“Impose ta chance, serre ton bonheur et va vers ton risque. A te regarder, ils s’habitueront.”
“Impose your chance, hold tight to your happiness and go towards your risk. Looking your way, they’ll follow.”
― René Char
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For a Flourishing Career, Life and Business
“Impose ta chance, serre ton bonheur et va vers ton risque. A te regarder, ils s’habitueront.”
“Impose your chance, hold tight to your happiness and go towards your risk. Looking your way, they’ll follow.”
― René Char
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“La fin d’une mélodie n’en est pas le but ; néanmoins si la mélodie n’est pas arrivée à sa fin, elle n’a pas non plus atteint son but.”
“The end of a melody is not its goal: but nonetheless, had the melody not reached its end it would not have reached its goal either.”
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“Votre vision devient claire lorsque vous pouvez regarder dans votre cœur. Celui qui regarde à l’extérieur de soi ne fait que rêver ; celui qui regarde en soi se réveille.”
“Your visions will become clear only when you can look into your own heart. Who looks outside, dreams; who looks inside, awakes.”
― C.G. Jung
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“L’imagination est plus importante que la connaissance. La connaissance a ses limites. L’imagination embrasse le monde.”
“Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”
― Albert Einstein
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When Arcimboldo painted his allegories of the four elements in 1566 and in particular, of earth, intermixing dozens of animal bodies and other objects to form faces in profile, perhaps he was trying to tell us – in addition to the surrealist pleasure he afforded us – that the identification of our strengths, their particular alchemy and their knowledgeable overlapping reveals the extent to which we are unique beings. And that it is undoubtedly with this uniqueness forged in diversity that we should play with a filigree of passion.
Passion without reason…
Martha Graham once said “Great dancers are not great because of their technique, they are great because of their passion ». I agree profoundly with this sentiment. Passion enables us to transcend ourselves, to excel, to go beyond our own limits. Passion is the ultimate ingredient, one over which we have no control but which fills us with an immeasurable and necessary energy. In the right dose, it is an inexhaustible, fuel – sustainable, economic and well-balanced. Passion lets us live rather than just survive. Integrated into professional life, it resolves the conflicting worry of balance with the private aspect of life by way of harmonious integration.
Nevertheless, we are forced to accept that passion alone is not enough. The dream can conjure an unobtainable Grail. The desire to excel, to live our passion to the point of rejecting any unassociated activity can engender a utopia especially in a world where competition carries more weight than benevolence. And while some advocate that work, energy and astuteness are the means to all ends, I would add that the risk that they lead to deception is also great without the accompaniment of lucidity, honesty and a little bit of focus. Returning to the sentiment expressed by Martha Graham, if a dancer’s greatness depends on passion, this cannot be at the exclusion of technique, certainly fruits of their labour but also of their talent.
In fact, whatever the passion may be, whether it comes to the surface in during childhood or it is fortuitously revealed in adulthood, it is by resting it upon our strengths that it truly becomes possible to excel and thus to grow. These strengths make up our identity, they are an integral part of our essence and can make the difference between two individuals.
A study by Strategy&from carried out in 2013 with the participation of hundreds of executive from diverse sectors shows that companies find it harder to identify their strengths than to understand their customers. So how can we as individuals identify our own strengths or how can the coach help a client with this search? How can we find that which allows us to incorporate passion in our personal expression of leadership? How can we awaken an area in which passion can be integrated in a realistic and effective way in regard to development? Simply put, which are the tools available to us?
Basically, there is no perfect tool or miracle recipe even though we are spoilt for choice. Actually, several strategies are possible and these can be combined in a triangular approach, echoing the old adage “Know thyself”.
Passion without reason and reason without passion are two of the pitfalls we should aim to avoid. If one enables us to realise ourselves, the other anchors us in reality and both provide a source of mutual nourishment. Both can be (re-) discovered, explored, revisited using various techniques. This is especially true for our strengths, often escaping the scrutiny of our conscious minds and being labelled as banal, at the same time denying that which should be imposed on us as a piece of evidence.
Also, keeping in mind we are travellers: coaching is the compass, passion indicates the direction, reason shows the way.
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“Ce qui s’étend derrière nous et ce qui s’étend devant nous sont peu de choses en comparaison avec ce qui se trouve en nous.”
“What lies behind us and what lies before us are tiny matters compared to what lies within us.”
― Ralph Waldo Emerson
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“J’ai bu assez largement à la coupe de la joie,
Et je ne veux point goûter d’autre vin ce soir.”
