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Agenda and structure


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Section directed by Marisa Manchado Torres.

In this section we will work several aspects of the musical improvisation (through poor or homemade instruments, that is to say, of manufacture and “domestic use), as vehicle for the personal development, as well as the word in a context of group dynamics:

1. The musical improvisation as vehicle of personal and group knowledge: development of the rythmical-vowel-instrumental expression.

2. The musical improvisation as therapeutic tool in the emotional conflicts: development of brings back to consciousness at work of personal growth.

3. The emotional expression through instrument.

4. The musical instrument as projective element: it brings back to consciousness.

5. The construction of the musical speech as metaphor of the spoken speech: of the verbal symbolic-not language to the verbal concept.

6. Musical listening, an element for therapeutic listening: sonorous landscapes and trips.

7. Musical creativity versus creativity/versatility/emotional, mental and motor flexibility.

8. Projective hearing: a therapeutic listening.

In Gestalt we worked from “giving account to us of what it is happening to us and, from there, “why - more than “why - we do what we do: why it serves to us, what “feeds to us, and also of what we hide, what we avoided - everything has two faces. From there, the work is re-to discover the body, the sensorial thing, what we physically felt - that would be most elementary or original; from there, what emotions we felt and what perceptions we have. All this works of different forms and ways, so many as people - each human being is a different tuning with means, a receiver, a different catalyst, because the essential is that the person is with “which is in the purest immediacy of “here and now; the attitude is the one that does not vary: spontaneity and so there is in that “here and now. Then, each professional (masterful, medical, therapist, psychologist, etc…) he has a specific sensitivity.

It is a practical, experiencial and essentially existential therapy: he is from the own experience that operates the transformations.

MUSIC, as symbolic element and pre-verbal, is a tool simple, easy and very powerful to remove afloat, to bring to brings back to consciousness, emotions “clogged that they prevent us to continue growing or - even to continue living. In addition, music is the emotional element par excellence, and the voice its instrument.

Reservation between two forms different to work with the sonorous element: one implies a very obvious and physical action - to make music, to touch instruments, etc. -; and the other, apparently passive, is active and implied, guided listening, of musics.

The condition of symbolic, emotional and pre-conscious element - if we followed the theory of the conscious one of Lacan, according to which the conscious one is constructed from the speech spoken, of the word makes of music a tool suitable and easy to enter the verbal, that without a doubt is what constructs and, to the time, “lands in the reality.

The obvious thing:

The possibility of expressing itself freely with a “symbolic language, nonsemantic, where all the emotions have capacity, only this already is healer in itself; then, the repairing pleasure of the listening of musics that transmit the salary conceived by NECESSITY: the unforseeable thing turned into necessity, that Baudelaire shelp, that it is the creative act.

We will work the referring musical comedies.

The voice, instrument of the Body, instrument of the Emotion:

To express itself with the voice is one of the most liberating experiences and restorers within reach of any human being and in any physical training conditions or emotional: the voice, the song and the word.

The body: ritmo*, expression, communication:

The free corporal expression - and especially the corporal movement from slogans of listening of rythmical order wakes up the senses, opens them, of a so powerful form that it is a powerful catalyst of emotions: to wake up corporal, to wake up auditory and to wake up expressive-creative.

The voice, the song, listening formal melodic-harmonica or after the rythmical work - land of the body.

to also *Ver the Section 2, in which one will more extensively work on the Rate and the Percussion.

Active listening: sonorous trips, sonorous landscapes, inventions:

The power of listening, as much of the sounds of the environment as of the sounds created by nosotros/as mismos/as, is so enormous that it makes possible a greater degree of deepening in the adventure of the self-knowledge: it wakes up the sonorous imagination, it opens to the listening of the sounds that surround to us, it sharpens the ear, that is to say, it sharpens to listening… The possibility of constructing own sonorous spaces releases, heals and repairs.

“Sacred musics or the spiritual slope:

All music arisen from the authentic necessity of communication and expression is sacred: the music composed by los/as great maestros/as affects to us in such a way that we shared emotions, we evoked sensations, thoughts and works our spirits, fortifying them: they are archetypal.


We will work in group contexts emotions, attitudes, thoughts, from the experience sonorous-musical comedy.

The Gestalt is one of the directions next to the musical creativity, facilitating therefore the expressivity and helping to develop the creative impulses.

And, to begin to open the senses:

Texts and pretexts

“Our musical alphabet must become rich. The speed and the synthesis are characteristic of our time. We need instruments century XX to help us to make specific them in music (…). I refuse only to be put under sounds already heard.

