives this book its special
glow.
Depth psychology has already entered a new era of its being by the end of its first full century
of therapeutic application. This era could be characterized as one of respect for the choices of
the Self. The client who turns to a shelf of objects and selects and arranges a few to give
tangible meaning to the sometimes abstract notion of self-object is telling us that just these
figures—this turtle or bridge, that witch or well, or the animal to drink from a pool of water
scooped out by hand—are essential accretions of the Self. Bradway and McCoard write as if
our field has always known this fact, which self psychology has struggled so hard to articulate
to a clinical discipline more used to regarding symbolic choices as defensive, compensatory, or
neurotic acts not at all deserving of anything but the most meticulous unmasking. Like
C.G.Jung and Dora Kalff, Kay Bradway is there to let symbolic things happen. One gets the
sense that she really enjoys learning from her patients, and perhaps that is why it is so
instructive to learn from her.
John Beebe
 Preface

The “I” throughout the book is Kay’s voice. Barbara focuses on the clarity and aesthetics of its
expression. She is behind the scenes—questioning and commenting, rearranging and revising,
remodelling paragraphs and fine-tuning sentences. The “I” is happy to admit that the book
would not be in existence without our working together. We jointly accept responsibility for
the completed whole.
A word about “then” and “now.” It is not unusual to find that I contradict myself.
Certainly, I view sandplay in a different way now than I did when I learned it from Dora Kalff
and first started to use it in the 1960s. I initially used sandplay as a part of my diagnostic
evaluations of children. Later, when I started to use it in therapy, I talked much more than I
would now—just as I did in verbal therapy. I asked questions about and commented on objects
after the scene was completed—as I would in dream analysis. I reviewed the scenes with the
sandplayer earlier than I would now, often while the process was still in progress. I interpreted
more. In most instances I have changed the text of my earlier writings to conform with my
more recent and, I hope, more helpful ways of using sandplay, but not always. And I am sure I
am still changing—I hope so. This means that each time I review what I have said, I always
make additions or corrections. My ideas and my recommendations continue to develop. We are
all still learning from our own experiences and from each other.
Another note about the earlier use of sandplay. Some of the first sandplay scenes discussed in
the book were done in a square red tray without any sign of blue on the sides of the tray. Later
I learned that it was not the official Dora Kalff size and I changed to a rectangular blond tray with
the now familiar dimensions of 19.5 by 28.5 by 2.75 inches. The floor of the tray was the
specified blue, but the sides were not. Still later, when I started to use trays with the sides also
painted blue, I found that the scenes more frequently had a three-dimensional quality.
I was fortunate when I started to work with sandplay to have the use of the sandplay room
at the C.G.Jung Institute of San Francisco with its collection of miniatures. Acquiring my own
collection was a further step in my commitment to sandplay. And I found that it does make a
difference to have the sandplayer use items personally chosen by the therapist.
Since we had to limit the number of illustrations which we could include in the book, we
have resorted to verbal descriptions of some of the sandplay scenes. We chose this alternative
instead of deleting individual cases altogether, which would have allowed us to include
illustrations of all the scenes in the remaining cases. Some of the case studies in Part III have
been published previously in earlier versions with more complete visual records; these can be
located through the Acknowledgements and Bibliography. Additionally, in those instances in
 xi

which scenes were used in more than one chapter, we have referred to illustrations in previous
chapters when discussing a particular scene. This is particularly true for “Jim” and “Ursula.”
The use of colored plates permits a more satisfactory reproduction of a sand scene, but also
necessitates placing the illustrations some pages from the accompanying text. We hope, we
trust, that our readers will adjust to such inconveniences and applaud our publishers as we do
for including such a large number of illustrations—more than have appeared in any previous
publication on sandplay.
 Acknowledgements