“I have drunken deep of joy,
And I will taste no other wine tonight.”
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« If you please… draw me a sheep! » This celebrated phrase taken from Antoine de Saint-Exupéry’s book The Little Prince brilliantly illustrates the concepts of depiction, imagination and perpetual differentiation but we will develop other concepts with the tree test and an examination of its application in coaching.
A brief return to the source
The tree test as conceived by the Swiss psychologist Charles Koch in 1952 is a predictive test that can be applied to both children and adults and consists in observing the personality traits expressed by an individual through their drawings. Each element of the tree (leaves; trunk; roots), have a meaning and their graphical representation expresses the subject’s experience with the environment, possible traumas and their level of sensitivity. Koch’s initial instruction was simple: “Draw a tree, any tree you like, but not a pine tree.”, the pine tree being excluded due to the points it leads to as well as the particularly stereotyped visual representation of this tree variety in our culture. Later, the instruction became “Could you draw a fruit tree, to the best of your abilities?”.
The variant developed by Renée Stora requires that 4 trees are drawn. After drawing the first tree – which corresponds to a new constraint in a new setting, whether the setting be academic or professional – the second mandatorily different tree, is drawn and corresponds to a known constraint that demands obedience or adaptation and leads to relaxation, such as the family framework. Then follows the drawing of a tree from a dreamscape, an imaginary tree that represents projects or expectations, and finally, with their eyes closed the individual draws a fourth tree which indicates the weight of experiences lived in infancy and that continue to influence current behaviour.
In all instances, the analysis of the drawings, undertaken by the interviewer with whom they were created, is based on graphological rather than symbolically spatial, statistical data.
Adaptation to Coaching
The drawing of a tree, as far as I can conceive it within the framework of coaching, is very different because the coachee is a client, not a patient. The drawing of a tree is then a tool rather than a test. It is to collect the information that will be used as a base for discussion, but not to diagnose a problem.
Any drawing introduces a new dynamic to the dialogue. It requires a move to action, enabling one to stop philosophising, to avoid endlessly searching for the terms to express confused resentment. It opens the door of the imagination more easily. It says that which words cannot. It leaves the child in pole position. As for the tree, due to its vertical orientation, because of the link it creates between heaven and earth, between the visible and the invisible, it is the universal archetype, the symbol of life, of longevity, of growth. It is also the tallest organic structure. According to Jung, the tree is a means for anyone to express the unspeakable. Furthermore, drawing in general, but especially drawing a tree, is a veritable open-air gold mine that the coach and the coachee can exploit together.
In which situations is drawing a tree appropriate? In reality, they are numerous and varied. An invitation to draw a tree is an opportunity to express one’s relationship with one’s body: balance, strength, possible weaknesses and general state of health (see Fig. 1). .
Fig. 1 – Representation of the state of health
Suggesting that a tree, the most beautiful tree possible, be drawn with coloured pencils is an invitation to express one’s dreams. For the coachee, drawing a professional project in the form of a tree (see Fig. 2 and Fig. 3) is like expressing the ramifications and the organisation of their career with the just importance accorded to each possibility. Drawing one’s company in the form of a tree, and even adding the cabin we’d like to live in or indicating the branch on which we’d like to sit, could bring bad-feelings out of the shadows and help one to understand one’s own ambitions. Taken to the extreme, drawing a forest allows the metaphorical evocation of a social environment, such as with family, friends, colleagues and the place one occupies among them.
Fig. 2, 3 – Representations of a professional project
It can also be used to play with the temporal dimension. Asking the coachee to draw a first tree that shows their present state, then a second where the tree represents the state they would like to achieve in 5 or 10 years, affords an opportunity for the coachee to visualise and materialise their own objectives, at least symbolically. A suggestion at the beginning of the coaching relationship that the coachee produce a self-portrait in the form of a tree and then repeating the same exercise a few months later heightens the perception of change, of growth, of a newly acquired balance or well-being. The drawing of the tree thus becomes an indicator of the impact of coaching, a new energy source.
In conclusion
Without a rigid protocol, in all authenticity and simplicity, the applications of drawing in general and of drawing a tree in particular are infinite, the only limitations being – perhaps – the intuition or imagination of the coach and the spontaneity of the coachee. The opportunities for discussion that this exercise affords to each participant further reinforce one of the ends of coaching, namely: co-construction.
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This article has been published in International Coaching News #13 – March 2015 – pp 41-42 on holistic and wellness coaching. It was originally published here in this blog, in French.
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