Edgar Varèse (1885-1965)

“Il exists unites region will intervene of l' âme, obscure ET déchirée, dans cette region passe EC qu' il and to serious extra dans l' existence: l' amour ET haine, him mythe ET fiction, l' espérance ET him rêve… l' art ET the poésie surgissent of cette trouble region.

Ernesto Sábato

“If musique est libération DES sons
ET – d'abord – DES bruits, elle est dans him
même mouvement libération DES timbres,
c'est-à-dire DES voix. Elle fait vocifération.
Ou vocalise.

Daniel Charles

“The artist only takes place, tragically, as creator of the exceptional thing and at the cost of the reasonable thing.

Mark Rothko

“The faithfuls who concur to the mosque of Amr, in Cairo, know very well that the universe is inside one of the stone columns that surround to the central patio… Nobody, of course, can see it, but who approach the ear the surface, they declare to perceive, soon after, his busy rumor…

Jorge Luis Borges: The Aleph

“Nous sommes pour l'expression simple DES pensées complexes.

Mark Rothko

“Musique expose à l'individu is enracinement physiologique, the mythologie fait of même avec are enracinement social. L'une nous prend aux tripes, l'autre, if l'on dares dire, “au groupe. ET, pour and to parvenir, elles subtiles utilisent ESC machines culturelles extraordinairement that sont them instruments of musique ET them schèmes mythiques. Dans him cas of musique, him dédoublement DES moyens sous forms DES instruments ET du chant reproduit, pair leur union, celle même of nature ET of culture, puisqu'on sait that him chant diffère of langue parlée in ceci qu'il demands participation du corps tout to entier, mais strictement I disciplined to vocal pair them règles d'un style. Là encore, pair conséquent, musique to affir ses to me prétentions of façon extra complète, coherent systématique ET. Mais, outre that them mythes sont souvent chantés, même leur récitation s'accompagne généralement d'une disciplines corporelle: interdiction of somnoler, ou to dye assis, etc.

Claude Lévi-Strauss


Section directed by Olga Rueda.

The technological evolution opens the possibility as much of using personal tools as the mobile phone as support for the personal exploration in the individual therapy, of deprived character, as in group, by means of minicommunities closed with common interests, not only of a communicative way but also in subjective models as the proposed ones in our project of investigation.

The jump in movable technology from 2010 is abysmal. Everybody arranges immediately in its pocket of a unit of audio-visual production of high level simply with putting into operation its equipment correctly.

From 2005 in the Factory of Experimental Videoterapia we come investigating how to apply the audio-visual technology to contexts of therapy and personal growth centering the experiences in the transformation of the self-concept, supporting the exploration in the wonderful characteristics of the audio-visual ones. The certain thing is that the movable technology is demonstrating to us that unexplored areas of investigation can be incorporated until the moment, as found footage and the reapropiación of the internal images, the creation of immediate collective pieces, the use of the models public of profile in network for the identity or the psicocorporal feedback, through the collective performance, among others. In view of the experiences in our investigation, we can say that the methodology of supported audio-visual psycotherapy in movable technology and networks has only begun to blunt.

The factory that we presented in this encounter, is fitted within the new stage initiated in 2012 in the LAB Factory of Videoterapia Experimental and characterized by the search and investigation with mobiles. One is a collective format that allows to propose and to realise experiences of work with the glance and the self-concept, very deep, in a very brief time interval of time.

It is directed to explore and to create through three types of cautious: the internal glance, the external glance and the existential glance, undergoing its different states. The feedback of the participants is very positive and immediately they turn upside down in the experience with joy, emotion and depth.

The proposals consist of series of exercises that each individual will develop according to its own creativity with the help of the mobile phone of each participant which integration exercises of the professor-therapist were completed with gestaltistas help and.

  1. Total attention in movement.
  2. Exploration through the glance of the other.
  3. Exploration through the own glance.
  4. Exploration of the self-concept.
  5. Biographical meditation
  6. Integrative meditation.
  7. Individual creation
  8. Group creation
  9. Visionado/s
  10. Integration

The objective of the experience is oriented to the extension of the self-concept of the participants as self-criticism object, having presented the possibility of transferring the loving glance to the own idea if.


• Personal mobile phone (good battery loaded for each session)

• Shipper of batteries.

• Earpieces of audio.

• Notebook and ball-point pen for personal notes.


Section directed by Geneviève Gallego.

In connection with the work of Marisa Manchado and Olga Rueda, this Factory of Art therapy proposes experiences on as diverse supports as the painting, the collage, the sculpture, modeled and the writing, with the purpose of advancing in the way of transformation of the deep Being as well as in its relations with the other.

