For drawings or story-telling, Jung (1959) emphasized the importance of “over time” rather than just analyzing one or two pictures or stories during the therapeutic sessions. Allan (1988) indicated that “the time-place variables act as a sanctuary space, a time out of ordinary time, which, together with a positive therapeutic alliance, fosters psychological growth and transformation” (p.21). Thus, from a Jungian perspective, the present study explored the serial stories produced or expressed from clay creation in the process of expressive art therapy for novice school teachers in Taiwan. Data were collected using semi-structured in-depth interviews with a group of six participants who were novice school teachers and met troubled by their emotional disorders. Facing a future career, they felt a high level of anxiety and uncertainty. A Jungian approach to expressive art therapy program was made up of six sessions (2 hours per session). During the process of clay creation, each participant chose one of the four elements of the universe, earth, water, wind, and fire as the basis of active imagination to create their own stories. Then, the participants in pairs co-created new serial stories and expanded the symbols of their inner worlds. The study found that there were five aspects. First, the process of clay creation facilitated the emergence of the inner world and allowed the imagination to express itself freely through art creation without being restricted by self-criticism. Second, the visualization of three-dimensional creation helped participants to recognize the feelings and thoughts which have long been hidden and neglected, and they had further opportunity to engage in self-dialogues, their inner voices then being honored by telling their own stories. Third, Taiwanese family culture expects "making ancestors proud", which leads to participants' high anxiety about their future and self-doubts about whether they can achieve it. Fourth, Taiwanese culture places great emphasis on "filial piety", which brings about the dilemma—of whether to obey the family's expectations or to go independently toward their own goals. Fifth, the serial story co-created by the participants combine different thoughts, together they transform difficulties into opportunities, and finally overcome one’s inner contradictions, anxieties, and conflicts. The present study highlights that ”symbol formation” is the natural language of inner expression, and with the help of expressive art therapy, we can further understand symbols through “Active Imagination”.

Data were collected using semi-structured in-depth interviews with a group of six participants who are troubled by their emotional disorders. They were all novice school teachers who would devote themselves to the teaching profession in the future. Facing a future career, they felt a high level of anxiety and uncertainty. They expected outstanding performance, but they also suspected that they could not meet the expectations of their work roles and family culture, and were prone to potential pressure and frustration. A Jungian approach to expressive art therapy program was made up of six sessions (2 hours per session). During the process of clay creation, each participant chose one of the four elements of the universe, earth, water, wind, and fire as the basis of active imagination to create their own stories. Chodorow (1997) indicated that Jung’s active imagination involves “a suspension of our rational, critical faculties in order to give free rein to fantasy.” (p.13) The therapist facilitated participants to experience the active imagination so that unconscious emotions and images could be perceived, and then they could express their inner troubles more freely. Then, the participants in pairs co-created new serial stories and expanded the symbols of their inner worlds. Based on the philosophy of phenomenology, this study accessed the participants’ series of art-creation experiences and story-telling through hermeneutic-based analysis of the subject’s emotional experiences shown in the art therapy process.

Data from the analyses showed group members communicating their feelings by doing clays and telling stories; the thematic content of the stories gives a view of the members’ inner anxiety; reflects several aspects of the members’ emotional life; the emotions were relieved through the symbols used; and the mechanisms of shadow were frequently seen and contained by the story-telling. The study found that there were five aspects. First, the process of clay creation facilitated the emergence of the inner world and allowed the imagination to express itself freely through art creation without being restricted by self-criticism. Second, the visualization of three-dimensional creation helped participants to recognize the feelings and thoughts which have long been hidden and neglected, and they had further opportunity to engage in self-dialogues, their inner voices then being honored by telling their own stories. Third, Taiwanese family culture expects "making ancestors proud", which leads to participants' high anxiety about their future and self-doubts about whether they can achieve it. Fourth, Taiwanese culture places great emphasis on "filial piety", which brings about the dilemma—of whether to obey the family's expectations or to go independently toward their own goals. Fifth, the serial story co-created by the participants combine different thoughts, together they transform difficulties into opportunities, and finally overcome one’s inner contradictions, anxieties, and conflicts. It should be noticed that, for avoiding being overwhelmed by the powerful effects and images of the unconscious, it is important that the work of active imagination works best with the help of a therapist (Franz,1972; Huang, 2007). The present study highlights that ”symbol formation” is the natural language of inner expression, and with the help of expressive art therapy, we can further understand symbols through “Active Imagination”. In addition, clinical implications and limitations are also discussed.

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