BRINGING DREAMS TO LIFE THROUGH DRAMA
THERAPY: CAN THE CREATIVE EXPLORATION OF
DREAMS AID IN PROCESSING GRIEF?

Berdine André

Research report submitted to Drama for Life, Wits School of Arts, University of the

Witwatersrand in partial fulfilment of requirements for the degree of Masters in the

field of Drama Therapy

Johannesburg, 2022

FACULTY: Humanities

SCHOOL: Wits School of Arts

STUDENT NAME: Berdine André

STUDENT No: 806563

DEPARTMENT: Drama for Life

COURSE: MA Research Report in Drama Therapy

COURSE CODE: WSOA7082A

SUPERVISOR: Phillip Speiser

TOPIC: Bringing dreams to life through drama therapy:

Can the creative exploration of dreams aid in

processing grief?

Plagiarism declaration

1. I know that plagiarism is wrong. Plagiarism is to use another’s work and to

pretend that it is one’s own.

2. I have used the author date convention for citation and referencing. Each

significant contribution to and quotation in this essay from the work or works of

other people has been acknowledged through citation and reference.

3. This essay is my own work.

4. I have not allowed and will not allow anyone to copy my work with the intention

of passing it off as his or her own work.

5. I have done the word processing and formatting of this assignment myself. I

understand that the correct formatting is part of the mark for this assignment and

that it is therefore wrong for another person to do it for me.

B. André 15 March 2022

Signature Date

Acknowledgments

I want to thank Drama for Life, and all of the lecturers that have walked a path with

me for their inspiration and commitment.

I want to thank Mirella Bradshaw for meeting me at every step of the way of this

academic flight. It would have been a dull one without you.

I want to thank Phil, my supervisor, for singing Leonard Cohen to me, and for always

listening to me with a supportive ear, for soothing my nerves and confusions, and for

stretching me to do this study justice.

I want to thank my best friends, Nicola, Ingrid, Carmen, Delaine, Andrea, Igna,

Kamogelo, and André for saying YES when I mentioned with doubt that I want to

study drama therapy, and of course, for the continual support.

I want to thank my brother, Etienne André, and Karlien and Marli Meyer, for all the

laughs, pep talks, and for creating a home wherever I go.

Aan my liefste Kat, dankie vir al die moed in praat en oneindige liefde.

I want to thank my father for giving me all the opportunities (and courage) to embark

on this journey – whatever that might look like. He is the best person I know.

Lastly, I want to thank my mother for leaving an everlasting image that surpasses the

need for grief dreams, but for what I am, nonetheless, forever grateful for.

It seems to me, that if we love, we grieve. That’s the deal. That’s the pack. Grief

and love are forever intertwined… Within that whirling gyre all manner of

madnesses exist; ghosts and spirits and dream visitations, and everything else that

we, in our anguish, will into existence. These are precious gifts that are as valid

and as real as we need them to be. They are the spirit guides that lead us out of the

darkness (Cave, 2018: n. p. n.).

Table of Contents

1. Abstract 7

2. Research Title 8

3. Introduction 8

4. Rationale 10

5. Literature review 11

5.1. Drama therapy 11

5.2. Dreams 13

5.3. Grief-held Dreams 16

5.4. Grief, dreams and drama therapy 20

6. Research Aim 24

7. Research Questions 25

7.1. How can the analysis of grief dreams, and the use of projective and

embodiment tools within drama therapy, be used to highlight and extract recurring

themes within grief-held dreams? 25

7.2. How can the above process aid in creating meaning and processing grief?

8. Methodology 26

8.1. Research Design 26

8.2. Sampling and participants 27

8.3. Data collection / Documentation of creative research 27

8.4. Data analysis 29

8.5. Ethical Considerations 31

9. Findings and Insights 33

9.1. Findings that arose from the dream transcripts 34

a) Dreams dealing with the deceased 34

b) Dreams dealing with the end of a romantic relationship 35

c) Dreams dealing with the communal loss associated with COVID-19 36

9.1.1. Dreams reflect current turmoil 37

9.1.2. Dreams provide comfort 38

9.1.3. Dreams aid in clarity and closure 38

9.2. Insights gained from projective engagement 39

9.2.1. Grouping 1: The Electrocardiogram 39

9.2.2. Grouping 2: The dream experience 43

9.2.3. Grouping 3: Connecting the body to grief dreams 45

9.2.4. Grouping 4: Exploring the residue 46

9.3. Findings that arose from studying the embodied engagement 46

9.3.1. Feeling stuck 47

9.3.2. Spread and stretch 47

9.3.3. Material carries the load 48

10. Discussion 51

10.1. What did the study reveal about grief dreams 51

10.2. Exploring the content of grief dreams 52

10.3. Using grief dreams as an entry to process grief 54

10.3.1. Embodiment and projection as favourable processes 54

10.3.2. Drama therapy allows for safe distancing 55

10.3.3. Drama therapy aids exploring the bond with the subject of loss 56

11. Recommendations and Limitations 57

12. Conclusion 58

13. Reference List 60

14. Appendix A: Dream Transcripts 66

15. Appendix B: Lyrics of included songs 70

15.1. Stranger’s Kiss – Alex Cameron, Angel Olsen 70

15.2. Haunted by You – Future Islands 71

List of Figures
TABLE 1: FINDINGS AND THEMES THAT AROSE FROM THIS STUDY 33
FIGURE 1: I LOVE A SONG THAT CARRIES ON (5 DECEMBER 2021) 40
FIGURE 2: ‘CAUSE IN MY DREAMS I MISS YOU’ (5 DECEMBER 2021) 41
FIGURE 3: TO SEE THE CHANGE (5 DECEMBER 2021) 42
FIGURE 4: THOUGHT I WAS THE ONLY ONE, TURNED OUT I WAS EVERYONE (5 DECEMBER

2021) 42
POEM 1: ENCOUNTER WITH HAVING; ENCOUNTER WITH LOSING (18 JUNE 2021) 43
POEM 2: SOMETIMES I DREAM (8 DECEMBER 2021) 44
POEM 3: THE LABYRINTH OF THE MIND (20 JUNE 2021) 45
POEM 4: DIZZY (8 DECEMBER 2021) 45
POEM 5: LAG MET ‘N TRAAN (12 JANUARY 2022) 46
IMAGE 1: FEELING STUCK 47
IMAGE 2: STILL FEELING STUCK 47
IMAGE 3: SPREAD 48
IMAGE 4: STRETCH 48
IMAGE 5: FLY 48
IMAGE 6: GO WHERE THE BODY NEEDS TO GO 48
IMAGE 7: HOLD ME 49
IMAGE 8: TRANSFER 49
IMAGE 9: TWIRL 49
IMAGE 10: HIDE 49

1. Abstract

In this study, grief dreams are understood as dreams that relate to images of grief or

loss; contain the subject of loss; or might allude to such experiences or images. This

study aimed to understand what constitutes grief dreams, in order to explore its

elements through embodiment and projection with the hope of reaching a deeper

understanding and comprehension of the associated grief. Using an arts-based

research approach, the researcher, as sole participant, explored her own grief dreams,

which involved the grief associated with three distinct losses, namely, 1) dreams

dealing with the deceased, 2) dreams dealing with the termination of a relationship,

and 3) dreams dealing with the communal loss related to the COVID-19 pandemic.

These were analysed through three approaches, namely, 1) thematic analysis of the

dream transcripts documented in a dream journal, 2) projection, and 3) embodiment.

The results from the analysis showed that dreams, 1) reflect current turmoil, 2)

provide comfort, and 3) aid in closure and clarity. The findings from the projective

work revealed the following themes: 1) The Electrocardiogram, 2) the dream

experience, 3) connecting the body, and 4) exploring the residue. Finally, the analysis

of the embodied work displayed the subsequent themes: 1) feeling stuck, 2) spread

and stretch, and 3) material carries the load. These findings are important for this

study, as it revealed recurring themes in grief dreams that can be explored through

embodied and projective means in order to aid in the therapeutic processing of grief.

5 Key words:
Drama therapy – grief dreams – grief comprehension – arts-based research –

dreamwork

2. Research Title

Bringing dreams to life through drama therapy: Can the creative exploration of

dreams aid in processing grief?

3. Introduction

I have always been drawn to the idea of how people grieve and make sense of their

loss. Exploring where I am in terms of my own grieving processes intrigues me. I use

the plural form because I am exploring three distinct grieving trajectories: one that is

a 15-year-old journey for my mother, another that is rooted in the termination of a

romantic relationship, and lastly, a personal and a communal grief associated with

COVID-19. I am drawn to the concept of dreaming because of my own experience of

dreams, especially grief-related dreams. Bates (2020: 83) writes in her book,

Languages of Loss, “In my sleep my unconscious deals with trauma the best way it

knows how – by dreaming.” After my mother’s passing, I dreamt that we shared our

final goodbye. I believe that my brain and my unconscious formed this image with my

mother for me to grasp a sense of closure. Perhaps, unknowingly at times, grief might

be too overwhelming for an individual to confront in real life, and therefore, the body

responds to loss by dreaming. This is because dreams might present themes of grief

and loss in an abstract, distanced manner, and hence in a less threatening manner. My

assumption is therefore: when one experiences a form of emotional disturbance – in

this case, loss – dreaming may form an indirect, abstract or passive way of

confronting and processing it.

Drama therapy often refrains from interpretive dreamwork, and rather adopts a

practical approach in addressing trauma by either enacting or expanding the dream

(Casson, 1999). I believe that dreams are like a narrative or a story that often

articulates or visually presents a person’s inner turmoil. This study intends to draw

from these articulations and presentations within grief-held dreams, in order to better

understand their possible purpose in grief comprehension. Drama therapy involves

both the mind and the body (Casson, 1999), and hence, could provide the platform or

vehicle to explore one’s dreams in order to delve into possible meanings or

perspectives behind the dreams, which might aid in the processing of grief.

