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1981
Volume 31, Issue 2
  • ISSN: 0263-0672
  • E-ISSN: 2157-1430

Abstract

This is a continuation of a flow which seemed to start four years ago when writing the Critical Review of my MA titled—‘Carnival Fever, Sesame and the Client’. In the Review, some reflections included parallels between my cultural experiences as a Trinidadian and my developing Dramatherapy practice here in the UK. In particular, I focused on Trinidad Carnival as a National Festival, its potential for healing and the implications this cultural awareness might have for me as a Dramatherapist in clinical settings. Anthony Stevens partially describes the symbol of the River as ‘sacred and worshipped as deities, particularly as masculine river gods who fertilise the lands through which they pass’ (Stevens 1998:111). As a cultural counter-point this description, the Yoruban Orisha—Oshun—is also a river deity who is known for healing the sick, fertility, prosperity and her fierce temper. So with a backdrop of what might be regarded as cultural opposites, this article will contain some of the themes covered in the Critical Review and continue the flow with a Case Study from my current practice. In this process of writing, the symbol of a river has surfaced—possibly because it was explored within the therapeutic space in the Case Study to be discussed. As with any River—especially one containing elements of cultural identity relevant to the therapeutic relationship—it might be good to start at the source, the first point to which we sail on the former Slave Triangle….

© 2009 British Association of Dramatherapists
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/content/journals/10.1080/02630672.2009.9689773
2024-05-31
2026-04-22

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