الشامانية والإبداع
萨满教和创造力
Por Sandra Harner
© Chamanismo, Otoño / Invierno 1999, vol. 12, No. 2Una de las grandes sorpresas que ofrece el chamanismo es la alegría de lo desconocido y lo desconocido que es alegre. Hay una sensación de plenitud que procede de la creatividad que es inherente en el viaje chamánico. Aunque el chamanismo y la creatividad no se piensa comúnmente que en conjunto, una encuesta relativamente superficial de los estudios de la creatividad revela que el viaje chamánico se dirige a dos de los elementos más desconocidos y misteriosos, y el resumen del proceso creativo, con la frecuencia definida. Además, la investigación reciente sobre la relación entre la estructura y la creatividad1 puede aplicarse directamente a las experiencias de viajar shamanic. No sólo el viaje chamánico con elementos del proceso creativo en ella como un acto creativo, también puede ser ejercido en el servicio de la creatividad productiva. Viajando aumenta el acceso a la creatividad y estimula su cultivo. Al ver la creatividad a través de la experiencia del viaje chamánico, empezamos a ver que la creatividad no es un dominio especial limitada a los más diestros, ni puede ser reducida a un algoritmo de memoria. En cambio, el potencial latente puede ser animado y desató a través de múltiples disciplinas.
Chamán Mujer por Rickard Allyson. collar tejido creado a partir de piedra, hueso, arcilla y abalorios de papel. Desde los campos de petroglifos de Hawai Puako viene una versión contemporánea de una mujer chamán de dar a luz a las visiones de la justicia humana para todos los pueblos del mundo. La imagen central es de una foto de un petroglifo tomadas en Puako en la Isla Grande de Hawai.
Desde varios puntos de vista, los investigadores han tratado de definir la creatividad y describir la personalidad creativa. Una pronta elaboración de Wallas2 definido cuatro etapas del proceso creativo: preparación, incubación, iluminación y verificación. Desde entonces, otros han desarrollado esquemas para la comprensión de los elementos de la creatividad.3 Los intentos de examinar la personalidad creativa han sido muy heterogéneas, sin resultados claros de las dos cualidades necesarias y suficientes de la creatividad. Algunos descriptores surgido de la investigación sobre los procesos de pensamiento de las personas creativas. Ellos incluyen la flexibilidad, originalidad y fluidez.4 La característica de las personas excepcionalmente creativas son una variedad de cualidades como la persistencia, la independencia, no convencional, 5 y otros que, en sí mismos, puede o no puede determinar la creatividad. Aún queda mucho por aprender acerca de los aspectos del proceso y la personalidad de la expresión creativa.Afortunadamente, sin embargo, la experiencia creativa no tiene que esperar a que la explicación científica para validarlo. Podemos aprender de lo que experimentamos y poner a prueba las hipótesis planteadas por los estudiosos en el campo. A medida que aprendemos sobre el proceso y de la experiencia de la creatividad, sentamos las bases para el cultivo de la creatividad consciente. Examinar la experiencia de viaje chamánico puede ayudar a aclarar los mecanismos del proceso creativo.
Aunque la creatividad frente a muchos con más o menos de las cuatro etapas propuestas anteriormente, los elementos Wallas propuso formar un marco útil para considerar cómo el viaje chamánico fomenta la creatividad y en las que puede encajar en entender la psicología occidental del proceso creativo. Algo es un problema porque no se puede resolver de la forma habitual, lo que implica que algún intento de activos no ha tenido éxito, lo que requiere mayor preparación. El estado alterado de conciencia en el shamanicjourney proporciona una oportunidad para la incubación previsto, aparte de un ataque directo al problema. Es común que en el viaje chamánico adivinación, thejourneyer recibe una revelación de contenido inesperado-una fuente de inspiración. Entonces, que la inspiración debe ser puesto en práctica y verificados, completando así el proceso con el acto creativo. Más recientemente, la investigación se ha centrado en esta cuestión sólo de pensar aprendido creativo.6
El viaje chamánico se convierte en el vehículo activo durante dos aspectos del proceso: la incubación a través del estado ha cambiado de la conciencia y la inspiración a través del contenido de la experiencia. Enmarcando la pregunta adivinatorias o problema e interpretar el viaje son habilidades que pueden ser aprendidas y mejoradas por el uso repetido del método y la consiguiente asignación de la cosmología de la persona. La integración y la aplicación de la inspiración en el mundo material genera confianza en el proceso como resultado de la experiencia. Lo que pudo haber sido un acto de valentía se convierte en uno de profunda integridad consciente. Uno entra en la experiencia en la voluntad y sumerge a sí mismo en él mientras está sucediendo. Entonces uno se traduce la experiencia y lo aplica en forma consciente, razonada, después de una evaluación de la realidad ordinaria.