It is important to provide a description to the reader of what this study means by

‘grief-held’ dreams. My preliminary understanding extends to the following: such

dreams deal with images of grief or loss; contain the subject of loss; or might allude

to such experiences or images. For example, the dream might be the experience of an

actual interaction with the subject of loss, or an altered presentation or experience of

it. For this reason, I am further intrigued by dreams because of its, sometimes, warped

and surrealistic representation of reality. In particular, I am drawn to the elements,

visuals, symbols and metaphors that give it its quality. The first image that comes to

mind for me writing this is Salvador Dali’s (1931) artwork, The Persistence of Time.

How strange to view this surrealistic art piece with its melting clocks, yet it is not

completely inconceivable as it holds some measure of truth to reality. In other words,

despite its removal from reality, one can still identify human and earth qualities. For

this research, I want to draw from these elements, metaphors and images relating to

loss or grief in my dreams. I am hoping to gain inspiration from these abstract or

actual images as inspiration for engaging in embodiment and projection within drama

therapy in order to hopefully reach a point of therapeutic relief or clarity for myself

and for contexts outside of this study. In more specific terms, I am using artistic

mediums available in drama therapy to access and explore the themes within grief

dreams in order to better comprehend loss in the waking life. Finally, this research

aims to engage in an arts-based research process where I will explore my own dreams

through dramatic embodiment and projection with the hope that this will further

elucidate their meaning and might be a useful adjunctive method to other grief-

processing techniques in drama therapy.

4. Rationale

I believe that dreams are about knowing, and hence I want to explore my dreams to

learn about my own grieving process, so that I can have a better idea of how it

manifests in the waking life and, possibly, how it can be applied to drama therapy

work with grief. Furthermore, I believe that such a study will not only encourage my

own meaning-making processes about my losses, but also might shine light into new

therapeutic approaches in drama therapy, so as to deal with patients facing loss or

processing grief.

The potential discoveries made from working with dreams within a drama therapeutic

context might be beneficial to a South African context, as it may reveal possible ways

of contributing towards alleviating deep-seated and widespread loss-related trauma as

is prevalent within South African society (Atwoli et al., 2013; Jewkes & Abrahams,

2002; Norman et al., 2007; Wyatt et al., 2017). By exploring my own images in grief-

held dreams through embodiment and projective tools, this study might reveal some

possible benefits for a drama therapist to apply this approach within a broader

societal, loss-laden context, such as South Africa.

I am hoping that this study will lead to beneficial outcomes, especially in terms of

advancing the field of drama therapy within the area of working with grief, producing

novel knowledge on grief comprehension, discovering connections between dreaming

and processing grief, and lastly, revealing a potential tool in addressing the different

facets of loss-related trauma in South Africa. This is in line with what McNiff (2018

cited in Potash, 2019) says about the potential discoveries that can be made from arts-

based research, relating to improving oneself, inspiring others, furthering professional

practice, and satisfying the broadening of knowledge.

5. Literature review

5.1. Drama therapy

Jones (2007) explains that the term drama therapy, broadly, refers to the use of drama

with the intention of therapeutic healing. He further writes, “It uses the potential of

drama to reflect and transform life experiences to enable clients to express and work

through problems they are encountering or to maintain a client’s well-being and

health” (Jones, 2007: 8). However, although he provides a definition, he warns his

readers of limiting the profession to a “one-size-fits-all definition”, as this would “ill

serve clients with very different needs and capabilities” (Jones, 2007: 8). Therefore, it

is important to determine what the therapeutic goals are for specific clients, as well as

where the therapy will take place. Lahad (cited in Jennings, 2005), additionally,

alludes to the multimodality nature of drama therapy, as it often draws from other art

forms, such as music, movement, art, and dance. Personally, I resonate with

Emunah’s (1994: 3) definition of drama therapy: “Drama therapy is the intentional

and systematic use of drama/ theatre processes to achieve psychological growth and

change. The tools are derived from theatre, the goals are rooted in psychotherapy”.

Specifically, drama therapy adopts role-playing, storytelling, theatre games,

psychodrama, and other dramatic processes, in order to help clients to understand

their thoughts and emotions better or to improve their behaviour (Bailey, 2007).

Unique to drama therapy, the medium allows for both the therapist and the client to

move through different mediums within a dramatic focus (Lahad cited in Jones,

2007). Importantly, the drama therapist’s role is to facilitate the client’s experience in

a way that keeps the client emotionally and physically safe while the client benefits

from dramatic processes (Bailey, 2007).

Many scholars and pioneers refer to the basic concepts of drama therapy. Perhaps

most seminal is Jones (2007: 9), who described drama therapy according to the

“therapeutic core processes of drama therapy”. The core processes include: dramatic

projection, drama therapeutic empathy and distancing, role-playing and

personification, interactive audience and witnessing, embodiment, playing, life –

drama connection, and transformation (Jones, 2007). Important for this study is to

grasp an understanding of the processes of embodiment, dramatic projection, and

distancing.

Jones (2007) denotes dramatic projection as the process of expressing or externalising

inner emotional states onto exterior forms and presences. In particular he writes,

“Dramatic forms and processes, whether playing with objects or playing roles,

connect outer expression in drama with inwardly held feelings or experiences” (Jones,

2007: 83). In other words, it is the process whereby clients express aspects of

themselves (or their experiences) into dramatic forms, and consequently, externalise

their inner turmoil. Bar-Yitzchak (2002: 14) additionally writes that, “Dramatic

projection is very enlightening, enabling, and non-threatening process. It has two

major aspects exploring inner conflicts and hidden unconscious issues and, and the

same time, allowing the therapeutic healing process itself”. Similarly, Bailey (2007)

explains this phenomenon as the process of taking an idea or emotion that is internally

expressed in the client and projecting it outwards to be shown or acted out in the

drama therapy session.

Jones (2007) captures embodiment as the process in drama therapy that involves the

way the self is explored by and through the body. Furthermore, he refers to the body

as the communication bridge between the self and the outside, and which is usually

founded in gesture, expression and voice. The following description by Jones (2007:

114) captures, for me, the true essence of embodiment:

By physically participating in a dramatic activity the body and mind are engaged together

in discovery. Issues are encountered and realised through physical embodiment – they are

made, and encountered through, the body. In dramatherapy this physicalized knowing and

being within a dramatic representation of a problem or issue makes a crucial difference to

the verbal recounting or description of a client’s material.

Bailey (2007: 167), instead, refers to “concrete embodiment” which alludes to the

process of allowing for the abstract (such as thoughts and feelings) to be expressed

through the body in the now. Embodiment encompasses other processes, such as

touching, sensing, seeing, smiling, which Bar-Yitzchak (2002) explains as aiding a

client to express their core issues, and promotes the therapeutic process more

intensively than traditional therapy. Perhaps, this is what makes drama therapy

especially potent, as it involves almost all senses at the same time, allowing for an in-

depth exploration of the grief. Relatedly, Callahan (2011) writes in her study on

dance/movement therapy in a parent’s dealing with child loss that dance and

movement serve as a basis for exploration and discovery.

Landy (1983: 175) refers to distancing “as a means of separating oneself from the

other, bringing oneself close to the other, and generally maintain a balance between

the two states of separation and closeness”. Jones (2007: 95) encapsulates distancing

as the involvement, which is more “orientated towards thought, reflection and

perspective… This does not say that the client becomes completely disengaged, but

they are involved with material from a different perspective. In some situations, the

use of a distancing approach can help a client create perspective on themselves to an

issue – the capability to develop such a response may be the therapeutic work in

itself”. Distancing draws from physical, emotional and intellectual elements, and it is

the therapist’s role to discern how close she/he/they should practise these elements in

terms of meeting the needs of the client in the most appropriate manner. I believe that

projection and embodiment would allow for safe distancing to be achieved and

sustained.

Understanding what constitutes the processes of embodiment, projection, and

distancing respectively, is important for this study. The former is a critical process, as

what is expressed and felt abstractly in dreams will be explored through the body and

movement. The latter, projection and distancing, is also fundamental to this study, as

what is expressed and felt in dreams will be explored through the use of other art

forms, such as writing, sounds, drawing, and videography.

5.2. Dreams
Dreams are part of the brain’s default system, an interconnected system of regions

that include the thalamus, medial prefrontal cortex, and posterior cingulate cortex

(Edwards, 2015). Most dreams occur during rapid eye movement (REM) sleep

(Barrett, 2020; Braun et al., 1998; Edwards, 2015; Suzuki et al., 2004). REM is a

stage of sleep, which is captured by rapid eye movement, irregular heartbeat, and

increased rates of respiration. Barrett (2020), a leading researcher in dream studies,

explains that during this stage, an area in the brain associated with image formation,

the secondary visual cortex, becomes even more active than when a person is awake.

The dorsolateral prefrontal cortex, an area that is associated with volitional actions

and evaluating what is logically and socially acceptable, becomes less active (Barrett,

2020). In addition, other areas not associated with reasoning also differ in activity

levels when compared to awaken states (Barrett, 2020). Domhoff (McNulty, 2017)

beautifully compares this process of activation and deactivation of certain areas of the

brain as the individual enters the dream state to a symphony – certain instruments

soften to allow for other instruments to take front stage. Edwards (2015) writes that

as we prepare to awaken, memories begin to integrate and consolidate, forming our

dreams.

Another pioneer in dream studies is Hall, a psychologist whose thinking has led to

many theoretical, and methodological contributions to the field. Hall (1951: 62)

wrote:

Dreaming is thinking that occurs during sleep. It is a peculiar form of thinking in which

the conceptions or ideas are expressed not in the form of words or drawings, as in waking

life, but in the form of images, usually visual images. In other words, the abstract and

invisible ideas are converted into concrete and visible images. By an odd process, which

we do not understand, the sleeping person can see his own thoughts embodied in the form

of pictures. When he communicates his dream to another person, he is communicating his

thoughts, whether he knows it or not.

Research on and knowledge of dreams have expanded significantly subsequent years.