One looks forward to finally being able to acknowledge the help one has had in preparing a
book. Then it becomes apparent that it is not possible to acknowledge all those whose thought
and support have made a contribution to the completed product. Sometimes a single sentence in
a conversation can contribute as much as an entire series of lectures.
First and foremost I want to express my deep gratitude to my sandplay teacher and friend,
Dora Kalff, not just for her words, but also for her attitude toward my work. She was always
encouraging me and respecting my attempts to clarify my own thinking, at the same time that
she was sharing her wisdom and experience with me.
The colleagues who have been helpful are innumerable, some specifically with this book, and
others with some of the material that has been used in the book. I will name a few, realizing
that I am inevitably leaving some out. A special gratitude goes to Estelle Weinrib who never
tired of looking at my, and sharing her, sandplay “pictures” with me. Whenever we had some
time together, one of us would ask, “Can we look at some pictures?” And out would come the
projector and screen and we would look and talk.
I want to express my deep appreciation to the other International Society for Sandplay
Therapy (ISST) founding members besides Estelle with whom I was privileged to meet for
several successive summers at Dora Kalff’s where we showed slides of sandplay processes to
each other. These include: Cecil Burney, Paola Carducci, Kazumiko Higuchi, Martin Kalff,
Hayao Kawai, Kaspar Kiepenheuer, Chonita Larsen, Sigrid Löwen-Seifert, Andreina Navone,
Joel Ryce-Menuhin and Yashuhiro Yamanaka.
Other colleagues who have been helpful in many ways include Kate Amatruda, Ruth
Ammann, Nessie Bayley, Ann Bernhardt, Lauren Cunningham, Lucia Chambers, Harriet
Friedman, Florence Grossenbacher, John Hood-Williams, June Matthews, Bonnie McLean,
Karen Signell, Janet Tatum, Barbara Weller.
I am happily indebted to Paula Kimbro who has graciously produced several videos of my
sandplay presentations which I have later incorporated into the book.
My numerous consultations with Michael Flanagin (ARAS) and Marianne Morgan (Library)
at the C.G.Jung Institute of San Francisco helped me in preparing the list of references. They
were always optimistically cheerful. And my thanks go to the Scholarship Committee of the
Institute for giving me a generous grant to process the many illustrations.
I am also deeply grateful to John Beebe for his continued and warm encouragement from the
time I first voiced the possibility of writing such a book to its completion.
Portions or edited versions of some of my previously published articles have been used in this
book. I want to acknowledge my appreciation to the publishers for giving me permission to
 xiii

include the revised material: C.G. Jung Institute of San Francisco for Sandplay Bridges and the
TranscendentFunction and for two chapters in Sandplay Studies: Origins, Theory andPractice
including “A woman’s individuation through sandplay” (“Ida” in this book) and
“Developmental stages in children’s sandworlds;” Archivesof Sandplay Therapy for “Sandplay
journey of a forty-five year old woman” (“Ilsa”); Art Psychotherapy for “Sandplay in
Psychotherapy” (“Irene”); Journal of Sandplay Therapy for “Transference and
countertransference in sandplay therapy” (“Co-transference” and “Emmy”), “Sandplay in
preparing to die” (“Debbie”), “Sun and moon in sandplay,” and “Sandplay toriis and
experiences of transformation;” and Daimon Verlag for “What makes it work” in Archetypes
of Shadow in a Split World.
Acknowledgements are also due to the publishers of the following works for permission to
quote extensively from them: Estelle Weinrib (1983) Images of the Self (Boston, MA: Sigo);
Joel Ryce-Menuhin (1992) JungianSandplay: the Wonderful Therapy (London: Routledge);
Ruth Ammann (1991) Healing and Transformation in Sandplay (Chicago: Open Court).
Permission was granted by Princeton University Press to include several quotations from the
Collected Works of C.G.Jung; by Jack Rudloe to include passages from his book, Time of the
Turtle; and by Yasuhiro Yamanaka to include his photo of the founding ISST members.
My heartfelt gratitude goes to the many persons who have done sandplay with me. They
have been my teachers. And to the many who have given me permission to use their sandplay
material in research and publications. This book could not exist without their contribution.
They give it its life. I want to deeply thank each of them.
Finally I have the pleasure of thanking Brad, my husband of sixty years, who has encouraged
me and supported me in all of my projects. For this book he was “in charge” of the
illustrations, getting them organized and offering general and specific recommendations. But he
has contributed in many more ways, in ways that I could never have done without.
xiv
 Introduction