Shamanism and Creativity, Page 2
By Sandra Harner
© Shamanism, Fall/Winter 1999, Vol. 12, No. 2
The core shamanic journey methods distilled in the 1970s by Michael Harner7 through worldwide cross-cultural study constitute one path by which we can creatively integrate spiritual, cultural, emotional, and physical elements. Although its origins have not been precisely determined, shamanism may be at least as ancient as 30,000 or more years, as evidence from Paleolithic cave paintings indicates.8,9; Moreover, historical and ethnographic evidence reveals its independent practice by indigenous peoples throughout the world, widely separated both geographically and culturally, up to and including the present day. Not unexpectedly, specific cultural practices may differ. The core methods, however, are remarkably similar and suggest repeated discovery of some pan-human, mind-body aspects of spirituality.
The most distinctive characteristic of the shaman is the journey or "soul flight."10 The journey is begun from a place one knows first-hand and is undertaken for a specific purpose to a source of information or healing power. Traditionally, members of the community request help from the shaman for problemsolving, diagnosis and treatment of illness, divination or prophecy, acquisition of power, and psychopomp work. As the journey unfolds, profound experiences, often extending significantly beyond visual imagery, arise spontaneously, and the shaman must remember the details. The return from the journey is accomplished by retracing the sequence of events until arriving where the journey began. Concentration and memory are therefore critical aspects of successful shamanic work. With respect to creativity, it is the problem-solving function which is most pertinent.
The shaman then Interprets the information imparted in the journey. It demands discipline and experience to develop the question and to interpret and integrate the answer. While most people, even today in the United States and Europe, can learn to journey in a few hours, some are more adept than others. Most who learn choose not to pursue it seriously, for it requires discipline and continuous learning. The shaman typically does this work parttime and primarily in service to the community.
Ancient and enduring, yet threatened, shamanism is founded in basic human capabilities and potentialities. It is as relevant in today's world as it has been for millennia. Through research and experience, we are gradually learning how we might benefit from its lessons. Shamanic practice is a creative act which relies on the ability to transcend the bounds of ordinary reality and enter the shaman's world with trust based on direct firsthand experience. In that sense it is thoroughly pragmatic and empirical, not relying on faith. Traditionally, it has been a method for problem-solving. While the specific nature of the problems may have changed over time, the need to solve problems has not.
As a creative psychospiritual process, shamanic journeying is a method known through the ages all over the Planet. By reviving shamanic journeying, contemporary Westerners have adopted a methodology for discovering and rediscovering shamanic experience and content directly, and for tapping into their inherent creative potential. As relevant today as it was in the past, shamanism is our legacy and our responsibility is to pass it on. The knowledge so long acquired, and so generously shared by all our relations, may be spared extinction by our respectful attention.
Shamanism and Creativity
By Sandra Harner
© Shamanism, Fall/Winter 1999, Vol. 12, No. 2
Notes
Chauvet, Jean-Marie, Ellette B. Deschamps, and Christian Hillaire
1990 Dawn of Art: The Chauvet Cave. New York: Abrams.
Clottes, Jean and Jean Courtin
1996 The Cave Beneath the Sea. New York: Abrams.
Eliade, Mircea
1964 Shamanism: Archaic Techniques of Ecstasy. Bollingen Series LXXVI. Princeton: Princeton University Press.
Goldenberg, J., D. Mazursky, and S. Solomon.
1999 “Creative Sparks." Science 285: 1495-1496.
Guilford, J. P.
1950 "Creativity." American Psychologist 5: 444-454.
1957 “Creative Ability in the Arts." Psychological Review 64: 110-118.
1959 “Traits of Creativity." In, Creativity and Its Cultivation (H. H.
Anderson, ed.) New York: Harper and Row.
Harner, Michael
1980 The Way of the Shaman. San Francisco: Harper and Row.
MacKinnon, D. W.
1968 "Selecting Students with Creative Potential." In The Creative
College Student: An Unmet Challenge (P. Heist, ed.). San Francisco: Jossey-Bass.
Osborn. A. F.
1953 Applied Imagination. New York: Scribners.
Patrick, Catharine
1935 "Creative Thought In Poets." Archives of Psychology 26: 1-74.
1937 "Creative Thought in Artists." Journal of Psychology 4: 35-73.
1938 “Scientific Thought.” Journal of Psychology 5: 55-83.
Rossman, J.
1931 The Psychology of the Inventor. Washington: Inventors Publishing.
Stein. M.
1967 “Creativity and Culture.” In Explorations in Creativity (R. L.
Mooney and T. A. Razik, eds.). New York: Harper.
Wallas, Joseph
1926 The Art of Thought. New York: Harcourt Brace
Werthelmer. M.