Yet, understanding dreams and their function remains a perplexing task (Black, 2018;

Domhoff, 2015; Franklin & Zyphur, 2005). Franklin and Zyphur (2005) write about

the difficult task of understanding dreams because of their subjective, nonsensical and

irrational qualities. Freud (cited in Tiwari & Anand, 2005) also spoke about the

complexity of dream presentation, and explained that dream content may rarely be

presented by the mind in a simple and direct manner. In addition, dream presentation

varies across individuals, where some may state that they rarely recall dreams, while

others experience vivid dreams with rich visual and emotional content (Franklin &

Zyphur, 2005). The experience of dreams also varies in terms of the measure of

control the dreamer has over actions and the course of the dream (Franklin & Zyphur,

2005). Domhoff (2015) also writes that dreams are highly personal, making it difficult

to make generalisable conclusions about dreams. Hall (cited in Domhoff, 2011) also

adds to the complexity of dreams, by stating that dreamers also have more than one

conception of themselves and the main people in their lives.

Other attempts at defining dreams and dreaming include the following: Revonsuo

(cited in Franklin & Zyphur, 2005) defines dreaming as the subjective, conscious

experience that we have during sleep. More elaborately, Oatley (2011: 7) captures

dream as, “… how fiction enters the mind, how it prompts us towards emotions, how

it affords insights into ourselves and others…” Lastly, another worthy inclusion is a

definition captured by Jones (2015: 6), “Dreams, then, can be used to express things

that are not easily expressed directly. They create interactions between different

states: the world of sleep and wakefulness; the unconscious and conscious; the

individually held and the communal; the numinous and the everyday.”

Hall (cited in Domhoff, 2011: 51) famously suggested that the images found in

dreams are the embodiment of one’s thoughts, as captured by the following quote:

If dreaming is defined as thinking that occurs during sleep, and if thinking consists

essentially of generating ideas, then dreaming is also a process of conceiving and the

resulting dream images may be viewed as the embodiment of conceptions… A dream

is a work of art which requires of the dreamer no particular talent, special training, or

technical competence. Dreaming is a creative enterprise in which all may and most do

participate.

Similarly, Domhoff (2015: 232), another leading researcher in dream studies, refers to

dreams as “embodied simulations”. Domhoff (2015: 233) explains, “both waking

cognition and dreaming are embodied in the sense that areas in the brain supporting

visual and sensorimotor imagery are activated when people make use of simulations.

They are also embodied in the further sense that the imagery is subjectively ‘felt’ as

the experienced body in action”. This information is important for this study in terms

of embodying those ‘felt’ emotions and experiences within dreams.

5.3. Grief-held Dreams

Grief comprises emotional, behavioural, and cognitive responses following a loss

(Zisook & Shear cited in Black, 2018). It is important to note to the reader that

persons grieve differently after a loss (Doughty, 2009; Zisook & Shear, 2009).

Doughty (2009) elucidates that some individuals might orient their grief more within

an affective response, whereas others might comprehend their grief more cognitively.

For this study, I will refer to ‘subject of loss’, so as to encapsulate and include loss in

broader terms defined outside of death.

Many writers have supported the notion that dreams hold adaptive and healing

qualities in relation to grief (Black, 2018; Black, Murkar & Black, 2014; Bulkeley,

2009; Garfield, 1996; Garfield, 1997; Hendricks, 1997; Helminen & Punamäki, 2008;

Jones, 2015; Pagel & Zadra, 2004; Pesant & Zadra, 2006; Ryan, 2006; Vina, 2017).

Pesant and Zadra (2006: 1) even refer to dreams as holding a “compensatory

function” which insinuates that dreams hold the potential to reduce unpleasant

emotions associated with grief and loss. Hartmann (cited in Helminen & Punamäki,

2008: 178) explain that dreaming becomes a safe place where dreamers are able to

create new and healing images of their dominant emotional concerns, which is

supported by the following quote: “… dreaming can link the shocking and threatening

emotional states with similar, but soothing, earlier memories.” Furthermore, dreaming

can form a coping mechanism in the continuum between conscious and unconscious

processes, and hence can aid in the integration of traumatic experiences as part of

one’s life – in this case traumatic experiences related to grief and loss. Cox and

Theigaar (cited in Casson, 1999) write about the wider range of possibilities that the

metaphoric language found in dreams have on the unconscious – more so than logical,

informative language. McLeod and Walter (cited in Vina, 2017) postulated that since

humans are meaning-making organisms, when confronted with the loss of significant

figure, people have a need to comprehend and understand the loss. Therefore, the

creation of adaptive narrative becomes a critical part of their grief resolution. By

finding meaning in their loss, Vina (2017) writes that individuals are more likely to

experience positive adaptation to the loss. These sources support the notion that

dreams can be a favourable pathway to address loss.

Research has shown that the frequency of recurrent dreams is often related to one’s

psychological wellbeing (Barrett, 1996; Blagrove, Farmer & Williams, 2004;

Domhoff, 2015; Helminen & Punamäki, 2008; Pesant & Zadra, 2006). Helminen and

Punamäki (2008) refer to the content of trauma-related dreams that often reflect the

dreamer’s emotional experience of the loss, rather than the actual event. Emotions –

both positive and negative – are prominent features of dreaming (Helminen &

Punamäki, 2008). Commonly, dreams contextualise the current emotional state or

dominant emotion of the dreamer, and the extent to which the current concern is

resolved and how actively the dreamer is processing it (Helminen & Punamäki,

2008). This then suggests that in order to work directly with emotions, dreams may

provide a lens through which to explore such emotions associated with loss.

Barrett (2020; 1996) has dedicated her life’s work to the study of dreams, particularly

distressing dreams and nightmares of those affected by trauma. Barrett conducted an

online dream survey to collect information on dreams during the COVID-19

pandemic, which revealed that current dream events are comparable to those which

people dreamt after the 9/11 attacks in New York City. Barrett postulates that

traumatic events such as the 9/11 attacks and the current pandemic are global,

disruptive phenomena that make dreams more intense and memorable (Walsh, 2020).

The results showed that the increased levels of anxiety during the day might result in

more distressing, absurd, and negative dream content (Desai, 2020; Renner, 2020;

Walsh, 2020; Walsh, 2021). Frequently, these dreams captured the fear of walking in

public without a mask (Walsh, 2020; Walsh, 2021).

In particular, Giovanardi et al. (2021) investigated how the COVID-19 restrictions

influenced dream frequency, content, and emotion. In terms of relationships, findings

showed that dreamers often dreamt that they were among friends and family.

Giovanardi et al. (2021) reported that dreams that took place during the pandemic’s

restrictions took place in a variety of settings, which included houses and apartments,

types of transport, disoriented landscape, and lastly dreams that relate to a non-place,

where dreamers felt a sense of helplessness and displacement. In terms of natural

environment, this theme was less common in the current findings, yet still apparent.

Giovanardi et al. (2021) encapsulate this theme as referring to the elements, ether,

fire, earth, water, and air. Lastly, Giovanardi refer to trials and challenges and

COVID-19. Here they explain that dreams often pertained to the experience of facing

an obstacle that feels impossible to overcome. In addition, dreams often held the

realisation of failing to follow COVID-19 associated protocol. According to

Giovanardi et al. (2021), one of the main functions of lockdown (associated with the

COVID-19 pandemic) dreams is to transform and/or increase the dreamer’s mastery

over the events of waking life. Not such dreams per se, but rather the idea of

presenting a scenario recurrently may result in the dreamer becoming desensitised to

the material, and in this way, aid in increasing the dreamer’s mastery over emotions

related to grief in the waking life. This is perhaps better explained by Hartmann (cited

in Giovanardi et al., 2021: 1) who postulated that dreams hold an adaptive function

because, “Dreaming about an emotion experienced in real life allowed that emotion

attached to be integrated, over time, with memories that have similar emotion

attached to them, thereby providing a safe context for the emotion attached to them,

thereby providing a safe context for the emotion to appear and be integrated into

memory”. Similarly, Barrett (cited in Walsh, 2020) explains that dreams may show

that our unconscious is more distressed than believed in the waking life, or it may

provide a much more optimistic perspective that is perhaps lacking in real life.
This

information is important for this study as it lends itself to the idea that dreams can aid

in the mastery to overcome some level of distress, which could potentially be

translated into waking life.

Past research has found that dreams related to the deceased are a common experience

in grief (Black, Belicki, Piro & Hughes, 2020; Black, Belicki, Emberley-Ralph &

McCann, 2020; Domhoff, 2015; Field & Filanosky, 2010). Black (2018) has even

coined a term for such dreams, namely Grief Dreams. Three common forms of Grief

Dreams are found: 1) dreams that do not have the subject of loss or person of loss

present – such a dream may be addressing the feelings of loss, 2) dreams that do not

have the subject of loss present but they are mentioned, and 3) dreams that have the

subject of loss present. He draws from research suggesting that dreams that involve

the subject of loss may aid the griever with positive adjustment. Specifically, these

dreams can assist in creating meaning in relation to the loss (Garfield, 1996; Bulkeley,

2009). Black, Murkar and Black (2014) emphasise that not all “grief dreams” provide

this positive affect, as others might trigger negative responses.

When processing loss, it is common for a person to maintain a bond or connection

with the subject of loss, which is commonly known as “continuing bond” (Black,

2018: 6; Black, Belicki, Emberley-Ralph & McCann, 2020). Research postulates that

one possibility of having grief dreams is to maintain a bond with the loss, which in

turn may provide comfort for the bereaved person (Black, 2018: 6; Black, Belicki,

Emberley-Ralph & McCann, 2020). Continuing bonds encapsulates a wide variety of

behaviours and experiences, including reminiscing and talking about the subject of

loss, or sentimentally holding onto belongings of that person (Black, 2018; Field &

Filanosky, 2010). Field and Filanosky (2010) divided ‘continuing bonds’ into two

groups, namely internalised and externalised. The former refers to experiences that

primarily involve contemplations, reflections, and reminiscence. The latter captures

experiences of the deceased as still being present in the world. Field and Filanosky

(2010) refer to studies supporting that both are linked to greater grief intensity;

however, they found that only internalised continuing bonds are connected to personal

growth after a specified trauma.