I was initially attracted to both Jungian psychology and sandplay therapy because of what I
sensed as an accepting and valuing of individual differences rather than an emphasis on the
judging of people. I had been taught in traditional American psychology to emphasize testing,
which evaluates a person as better or worse than other people in various dimensions. So I was
comforted by Jung’s only test, the word association test, which simply identifies what
complexes a person has without judging whether they are good or bad complexes. Moreover,
his theory of typology is based on the principle that people naturally differ from one another in
personality type and does not place a premium on one type over another.
I first encountered Dora Kalff’s sandplay at her presentation for a joint conference of Jungian
analysts in San Francisco in 1962. She showed photographs, with minimal comment, of
sandplay scenes made by a child. The scenes “spoke for themselves.” I don’t remember the case
but I do remember my impression of relief. Here was a therapeutic method where the therapist
largely stayed out of the process and let the self-healing take place, guided by the child’s psyche
rather than by the therapist.
This was the beginning of my viewing sandplay as a place where the psyche works. I came to
think of it as “playwork.” We speak of homework, office work, why not playwork? Work in
play.
The concept is at first easier to connect with children. After all, sandplay originated when a
father observed that his two sons “worked out” their problems while at play with miniatures.
Play as a form of therapy for children was easily accepted when it was first introduced fifty-
plus years ago. But play as therapy for adults?! Most adults push it aside as not very serious. In
fact, sandplay in its early form was used only for children. I do not think that Margaret
Lowenfeld ever used it with adults. And the first edition of Dora Kalff’s book on sandplay
carried the secondary title, Mirror of a Child’s Mind.
When adults came to my office for the first time and saw my sandplay set up, they often
remarked, “Oh, you see children.” It was difficult for them to take me seriously when I
explained that adult patients used this setup also. But when adults do sandplay themselves, they
no longer have such wonderment. They experience that sandplay works. It works largely in
silence. And I think we are learning that it is the psyche that does the work.
This book is based on presentations about sandplay which I have made orally or in writing
since the mid-1970s. My earliest presentation, a comparison of the sandtrays made by “home”
and “career” women, was made at one of Dora Kalff’s Monday morning seminars at her home
in Zollikon in 1975. I had shown her some of the pictures from this study during a consultation
hour. Her encouragement freed me to work up something, which she later invited me to
2 INTRODUCTION

present. She gave me the same free and protected space that is a hallmark of her sandplay
therapy.
The book is divided into three parts. Part I presents some of my historical reminiscences
about how sandplay first came into being, and attempts to get at what makes sandplay work. I
had no doubt both from my own personal process and from witnessing the processes of many
others that sandplay did work but, being a curious type, I want to know both why and how. At
the same time I keep in mind a dream I once had:

I was carrying hundreds of little sandplay miniatures in my spread-out skirt from a

darkened place where I couldn’t see them to a place of light. As I moved toward the light,
objects kept falling out of my skirt, until finally I had none left to look at.

There is some magic in our therapeutic work that cannot be brought completely into
consciousness.
Part II presents my understanding of a few of the symbols we see in sandplay including three
specific figures that I have “researched” more extensively than others: the turtle, the bridge, and
the torii or Japanese sacred gate. It also discusses two more abstract symbolic concepts that can
be useful ways of looking at sandplay scenes: differences between “Hestia” women who work
primarily at home and “Athena” women who work primarily in the outside world; and
differences in stages of development among children of different ages.
Part III presents ten in-depth studies of individuals. Earlier versions of some of these case
studies have been published elsewhere. They have all been extensively revised for this book. I
think this is the most important section in the book. Dora Kalff taught by leisurely presenting
sandplay scenes of individuals with an emphasis on what was being experienced. This is the
way I learned sandplay. It is the way I still learn.
A word about the Appendix. “What I look for in final case reports” is added here because
therapists who are writing their final case reports often ask what readers look for when
evaluating their write-ups. Over a period of years, I have made and revised lists of what I
personally think is important. It is no way official. And the final lines are something I wrote for
myself when I was in the early years of my own analysis.
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