1945 Productive Thinking. New York: Harper
Wycoff, Joyce
1991 Mindmapping. New York: Putnam Berkley.
By Sandra Harner
© Shamanism, Fall/Winter 1999, Vol. 12, No. 2
The core shamanic journey methods distilled in the 1970s by Michael Harner7 through worldwide cross-cultural study constitute one path by which we can creatively integrate spiritual, cultural, emotional, and physical elements. Although its origins have not been precisely determined, shamanism may be at least as ancient as 30,000 or more years, as evidence from Paleolithic cave paintings indicates.8,9; Moreover, historical and ethnographic evidence reveals its independent practice by indigenous peoples throughout the world, widely separated both geographically and culturally, up to and including the present day. Not unexpectedly, specific cultural practices may differ. The core methods, however, are remarkably similar and suggest repeated discovery of some pan-human, mind-body aspects of spirituality.
The most distinctive characteristic of the shaman is the journey or "soul flight."10 The journey is begun from a place one knows first-hand and is undertaken for a specific purpose to a source of information or healing power. Traditionally, members of the community request help from the shaman for problemsolving, diagnosis and treatment of illness, divination or prophecy, acquisition of power, and psychopomp work. As the journey unfolds, profound experiences, often extending significantly beyond visual imagery, arise spontaneously, and the shaman must remember the details. The return from the journey is accomplished by retracing the sequence of events until arriving where the journey began. Concentration and memory are therefore critical aspects of successful shamanic work. With respect to creativity, it is the problem-solving function which is most pertinent.
The shaman then Interprets the information imparted in the journey. It demands discipline and experience to develop the question and to interpret and integrate the answer. While most people, even today in the United States and Europe, can learn to journey in a few hours, some are more adept than others. Most who learn choose not to pursue it seriously, for it requires discipline and continuous learning. The shaman typically does this work parttime and primarily in service to the community.
Ancient and enduring, yet threatened, shamanism is founded in basic human capabilities and potentialities. It is as relevant in today's world as it has been for millennia. Through research and experience, we are gradually learning how we might benefit from its lessons. Shamanic practice is a creative act which relies on the ability to transcend the bounds of ordinary reality and enter the shaman's world with trust based on direct firsthand experience. In that sense it is thoroughly pragmatic and empirical, not relying on faith. Traditionally, it has been a method for problem-solving. While the specific nature of the problems may have changed over time, the need to solve problems has not.
As a creative psychospiritual process, shamanic journeying is a method known through the ages all over the Planet. By reviving shamanic journeying, contemporary Westerners have adopted a methodology for discovering and rediscovering shamanic experience and content directly, and for tapping into their inherent creative potential. As relevant today as it was in the past, shamanism is our legacy and our responsibility is to pass it on. The knowledge so long acquired, and so generously shared by all our relations, may be spared extinction by our respectful attention.
Shamanism and Creativity
By Sandra Harner
© Shamanism, Fall/Winter 1999, Vol. 12, No. 2
Notes
- Wycoft 1991
- Wallas 1926
- Patrick 1935, 1937, 1938: Rossman 1931: Osborn 1953: Stein 1967: Werthelmer 1945
- Guilford 1950, 1957, 1959
- MacKinnon 1968
- Goldenberg, Mazursky, and Solomon 1999
- Harner 1980
- Chauvet, Deschamps, and Hillaire 1996
- Clottes and Courtin 1996
- Eliade 1964
Chauvet, Jean-Marie, Ellette B. Deschamps, and Christian Hillaire
1990 Dawn of Art: The Chauvet Cave. New York: Abrams.
Clottes, Jean and Jean Courtin
1996 The Cave Beneath the Sea. New York: Abrams.
Eliade, Mircea
1964 Shamanism: Archaic Techniques of Ecstasy. Bollingen Series LXXVI. Princeton: Princeton University Press.
Goldenberg, J., D. Mazursky, and S. Solomon.
1999 “Creative Sparks." Science 285: 1495-1496.
Guilford, J. P.
1950 "Creativity." American Psychologist 5: 444-454.
1957 “Creative Ability in the Arts." Psychological Review 64: 110-118.
1959 “Traits of Creativity." In, Creativity and Its Cultivation (H. H.
Anderson, ed.) New York: Harper and Row.
Harner, Michael
1980 The Way of the Shaman. San Francisco: Harper and Row.
MacKinnon, D. W.
1968 "Selecting Students with Creative Potential." In The Creative
College Student: An Unmet Challenge (P. Heist, ed.). San Francisco: Jossey-Bass.
Osborn. A. F.
1953 Applied Imagination. New York: Scribners.
Patrick, Catharine
1935 "Creative Thought In Poets." Archives of Psychology 26: 1-74.
1937 "Creative Thought in Artists." Journal of Psychology 4: 35-73.
1938 “Scientific Thought.” Journal of Psychology 5: 55-83.
Rossman, J.
1931 The Psychology of the Inventor. Washington: Inventors Publishing.
Stein. M.
1967 “Creativity and Culture.” In Explorations in Creativity (R. L.
Mooney and T. A. Razik, eds.). New York: Harper.
Wallas, Joseph
1926 The Art of Thought. New York: Harcourt Brace
Werthelmer. M.
1945 Productive Thinking. New York: Harper
Wycoff, Joyce
1991 Mindmapping. New York: Putnam Berkley.
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