Vina (2017: v) aimed to understand the purpose of “bereavement dreams” in relation

to the individual’s grieving process by exploring the lived experiences of ten bereaved

individuals who reported dreaming of a significant person following that person’s

death. Through a phenomenological, qualitative approach, the following findings

emerged: a) despite the time after the death, the experience of grief continues, b)

reflecting on their grief dreams allowed for the participants to gain insight into their

loss and associated feelings, c) traumatic associations with the death can lead to

repetitive bad dreams and waking preoccupations, d) grief dreams provided comfort

and relief, e) grief dreams created a sense of connection with the deceased, f) the

bereavement dreaming experience provided participants a chance to communicate

what was needed to aid the mourning process, and lastly, g) grief dreams aid in

keeping the deceased’s memory alive (Vina, 2017: v). Black and his team (2020)

assign the following functions to grief dreams: 1) processing trauma, 2) maintaining a

bond with the subject of loss, 3) and regulating grief-related emotions.

Black et al. (2020) examined why some bereaved individuals find grief dreams

comforting, whereas others find them distressing. Their findings largely concluded

that dreams passively reflect the dreamer’s waking state, and actively function to help

the dreamer process grief. Largely concurrent to this study, Black and his team (2020)

found the following themes in grief dreams in their study. Positive themes include the

dream holding a generally positive affective tone, pleasant interactions with the

subject of loss, experience of the subject of loss as happy and healthy, success in

finding the subject of loss, and a tone shift in the dream from negative to positive. In

terms of negative content, Black and his team (2020) found the following themes in

grief dreams: dreams holding negative affective tone, distressing interactions with the

subject of loss, failure to find subject of loss, dissatisfying interaction with the subject

of loss, the subject of loss disappearing or leaving, and a shift from positive to

negative tone.

5.4. Grief, dreams and drama therapy
The most notable form of loss is the loss of a loved one to death (Brooke & Miraglia,

2015). Grief also expands beyond the experience of death, and includes other life

experiences, such as job loss, divorce, illness or physical disability, or immigrating

away from family (Brooke & Miraglia, 2015). It has been found that the termination

of a relationship can be extremely disruptive to an individual (Boelem & Reijntjies,

2007; Robak & Griffin, 2012). Robak and Griffen (2012) performed a study to

establish an understanding of the psychological variables at play during the

termination of a relationship. In their study, they compared grief symptoms for a

romantic termination to those who experienced a loss via death. What they found is

that in a normal population of young adults, the former experience of romantic loss

plays a more pronounced role in their lives (Robak & Griffen, 2012). Their

explanation for this is that the latter is less likely to happen to someone we share an

intimate relationship with (Robak & Griffen, 2012). Furthermore, Brooke and

Miraglia (2015) write that grieving over a romantic relationship is an important issue

to address, because of the bond created with someone and when that bond is broken, it

can be emotionally, physically, and mentally devastating to an individual. The global

COVID-19 pandemic caused many disruptions in daily routines and ways of living,

and as a result, the experience of grief was/is rife (Eisma & Tamminga, 2020).

Because of the pandemic, loss has been expansive, including not being able to attend

a loved one’s funeral, not being allowed to be with a loved one when they die,

unemployment, etc. (Centres for Disease Control and Prevention, 2021). Studies

performed by Giovanardi et al. (2021) and Fränkl et al. (2021) suggest that a

traumatic collective event such as the aforementioned might have consequences on

psychological functioning of the dreamer.

Researchers and philosophers have often compared dreams to a so-called ‘personal

play’. Domhoff (2015: 232-234) writes, “Dreams embody conceptions primarily

through literal enactments, making them somewhat akin to a theatrical play… As

such, dreams can be thought of not only as embodied simulations, but also as

figurative dramatizations that contain both literal and figurative elements within

them.” Landy (cited in Casson, 1999: 15) draws from Freud, Moreno and Jung’s

works the following quote:

… we can conceive of the dreamland as an altered state on consciousness that

contains repressed elements from an individual’s past, archetypes from the collective

past of mankind, and split-off parts of the self reflecting one’s present state of being.

Further, we can see the dream as pointing to the future, to the hopes, wishes, and

fantasies of the dreamer. Adding a more theatrical notion, the dreamworld can be

seen as a stage containing sets, props, costumes, colours, and characters… In working

with dreams the drama therapist can begin by asking the client to reconstruct his

dreamworld… with objects representing shapes, settings, characters in the dream.

This quote captures the dynamic and complex nature of dreams. It also captures the

theatrical realm of dreams, indicating its possible compatibility within a drama

therapeutic framework.

Hughes (2011: 611) writes that art is a cognitive behavioural process that lends itself

to creating images that help a client to express emotions that words are limited to,

which is supported by the following quotation: “Art therapy has the powerful

advantage over verbal and written communication of visibly showing clients how they

are thinking and feelings, allowing them to acknowledge and understand hidden

thoughts and feelings.”

Jones (2015) writes that one way to approach grief is through its story. Storytelling is

a prominent technique used in drama therapy. It may provide you with the platform to

articulate your inner turmoil, and hence could be a favourable tool in grief-related

sharing. Watts, Pearson and Smail (2003) speak about a space that is created from

storytelling in which the mind is liberated, and psychological healing can take place.

Furthermore, Langley (2006) explains that engaging in story can lead to an increased

awareness of the self, and other, more expressive ways of dealing with a problem. A

loss-related dream is one that reflects and tells about the loss (Jones, 2015). Such

dreams may not be direct or overt about the grief, but rather expressed through

metaphors and symbols, concerning life danger, vulnerability, and escape (Helminen

& Punamäki, 2008; Jones, 2015). Talking about dreams in a storytelling format may

lead to insight into these metaphors and symbols for further therapeutic engagement.

Domhoff (2015) speaks about the commonality that dreams hold with parables, fables

and allegories because of the shared subjective feeling that they seem to hold lessons

or hidden meanings. This led me immediately towards making a link between the use

of storytelling in drama therapy, and how dreams might be compatible with the

application of storytelling in order to process it, and hopefully find meaning. Various

techniques within drama therapy can be used within storytelling, such as puppetry,

role-playing, and narradrama, and hence can be used for the re-telling or re-enactment

of the dream’s material, with the ultimate goal of reaching therapeutic insight and

relief (Jones, 2015).

In dreams we find dramatic elements, such as story, location, plot, scene changes,

spatial relationships, characters and dialogue (Chesner, 2005). This is supported by

what Hall and Van de Castle (cited in Domhoff, 2015: 233) say: “As literal

embodiments, dreams are more like plays, than any other waking analog because they

include settings, characters, social interactions, activities, and emotions.” Chesner

(2005) explains that meaning is expressed through these elements and through the

atmosphere they create as a whole. The drama therapist may use these elements to

facilitate expression of the conscious or unconscious material through the processes of

embodiment and projection (Chesner, 2005). In other words, the story that these

elements form in the imagination or memory can be externalised and explored either

through movement and the body, or through projective practices, such as writing,

sounds, drawing, and videography (Chesner, 2005). Drama therapy allows for an

opportunity to express, explore, and resolve grief through the interaction of the

dream’s symbols and metaphors (Jones, 2015). In addition, dealing with the loss

directly may be too overwhelming for the client, and therefore, working with grief-

held dreams within a drama therapy framework can allow for some safe distancing

(Jones, 2015).

Purves (2018: 14) explains that one of the most beneficial aspects of using expressive

therapies with grieving individuals is that such interventions may create a safe

container for the grief, which is supported by the following quote, “This takes the

feeling out of the person and puts it into an aesthetic form that is of them but separate

from them.” This in turn allows for the individual to gain some perspective on what

they are feeling and what they can do to relieve some of the overwhelming symptoms

related to grief. Purves (2018) writes that creative drama is specifically effective when

dealing with how to recognise and process strong feelings. In particular, drama

activities that involve metaphors for grief distance an individual from painful

experiences while creating similar emotions and ideas (Curtis, 1999).

In this section, I have given the reader a glimpse into relevant literature around

dreams and grief-held dreams, their potential healing role in grief and loss, and the

interlinking role drama therapy can play as a vehicle to explore grief-held dreams. In

the next two sections, I will expand on the research aims and research questions for

this study.

6. Research Aim

Ultimately, this research aimed to explore the potential of using projective and

embodiment tools within drama therapy to highlight themes in grief-held dreams in

order to aid in processing and finding meaning in grief. Therefore, the aim was

twofold: 1) to explore grief dreams in order to determine any significant or recurring

characteristics or themes, and 2) to investigate whether the use of embodied and

projective tools used within drama therapy can aid in processing grief through the

exploration of grief dreams.

Through this study, I hoped to understand what constitutes a grief dream.

Subsequently, I hoped to gain an understanding of the potential role drama therapy,

through projection and embodiment (in relation to the grief-held dreams), could play

in the processing of grief. I want to highlight to the reader my own preliminary

understanding of grief: this study does not aim to eradicate or overcome grief, as I

believe that grief does not hold an end goal. It is rather an ongoing, ebb-and-flow

experience. This study, therefore, aimed rather to find other means (in conjunction to

other therapies) of offering therapeutic relief and clarity for grief or the experience of

loss.

7. Research Questions

The research question for this study is twofold.

7.1. How can the analysis of grief dreams, and the use of projective and

embodiment tools within drama therapy, be used to highlight and extract

recurring themes within grief-held dreams?

7.2. How can the above process aid in creating meaning and processing grief?

8. Methodology

I owe a large part of my inspiration behind my process to Oatley (2011: 19), who

wrote, “The dream model when it is externalized into text, or when it is realized in

performance of actors on a stage, exists in an intermediate place, halfway between the

world and the mind.” This quote, in particular, captivated me for its idea about dreams

existing within a space that is both real and imaginary, and subsequently fostered the

idea of meeting between the real and the imaginary in the form of embodiment or

projection. I hoped to undertake this creative journey in exploring my own dreams in

such a nature that would illuminate common themes within my dreams, so that I

might gain a deeper understanding of the purpose of grief dreams. I intended to work

on exploring, discovery, and depicting these themes through embodiment and

projection. In this section, I describe the research design that was adopted, expand on

how data were collected and analysed for this study, and finally touch on the ethical

concepts that were considered for this study.

8.1. Research Design
Creative arts-based research is considered to be a form of qualitative social science

research that draws inspiration, concepts, processes, and representational forms from

the arts (Knowles & Cole, 2008). In this creative arts-based research, I adopted an

arts-based research design, which McNiff (2018: 78) defines as, “the use of artistic

expression by the researcher, either alone or with others, as a primary mode of

inquiry”. Specifically, it includes the “systematic use of the artistic process, the actual

making of artistic expressions in all of the different forms of the arts, as a primary

way of understanding and examining experience by both researchers and the people

that they involve in their studies” (McNiff, 2008: 29). Potash (2019) elaborates on the

distinguishing feature of arts-based research as one that uses the creation of art as a

central method of inquiry and discovery. In this research design, researchers are

encouraged to trust the significance of their own imagination and source of insight.

Therefore, in this study, the researcher’s own use of artistic expression was followed

as a primary mode of inquiry.

Furthermore, McNiff (cited in Potash, 2019) captures this design as a method of

inquiry that draws from the elements of the creative arts therapies, as a way of

understanding the significance of what is done within the practice. In this study, the

researcher aimed to identify and understand grief dreams (which has been defined to

the reader earlier in this study, as dreams that hold relation to the experience of loss or

alludes to grief), as well as to determine how the exploration of grief dreams through

embodiment and projection could be used as a tool for therapeutic relief. Because of

the highly uniqueness of dreams, the researcher felt it appropriate to pursue as sole

participant of her own dreams. By extracting and analysing recurring themes found in

her own grief dreams, the researcher hoped that this would lead to insight as to what

commonly constitutes a grief dream. Finally, the researcher hoped that this would

form a base from which to explore and process these grief dreams further through

embodiment and projection. Simply, this study hoped to aid the process of grief

comprehension through the embodiment and projection of various themes in grief-

held dreams.

8.2. Sampling and participants
This research was centred upon the sole exploration of the researcher’s own

experiences in the realm of the study’s focus.

8.3. Data collection / Documentation of creative research
Arts-based research can expand on the practices that art therapists engage in with their

clients to aid in their own search for meaning and expression (Potash, 2019). Potash

explains that the creative process is one that is rooted in the arts with a special focus

on drawing from the profession’s potential for meaning-making, insight, awareness,

and behavioural change. In addition, Potash (2019) highlights the emphasis on arts

rather than art to indicate the researcher’s use of a variety of creative media. In this

creative arts-based research, I drew inspiration from the varied and sometimes

nonsensical symbols and metaphors found in my dreams. I aimed to capture the

possible purpose of these symbols and metaphors by exploring it through my body,

writing, drawing, and videography. It is important to highlight to the reader that the

artistic expressions revealed in the research may be more accurately described as

ways of knowing and inquiry rather than data (Potash, 2019).

The “data” collection in this study first proceeded with documenting my dreams in a

journal over a timespan of three months. After the three months, I drew from the

collection of dreams, dreams that held themes that relate to the experience of loss or

grief. At the end of this process, I had 15 loss-related dreams. Because of the focus of

the study, I thought it apt to additionally include in two earlier grief dreams that I

experienced before embarking on this research (again, those dreams that I associate

with grief).

The second part of the data collection consisted of free writing while listening to

songs that hold meaning for me in terms of my grief and experience of loss. Music,

for me, is a sentimental vehicle that holds a durable link between people, places, and

memories, and therefore acted as a container to explore my grief dreams through free

writing. What surfaced was subsequently captured on paper with words and images

and acted as further data for this study.

The third part of the data collection occurred parallel to the second step, as at times I

felt the urge to move along with the song, as well as process those emotions that were

brought up by the listening and the free writing. This process was video recorded, and

hence formed part of the data to be analysed. Videography was important in this

study, as it allowed for the researcher to document, record, and perceive live action

and artistic expression (Potash, 2019). In addition, it permitted an ongoing revisit and

experimentation of the research. McNiff (2018) writes that the camera can act as a

witness and provides evidence of what happened. It is also important to note that

throughout this study, an in-depth reflection on the experimental process, and the

presentation of research outcomes took place.

Therefore, the data collection process held both written and visual evidence of the

emerging themes from the study. All of the modes of inquiry worked together to

generate a culminating form of artistic interpretation and integration, and remained in

constant alignment with the research focus and the research questions. This study did

not follow an orderly or consecutive fashion of the steps, but rather took the form of

an intuitive, circular sequence. This was because the respective “steps” in this study

fed into one another. In other words, the step of free writing often led into

embodiment and projection, while the latter processes, in turn, fed further inspiration

for the written captures. The process, therefore, involved a back-and-forth momentum

between the dream-capturing, embodiment and projection, and subsequent or former

findings. As researcher, this intuitive approach fits in parallel with those often random

and spontaneous dream experiences.

8.4. Data analysis
Potash (2019: 191) writes as follows, “Appreciating arts-based research necessitates

accepting art making as a tool for revealing ideas, understanding the world, and

enabling us to know something that cannot be known in any other way. Even if

images are at first obscure, ambiguous, or confusing, ultimately they offer symbols

and metaphors that guide us, as well as point to further questions.” In this case, data

was first analysed and discoveries drawn by studying and reviewing the projective

and embodied work. Further data analysis was based on Braun and Clarke’s (2006)

basic thematic analysis, which comprises of six steps and largely lends itself to the

identification, analysis, and reporting of any patterns or themes in the data.

This paragraph is dedicated to the analysis of the projective work. Throughout the

span of this study, I jotted poetic utterances down on paper, which would later form

part of the data collected. In addition to this, I allocated an hour to listen to songs that

I resonate with in my own grief, or those songs that I listened to when the grief felt

heightened. The product of this engagement included various figures and poems. I

first grouped figures together that were similar in their presentation, which was then

followed by defining this similarity. The same steps were made for the poems – those

that held a similar theme or tone, were grouped together, followed by defining the

respective groups. The poetic utterances, mentioned earlier, were also incorporated in

these groupings.

In terms of analysing the embodiment, I would watch and re-watch the recorded

videos of me moving with the grief/loss associated songs. In particular and in

addition, I looked for any transitions in movements and gestures, the interaction with

the material, how the body makes use of the surrounding space, as well as the rhythm

and tempo of the engagements. By watching the recordings, I made notes describing

the movement according to the aforementioned criteria. Subsequently, I looked for

any reoccurrences in the notes and any observations that held potential significance to

the focus of the study, which subsequently aided in finding and drawing up the

themes.

In this paragraph, I refer to the analysis of the dreams by using Braun and Clarke’s

(2006) basic thematic analysis approach. Their six-step analysis follows as: 1) In-

depth exploration of data, 2) Look for potential codes, 3) Creating themes, 4)

Refining and defining themes, 5) Create thematic results of the data, and 6) Capture

results in the form of a report. Instead of their typical six-step analysis, this study

made use of only five steps, and took a form that allowed for the analysis of this

specific study. In this analysis, the steps that were followed occurred spontaneously

and naturally to the form of the study. For me, it made sense to look for the codes, and

from this, create and define the themes, and hence steps three and four were

combined. Refinement of the themes was not a step on its own, but rather took place

throughout the study.

The first step comprised of writing up the dreams captured in the journal into

respective dream transcripts. The second step involved reading and re-reading the

dream transcripts in order to become as familiar as possible with the accounts, as well

as to start looking for potential themes. Potential themes were based on a metaphor,

symbol, or scenario in the transcripts that either appeared repeatedly, or held

significance to the research questions and focus. This step also involved drawing up a

table with two headings or columns, where the first one denoted themes, and the

second column indicated their associated codes. Codes, in this sense, related to any

quotes in the transcripts that held relevance or acted as an identifier to the defined

themes. The third stage involved searching for any connections between the themes.

The fourth stage was based on refining the themes into final and defined ones, as well

as highlighting the important codes that captured the true gist of the particular themes.

The fifth and final stage required the writing up of the found themes, in which the

analysis was expanded into a write-up or narrative account. This account held the

results of the emergent themes and a discussion linking the results to relevant,

existing literature.

8.5. Ethical Considerations
HREC (non-medical) Ethical clearance was received from the WSOA Ethics

Committee on the 24th of February 2022. Clearance number for this study is

WSOA/2021/09/04.

A sense of awareness for and investing in the use of ethical principles can ease the

potential issues that may surface in the research (Orb, Eisenhauer & Wynaden, 2001).

Ethical principles may be rooted in the following aspects: autonomy, beneficence, and

justice (Orb et al., 2001).

Autonomy refers to the right for participants to voluntarily accept or refuse to partake

in the study as autonomous individuals, as well as exercising the right to be informed

about the particular research, and right to withdraw at any point in the study (Orb et

al., 2001). As researcher, my experience working within therapeutic settings is

limited. For this reason, it would have been ethically irresponsible for me to bring

participants into a space that could be emotionally overwhelming. Therefore, I shifted

the study towards a sole exploration of the creative process. In other words, I was the

only participant of this study.

Beneficence refers to the aspect of the study that promotes benefits in the community

and prevents potential harm (Orb et al., 2001). As sole participant in the study, I had

to ensure that certain measures were in place that would aid in the prevention of

possible mental and physical harm to the self. Potash (2019) also explains that the

researcher should be mindful of the degree to which the created art can negatively

affect the viewers. He further explains that the researcher can include a disclaimer

prior to presenting the research, and in this way alert the audience of the motivations

behind the study. In addition, the results of this study might be beneficial to the

expansion of dream knowledge and drama therapy.

Lastly, the concept of justice is rooted in equal sharing and fairness, and avoids the

exploitation or abuse of individuals (Orb et al., 2001). This principle also lends itself

to ensuring the mental and physical safety of the researcher – especially in terms of

what the process end engagement might bring up for me. For this reason, I ensured

that therapeutic support was available by seeing a therapist on a regular basis in order

to process any probable emotional material that emerged. In addition, I remained in

constant contact with my research supervisor who is an experienced drama therapist,

arts-based therapist and researcher to ensure that my study was met with rigour and

ethical standards.

9. Findings and Insights

In this section, I provide the reader with a thorough presentation of the findings that

were revealed in this study. As mentioned earlier, findings were based on discoveries

made through the thematic analysis of the dream transcripts, as well as insights gained

through the embodied and projective work situated within the focus of this study. This

study centred itself within three distinct losses, namely 1) the loss associated with

death, 2) loss associated with the end of a romantic relationship, and lastly, 3) the

communal loss associated with COVID-19. In this section, the findings discovered

through the basic thematic analysis of the dream transcripts are presented first,

followed by the insights that arose from the projective and embodied work. This

section comprises of three sections, 1) findings that arose from the analysis of the

dream transcripts, 2) findings that arose from the projective work, and 3) findings that

arose from the embodied engagement. The table below shows a summary of the

findings made in this study.

Method Themes

Analysis of dream transcripts

Dreams reflect current turmoil

Dreams provide comfort

Dreams aid in closure and clarity

Analysis of projection work The Electrocardiogram

The dream experience

Connecting the body

Exploring the residue

Analysis of embodied work Feeling stuck

Spread and stretch

Material carries the load

Table 1: Findings and themes that arose from this study

9.1. Findings that arose from the dream transcripts

In this section, the findings that were revealed through the analysis of the dream

transcripts are listed and defined here. The chosen themes were either recurring data,

or chosen because of their relevance to the study’s purpose. As a reminder to the

reader, the dreams accounted here are based on 13 chosen dreams from the journal

that relate to the experience of loss and occurred during the time of this study. In

addition to this, two dream accounts that took place before this study were also

analysed, and therefore, in total 15 dreams were included and analysed. The intention

was not to refer to all 15-recorded dreams, as this would be outside of the scope of

this study. However, to enhance the reader’s understanding and insight, these 15

dream transcripts are attached in full in the Appendix.

In order to aid in clarity, the subsequent dream capsules are examples of the three

distinct losses, namely 1) loss by death, 2) loss by the termination of a romantic

relationship, and 3) communal loss associated with COVID-19 and the pandemic. In

order to refresh the reader’s memory, grief dreams in this study refer to dreams that

hold an actual experience of loss, or one that alludes to it.

a) Dreams dealing with the deceased

These dreams are defined as grief dreams, as they relate directly to the deceased of a

loved one. Both of these dreams occurred pre-journal, or before this study took place.

My earliest grief-dream (Childhood dream 1; pre-journal) happened after my

grandfather’s passing. In this dream, we are sitting around a dinner table with other

family members. The last image I have of my grandfather is one in which he appears

ill and defeated. However, in this dream, my grandfather appears healthy and happy.

My second grief-dream (Childhood dream 2; pre-journal) is captured below:

I am busy building a puzzle. It’s before your funeral and we still have many

visitors who wish to show their condolences. You enter the room with Dad, Esté

and Etienne by your side. You are wearing this bright coral orange suit, and

looking radiant as if you are not sick. You have your handbag over your

shoulder, looking like you are about to leave and run some errands. You tell me

that you are happy and that you have to leave soon. We embrace in a warm hug. I

am feeling comforted and held.

I had this dream when I was eleven-years-old. I had it a week after my mother’s

death.

b) Dreams dealing with the end of a romantic relationship

The dreams that fall under this heading relate to loss experienced from the termination

of a relationship. In these dreams, I search for the person, chase a time to meet the

person that I never seem to meet, or find the person, only to lose them again. Grief

here relates to the aforementioned loss, as I often compared the emotions I faced after

the relationship to being similar to those experienced after my mother’s death (Dream

3: 9 June 2021).

On the other hand, the subsequent dream illuminates the feeling of chasing, trying to

meet a certain time, but failing and consequently, failing to see the subject of loss:

I am on a plane, already sitting in my seat. The plane is packed. As always, I am

staring at the people walking down the aisle. I see you but you don’t see me.

You’re wearing earphones. I want to reach out and touch you but I am sitting in

the middle – between strangers, unable to get to you. I have one confirmation: you

are in Cape Town. I know that you are going to the same music show that I am

going to tonight. I am so eager to get to the show but I keep getting stuck doing

certain activities. I do my make-up but it melts off my face. I do it again but I fill

like a circus mask. I wash it off. I try again. Again, we’re in my old home. My

sister has two small children. I first need to attend to her. I receive a message from

a mutual friend. You decided not to go to the show (Dream 14: 4 December 2021).

This dream captures grief in the sense of realising that what you want is out of reach,

and in a way, no longer available in existing proximity.

The following two dream capsules capture the realisation that the loss is certain and

final:

I search through his belongings and find ID photos of his new girlfriend. I go back

to find you but I can’t seem to find you again (Dream 8: 10 August 2021).

It is at my current house. You and your girlfriend visit. It is a strange experience.

However, I warm up to her and we become friendly. You seem distant,

understandably. You tell me that at the beginning it was also “forever” for you.

But you explain that time has passed and that you’re happy with your current

relationship. I wake up, feeling at peace and somewhat happy for them (Dream

15: 5 January 2021).

c) Dreams dealing with the communal loss associated with COVID-19

This study was conducted during the worldwide COVID-19 pandemic. Often in this

time, I had dreams that were associated with feelings of being restricted and stuck,

and those that were related to failed plans and disappointment.

The following dream captures the loss of traveling and movement, and the resulting

experience of disappointment:

Emerald green forests surround me. My brother, Etienne is with me. We walk

towards crystal clear waters filled with people doing all kinds of acrobatic

sports. Stretching through the middle of the lake is a green, grass-lined path. We

are child-like happy, running, and losing each other in the excitement. We are

not panicked by this realisation, but rather in awe of what is around us. As I am

running, I am thinking, ‘this time it is for real. I am here.’ I am content. I am

happy. I observe the strange sighting of snow surrounding the waters, because it

feels like a hot, summer’s day. Lights, similar to the Northern Lights, swim above

me. I am in a trance (Dream 9: 3 September 2021).

These dreams also related to grief in not being able to travel to see loved ones, as well

as the grief associated with not being able to attend a funeral of a loved one. The

following dream captures this feeling of loss:

Finally you arrive and I want this picture set in cement. I run back to find my

shoes. Upon returning, you are gone (Dream 4: 11 June 2021).

The aforementioned headings revealed the three types of grief dreams that were

prominent. Analysing the dream transcripts allowed for three broad themes to arise,

namely: 1) Dreams reflect current turmoil; 2) Dreams provide comfort; and 3)

Dreams aid in clarity and closure. These are expanded on below. From this point on,

it is important for the reader to note that the term dreams will imply grief dreams.

9.1.1. Dreams reflect current turmoil

It was often evident that whatever I was dealing with in the waking life, revealed

itself in my dreams. COVID-19 and the pandemic played a significant role in my

experience of loss: loss of normality, loss of seeing certain family and friends, loss of

going to funerals, loss of traveling, loss of in person teaching, etc. As seen in the

aforementioned dream (under loss associated with COVID-19), I am itching to move

and travel yet the reality of restriction strikes when I wake up. Across dream

transcripts (see Appendix A: Dreams 5, 6, 14), my dreams would often take place at

an airport or in an aeroplane. However, these dreams were often filled with anxiety, as

I would struggle to find my boarding gate, miss my plane, or arrive at the wrong

airport. This reveals that associated feeling of loss in relation to normality and

freedom, and consequently, feeling stuck.

At the time of writing this study, I was (still) dealing with emotions linked to the

termination of a romantic relationship. In the waking life, I experienced a deep

longing for the person, I felt immense sadness, and I often found myself searching for

that person. This was translated into my dreams. In addition to the dream capsule

above, the following dream segment shows this feeling of longing, sadness and

searching: I am running down a straight, narrow street in a foreign city. I am running

as fast I can because I know I only have so much time before you leave (Dream 11: 20

October 2021). Other times, I would endlessly search for an inanimate object, such as

shoes or earrings (see Appendix A: Dreams 4, 7) but the quest always seems to be

impossible. Sadness was linked to the realisation of the ending: Finally, you arrive

and I want this picture set in cement. I run to get my shoes. Upon returning, you are

gone. In my dream, it is still you and me. I wake up alone. My body aches. I am left

with a pointless sense of hope. It sits deeply in my abdomen (Dream 4: 11 June 2021).

As seen in this section, often those emotions, sensations, and feelings confronted with

in the waking life, were often translated into my dreams.

9.1.2. Dreams provide comfort

This theme relates to dreams that offer a scenario, experience, realisation or feeling

that is associated with solace or comfort. They are still grief dreams because they

either hold the subject of loss or allude to the experience of loss.

Both my grandfather and mother (see Appendix A: Dreams 1, 2) suffered from

terminal illnesses before they died. My last memory of them both is one of illness and

suffering. However, in my dreams about them, they appeared healthy and happy. In

this way, these dreams provided comfort in replacing a negative image with a positive

one. In addition, in both of these dreams, I received a hug from the deceased,

reassuring me that everything will be all right. In effect, the subject of loss comforted

me.

A prominent reoccurrence in my dreams is my childhood home (see Appendix A:

Dreams 3, 10, 13, 14). Despite the content and people present being different; the

setting would often be my childhood home. I believe that in this case, revisiting my

childhood home provides me with great solace. Therefore, although the dream may

hold themes of longing, pain, and searching, the home would in many ways feel life a

safe haven. Similarly, I would also often return to my primary school playgrounds or

return to a holiday home – perhaps, I associate positive and favourable memories with

these settings, and hence, going there would be soothing. In addition, my dreams were

frequently met with family and friends in various settings, which again could pertain

to feeling safe with positive and significant figures.

9.1.3. Dreams aid in clarity and closure

My dreams have presented various scenarios or experiences that, retrospectively, have

directly aided in dealing with my grief. In one dream (see Appendix A: Dream 8), I

had an encounter with the subject of loss providing me with affirmation that I lacked

in the waking life. I believe that seeing and living this image allowed for myself to

reach some sort of closure. Although it did not happen in real life, I was able to

experience a scenario that would aid in my process of gaining closure. In other words,

it allowed for me to imagine an interaction that took place that would perhaps weaken

the need to search, as I believe that the need to search was strongly linked to the

search for clarity and peace of mind. In addition, it also allows for new, positive

associations to be formed with the subject of loss, for example: We finally meet. It’s

friendly and warm. Not romantic, as I am aware of the now existing boundaries

(Dream 7: 5 August 2021). Subsequently, this dream aided in the processing of the

loss or reaching some point of acceptance of its finality.

The dream of my mother (see Appendix A: Dream 2) provided me with a sense of

closure for two reasons. I never had the chance to actually say goodbye to her, and my

dream offered such an opportunity. Secondly, in the dream she told me that she is

happy and ready to return. From this, I could draw my own conclusions that could aid

my grief, such as the idea that she is at peace. At age 11, I believed that this was an

actual visit from my mother, which provided immense comfort and relief.

9.2. Insights gained from projective engagement
This section captures findings made through an attempt, using projective work, to

understand my own grief dreams, and the therapeutic potential thereof. This section

comprises of four groupings of projective work, namely, 1) The Electrocardiogram,

2) The dream experience, 3) Connecting the body to the grief dream experience, and

4) Exploring the residue.

9.2.1. Grouping 1: The Electrocardiogram

Figures 1 – 4 (see below) reveal what was projected while listening to the songs that

either reminded me of my own grief, or songs that I had listened to intensely when

grief over spilled me. This was a spontaneous, free writing exercise. Anything that

was written here was produced in the here and now.

During this process, I would write down

any thoughts that arose in the process. For

example, Figure 1 captures one such

thought, I love a song that carries on, or

albeit, feels so, forever. Has many different

levels, tempos – ignite different response.

Tells a story, very much like dreams?

Figure 1: I love a song that carries on (5 December 2021)

In itself, this is a finding. Songs carry different emotions, tempos, and rhythms that

can resemble the experience of grief dreams. Grief and dreams are not

straightforward, one-dimensional concepts, but rather consist of richness, depth, and

complexity, making it difficult to grasp.

It was interesting to me to note how

spontaneously my hand led the

activity. I started drawing and writing

according to whatever was brought up

for me while listening to the songs.

This took the form of doodles,

scribbles, and dispersed lyrics. I

would capture any lyrics that

resonated with me in terms of thinking

about my own experience of grief – in

particular, my experience of grief

dreams, what the grief dreams mean

for me, what it stirs within me, and

what I am left with after the dream

experience.

Figure 2: ‘Cause in my dreams I miss
you’ (5 December 2021)

For example, Alex Cameron’s (2017) Stranger’s Kiss (see Appendix B) has the

following lyrics, ’Cause in my dreams I miss you. Then I wake up to reality’s bliss’.

Other lyrics are less direct, for example Future Islands’ (2015) Haunted By You (see

Appendix B) sings, ‘Like forever was, she waits for us, and she takes from us. Oh

sweet life might give and take from us.’ For both of these lyric segments, I felt the

urge to write it down, as it ignited a resonance within me. This could be because it

reminded me of the subject of loss, or it simply reminded me of loss and grief in the

general, communal sense.

As seen in Figure 3, I made figures

that resembled the tempo of the

music. Perhaps, I attempted to

capture the music in a projective,

concrete form. It reminds me of an

electrocardiogram, depicting the

heart’s rhythm and electrical activity.

At times, these peaks were

pronounced and large. Other peaks

were small, but still defined, whereas

others took on an undefined shape.

Again, this is reflective of the dream

experience itself – some dreams held

peaks, whereas others held troughs.

Figure 3: To see the change (5
December 2021)

In many ways, the changes in the

illustrations might represent the

non-predictable nature and

trajectory of grief. At times, your

emotions are intensified and felt

deeply, whereas other times you

may experience a sense of peace.

Figure 4: Thought I was the only one, turned out I was everyone (5 December
2021)

9.2.2. Grouping 2: The dream experience

This grouping is dedicated to the projected work that attempts to capture the grief

dream experience, or rather, what the dreams mean for me, and how I experienced it.

Poem 1: Encounter with having; Encounter with losing (18 June 2021)

Some dreams

Leave me

Chasing

Searching

Chasing

Others

Leave me

Packing

Only to realise

That my suitcase is

Empty

This poem relates to three dominant feelings experienced in my grief dreams, namely,

the feeling of chasing something or someone, searching for something or someone,

and the feeling of being stuck or enclosed.

The following poem (see Poem 2 below) also captures my attempt to make sense of

these grief dreams. It explains the similarity that I find between dreams and real life,

but also the vast differences between the two realms – a false belief. The words

saturated, drenched, bamboozled, hoodwinked demonstrate my, sometimes, responses

after the dream. It may, at times, be overwhelming and perplexing, leaving me to

grasp my cushion, as at that moment, it feels like the most REAL thing. Despite, at

times, feeling bewildered and, perhaps, deceived, I am grateful for my mind to allow

for an altered life. I played around with the layout of the poem, depicting the various

layers of reality (or abstractness) of the dream experience.

Poem 2: Sometimes I dream (8 December 2021)

Sometimes, I dream
Reality versus reality

Imagination in overdrive

Enhanced

Captured

Stuck

(Or so it feels)

A mirror | rorrim A

Truth, but not
A version of it
False belief
A construction

Saturated
Drenched

Bamboozled
Hoodwinked

Holding my cushion
As if it’s the most
REAL thing
To grab

Revealing

An empty grip

A showcase of

My deepest

Deepest

Fears

A living nightmare
Hah!

So senseless
A laughing act
A mad show
Delusional fantasy
Intricately wonderful

A consolation
I love my mind

I dream Sometimes

9.2.3. Grouping 3: Connecting the body to grief dreams

I wanted to form a linkage between the projective, written work and the embodied

work, by particularly making reference to various body parts. In many ways, again,

poem three reveals the often chaotic, non-sensible nature of dreams. The segments are

related, but also distinct, creating a staccato-like tempo. For me, this captures the,

sometimes, disjointed nature of dreams.

Poem 3: The labyrinth of the mind (20 June 2021)

1. It feels like my stomach has swallowed a body of ocean, storming within me,

leading me with its inertia.

2. My oesophagus swirls into my intestines like a collapsed tower of hope.

3. Body feels hollow. The site of you fills it with cement.

4. I feel it mostly in my face, as if it was a desert-like sponge, finally, falling into

a well of water, blocking my sight.

5. Like petals released from their hold, I fall to the ground, still keeping my

covert form, cupped like a vessel, drifting away from that what I have always

known.

Poem 4: Dizzy (8 December 2021)

Move too quickly

Dizzy

Sugar penny drops

Heart propels

You must slow down

Poem four was written straight after an embodied engagement. I felt that it was

important to capture my embodiment in response to the grief dream through a verbal

capture. I also want to demonstrate to the reader that, through my exploration, it was

not possible to view projection and embodiment as two separate processes, but rather

one interconnected process that unfolded, fuelled, and propelled one another. In

addition, it is impossible to locate the above processes in neat, discrete steps, which

again, lends itself to the idea that dreams are chaotic, non-linear phenomena.

9.2.4. Grouping 4: Exploring the residue

This grouping is made up of only one poem. I wanted to capture the feeling of

nostalgia and gratitude, but also a sense of sadness for knowing that it was only a

dream. Poem five is based on my dream of my mother in which she says ‘goodbye’. A

bittersweet aftertaste – bitter, because dreaming is removed from waking reality, and

hence, not actually true; sweet because it is a glimpse and touch of someone or

something lost in real life.

Poem 5: Lag met ‘n traan (12 January 2022)

You taste it in its fullness

Round, plump, ripe

Juicy, juicy

Coral orange button suit

Vibrant, alive

A bittersweet

Aftertaste

Ultimately, the projective engagement revealed my thoughts, comprehension, and

emotions towards grief dreams in a written, concrete form.

9.3. Findings that arose from studying the embodied engagement
As a reminder to the reader, the analysis of the embodied engagement took place by

watching and re-watching the video recordings of the embodiment. Special attention

was placed on noticing any transitions in movement and gesture, the interaction with

the material, how the body made use of its surrounding space, and lastly, the rhythm

and tempo of the engagements. The images included below are frozen frames from

the video recordings. In other words, these represent moments during the watching of

the video recording that I felt had to be paused and saved for its weight in supporting

a particular theme. Based on the notes, descriptions, and observations of the video

recordings and related images, I had found three trends or themes: 1) Feeling stuck; 2)

Spread and stretch; and 3) Material carries load.

9.3.1. Feeling stuck

Often in the observations of the recordings, it was evident that at times my body

seemed restricted and stiff. The movements were slow, undefined, and aimless.

Images one and two show this sense of heaviness and motionlessness. The images

also show my body tilted forward with my head hanging. This felt like a safe space to

feel ‘stuck’. As already revealed in the projective work, the feelings of being stuck

and having aimless motivation were prominent sensations experienced in the grief

dreams (see Appendix: Dreams 6, 9, 10, 14). Perhaps the experience of having

recurring dreams also lends itself to this sensation, as the dreamer is stuck in a never-

ending replay of an event. The experience of restriction and immobility can relate to

the traveling dreams where there seems to be no destination, or it may relate to the

endless feeling of searching for something and never finding it.

Image 1: Feeling stuck Image 2: Still feeling stuck

9.3.2. Spread and stretch

Between the moments of appearing stuck and restricted, there were large and

exaggerated gestures as pronounced by my arms and legs. My limbs led the way away

from my torso, as if being pulled in opposite directions. Perhaps, this was what I

needed, after feeling immobile and restricted. It was evident that in my dreams I

sought this freedom with my travel dreams (see Appendix A: Dreams 6, 7, 9, 11), as

well as my dreams in which there is a social theme (see Appendix A: Dreams 3, 10,

12, 13, 14). It is evident in these dreams that I wanted to experience what was

restricted by the COVID-19 pandemic, like traveling and socialising. In addition, the

use of materials aided in the stretching motion, allowing for my arms to have

something concrete to move and stretch. Perhaps, this need to claim the space around

me relates to the desire to reach a point of closure, and to remove myself from the

cyclical pattern of healing and grief. This is in parallel with my confrontation or

experience with closure in my dreams. As mentioned already, some of my grief

dreams mediated a sense of reaching a point of insight and closure (see Appendix A:

Dreams 1, 2, 8, 15).

Image 3: Spread Image 4: Stretch

Image 5: Fly Image 6: Go where the body
needs to go

9.3.3. Material carries the load

This theme relates to the incorporation of material in the embodied process. I was in

awe of how the material facilitated the movement, as if acting like a steering wheel. It

allowed for my movement to take shape, as well as provide a vehicle to carry my

emotions. At times, it provided comfort when I covered myself with it (see image 7).

Other times, by twirling and throwing it in the air, it aided in transporting my

frustrations, and possible anger. Referring to my grief dreams, it was common for me

to receive comfort from the subject of loss – either in the form of visualising the

subject of loss, or receiving words of affirmation or affection from the subject of loss

(see Appendix A: Dreams 1, 2, 4, 7, 8, 9, 15). In addition, it made me aware of these

emotions, which were otherwise hidden or suppressed. Similar to dreams, where

emotions are perhaps, hidden or supressed in the waking life, they appear in the

dreams. For example, the sensation of chasing, the experience of hurt and feeling

replaced, and the feeling of deep disappointment were brought to light (see Appendix

A: Dreams 3, 4, 5, 6, 7, 9, 10, 11, 12, 13, 14). As seen with image 10, the material

aided in being creative, as I started to play with the reflections of the sun rays.

Importantly, I felt freer to move with the material than without it, providing a sense of

safety, containment, and familiarity.

Image 7: Hold me Image 8: Transfer

Image 9: Twirl Image 10: Hide

This chapter revealed rich findings related to my understanding of grief dreams, as

well as its potential therapeutic role through projection and embodiment. These are

further discussed in the next section.

10. Discussion

In this study, I hypothesised that the more I actively engaged with my grief dreams

through projection, embodiment, and analysis of the dreams, the more adaptive I will

become to coping with the associated grief. I completed this project experiencing, at

many times, low, heavy energy. Even at times, a deep reluctance to engage with the

project, as doing so meant that I was confronting grief and its related undesirable

feelings. I was in many ways, after all, the grieving individual seeking therapeutic

relief. As mentioned before, grief is not a graspable concept, as it is often ongoing and

complex. However, the findings in this study reveal support for working with grief

dreams as means of processing grief and loss. I am able to view the process

retrospectively and holistically, and thereby note the growth and positive adaptation

in my mourning processes.

As a reminder to the reader, the study’s research questions aimed to understand how

the analysis of grief dreams and the use of projective and embodiment tools in drama

therapy can be used to extract and highlight recurring or significant themes in these

dreams, as well as to determine how the aforementioned processes can aid in creating

meaning of grief and processing grief. In this section, by connecting it to current

literature, the established findings are discussed to determine its therapeutic potential

in grief.

10.1. What did the study reveal about grief dreams
The analysis of the dream transcripts revealed possible functions of grief dreams,

namely that dreams 1) reflect the dreamer’s current turmoil, 2) provide comfort and

solace, and 3) aid in clarity and closure. This is important for understanding the

possible role that dreams play in grief comprehension, and consequently, provides a

platform to explore possible therapeutic entry points. If such dreams aid in positive

adaptation, then this study postulates that such positive adaptation can be enhanced

and cemented in the dreamer’s waking life by exploring these grief dreams.

The product of the projective work (see 9.2.1.) and the embodied investigation (see

9.3) often fit the characteristics of grief being multi-dimensional, complex,

spontaneous, and chaotic. The incorporation of songs about grief into the study’s

process supports the notion that loss, and the experience of it, is universal. Dreams

differ in their impact on the dreamer, as some leave a profound, lasting effect,

whereas others are less memorable. In addition, like grief, dreams are unpredictable

and uncontrolled. For example, during the time of this study, some timeframes held a

higher frequency of grief dreams, whereas others were less active. This was usually

concurrent to the intensity of grief. Lastly, dreams vary in their measure of

abstractness (or measure of reality); however, the carried themes might be similar.

Knowing this information could be helpful for future practitioners working with

grieving individuals who experience grief dreams.

10.2. Exploring the content of grief dreams

The analysis of the dream transcripts revealed some dreams to strongly hold a

negative valence, some a more positive valence, and others a combination of the two.

To consider the valence attached to the dream is important for this study, as it reveals

how the dreamer emotionally experienced the dream. Dreams that carried negative

content often led to a distressed waking state, whereas, dreams that carried positive

content led to a lighter waking state. Those that were mixed would result in an

indifferent state. The dreamer would often ruminate about the loss, or analyse the

dreams in these waking time frames. This study postulates that during these post-

dream timeframes that therapy, or engagement with the dream material, would be

most effective.

As mentioned in the literature review, it is postulated that dreams hold the potential to

reduce unpleasant emotions associated with grief and loss (Black, 2018; Black,

Murkar & Black, 2014; Bulkeley, 2009; Garfield, 1996; Garfield, 1997; Hendricks,

1997; Helminen & Punamäki, 2008; Jones, 2015; Pagel & Zadra, 2004; Pesant &

Zadra, 2006; Ryan, 2006; Vina, 2017). Concurrent to these studies, this study

suggests that confronting the negative content in dreams will, over time, result in

them losing their potency for emotional disruption. Hall (1951) wrote that the abstract

and invisible ideas that we experience during the day are translated into concrete and

visible images in our sleep. It is evident that in this study, those thoughts that

dominated the dreamer’s mind in the waking life were converted into tangible

scenarios. For example, the frustration towards the pandemic’s restrictions was

translated into a tangible scenario in which the dreamer could not leave the airport.

This conversion from intangible to tangible is highlighted in this study, and is noted

as a possible favourable point of entry for therapy. By working with the tangible, the

intangible could possibly be better understood by the client and their therapist.

One of the most important findings of this study is that both positive and negative

content held dreams allow for the dreamer to play out a scenario, express emotions, or

confront situations that would not be possible in real life. In this way, the dreamer

achieves something in their dreams, outside of the waking life. Parallel with current

literature, the dreamer is able to integrate these experiences, solutions, successes,

interactions, etc. into their own lives (Cox & Theigaar cited in Casson, 1999).

Positive-content dreams that included a positive interaction with the subject of loss

allowed for a negative memory to be replaced with a positive encounter. The dreamer

was able to create an adaptive narrative that adds in her grief understanding. By

working with these adaptive narratives through embodiment and projection, it might

aid in the integration of these narratives into an individual’s waking life. Therefore,

the findings of this study suggest this entry point to be a favourable one for grief

counselling. Particular dream scenarios allowed for me to experience a positive

interaction with the subject of loss, or other scenarios that aided in my meaning-

making process. I believe that drama therapy offers a route to create and discover

meaning in relation to grief.

During the time that this study took place; South Africa entered their third lockdown.

Widespread in the literature is the notion that the frequency of recurring dreams is

often associated with one’s current psychological wellbeing (Barrett, 1996; Blagrove,

Farmer & Williams, 2004; Domhoff, 2015; Giovanardi et al., 2021; Helminen &

Punamäki, 2008; Pesant & Zadra, 2006). The findings here support this notion, as the

dreamer experienced recurring dreams in which she was either trapped in an

aeroplane or at an airport, lost in another country, or enjoying the act of traveling only

to wake up with deep disappointment. This study shared large resonance with

Giovarnardi et al.’s (2021) study that postulated that the dreamer, when presented

with recurring material, becomes desensitised to the material and in this way, assists

the dreamer’s mastery over emotions related to loss and grief in the waking life.

It is evident that the dreamer in this study sought freedom and fought the restrictions

associated with the pandemic. Hence, this study suggests that the dream-space allows

for those thoughts related to COVID-19 to be played out in the dream. In other words,

by being presented with particular grief-associated feelings and scenarios, an

individual is given the opportunity to process this in a realm outside of waking reality,

and hence in a distanced manner. In this study, lockdown-related dreams were

prominently explored through embodied work, which revealed obstructed

movements. In this case, embodiment allowed for that what was experienced in the

dream to be converted into an embodied shape, which in turn, could help both the

client and their therapist to approach the grief from another, more graspable, angle.

Therefore, I believe that embodiment and projection add another layer to therapy –

one where thought, feelings, and responses can be framed to be observed in order to

gain a deeper understanding.

10.3. Using grief dreams as an entry to process grief

10.3.1. Embodiment and projection as favourable processes

This study allowed for the re-telling of grief dreams in different forms, such as

through projection, embodiment, and transcription. In her study, Vina (2017) also

found that the act of re-telling dreams fosters positive processing of loss. This is

important for this study, as the use of drama therapy, through projection and

embodiment, in grief therapy, allows for grief dreams to be told in different forms,

which could lead to enhanced insight of the self in relation to grief.

Embodiment and projection provided a vehicle to express and actively explore and

process what surfaced through my experience of grief dreams. Actively is important to

highlight to the reader, as embodiment and projection allowed for an interaction that

included the body and the mind. Through these processes, inner thoughts and insights

could be objectively witnessed and studied. Specifically, it mapped out the dream

experiences in a viewable and graspable form, allowing for a more in-depth analysis

of t