The Art therapy allows to that therefore wishes it to find reflection equipment on itself, creating objects that are to him destined personally and that become therapeutic when they take form, word and meaning.

The work of Art therapy becomes in group, in an atmosphere of respect and listening of all, without notion some of judgment, in order that, through the sufferings, of the feelings of deficiency, desire and of joy, each participant can re-evaluate the events that have lived and to revalue them, since, although personal history cannot be modified, yes that can be it the glance that settles envelope she.

The proposed subjects of exploration in the Factory of Art therapy will make reference to the image and the representation of himself and the exploration of the own “personal legend (but a total freedom will be let to the group to choose/to decline other capabilities of conducting reconnaissance).

Even if the artist is not absolutely the analyst, the place and the space of the Factory, the silence, the listening and the inner rate that are generated - thanks to the confrontation of the emotions, of the problems and of the beauty that emerge from the realised work, cause a reapropiación of personal history and a reestimación of the own one To be in the way of his development and expansion.


    • A box (of the type of a shoebox) full of objects, photos, images, small pieces of wool or fabric, objects picked up in the nature that have some sense.
    • A tube of strong glue, scissors, pencil, rubber, brushes.
    • Three acrylic painting tubes (of 120 ml each), freely chosen to taste of the participant.
    • A sticky tape roll.
    • Sheets of paper of drawing of great format.




Sessions lead by ?ngel Pereira.

The oldest testimony of than we arrange with respect to the use of music as instrument for the treatment is in a papyrus, found in the Egyptian tomb of Kahun in 1988. One is a used melody to cause the feminine fertility.

The Greeks, on the other hand, were expert in the application of music to the health, corporal as as much mental. Thus, Homero relates in “the Odyssey the containment to us of the hemorrhage of Ulises by means of music.

In century XVIII the music therapy as science is used for the first time, in order to cure diseases of the nerves.

The Ritmología is the science that studies how the own rates of the nature can be used to improve our health. The rates arise as an answer to the adaptation to the universal system and its forces.

In the universe that surrounds to us a great variety of rates exists, from where the ritmoterapias and the science are derived that uses them, the Ritmología.

We have, for example, the sonorous rates: the sound waves are changes in the pressure of the air, transmitted through external auditory channel towards the eardrum, in which a vibration takes place (rate).

The forces of the nature also exert an extensive variety of pressures rythmical-vibracionales on our body. In the sinews and the joints nervous completions exist that, along with other organs of our body - as the ear, the eyes and the brain they coordinate our movements and they give the sense us of the corporal balance. All this allows us to walk, to dance, to practice sport…, activities, all of them, of rythmical character.

Within this ample rythmical ecosystem all type of organized movement fits, and among them they are those that we will approach during the accomplishment of this factory: the percussion, the dance, gymnastics, tai-chi-chuan, aikido and it brings back to consciousness corporal.

It does not seem necessary to us to emphasize the benefits here, widely known, of the exercise and the suitable control of the breathing, that we will also practice in parallel to all the activities.

By means of the Ritmología we concentrated in the Rate, through the percussion and of the other disciplines previously set out. For Edgar Willems the rate is ordered movement, and nonorder in movement. The rates exert a powerful attraction on the human being, and can be reason for great benefit without needing understanding their sense.

Benefits of the Rate at all the levels:

“He is indispensable, in the field of Music or any other domain, to pay a special attention to the rates of the human being, to favor in the boy (the inner boy who all we took inside) the freedom of his muscular and nervous actions, to help him to prevail on the resistance and the inhibitions and to harmonize its corporal functions with those of the thought.  Jacques Dalcroze

Possibly the rate is one of the oldest and primitive cultural manifestations. The Rate influences in the states of the person, since it affects to ours chakras. Therefore, the influence that the rate exerts in us and in all the aspects of our daily life is evident: the physicist, the psychological one, the social one…

At physical level:

• He increases or he diminishes the muscular energy.

• He accelerates the breathing or he alters his regularity.

• He very clearly produces a variable effect but in the pulse, the sanguineous pressure and the endocrine function.

• He increases the muscular reflections.

• He brings about changes in the drawn up one electrical of the organism, as well as in the metabolism and the biosynthesis of diverse enzymatic processes.

• In adults he can alleviate some psychosomatic medicine as the asthma, the ulcers, etc.

• In the young ones he improves the cerebral development.

At psychic level:

• He can alter emotions in brief periods of time.

• Help to people with depression or more severe mental problems.

• It relaxes and it dissipates the fatigue, diminishes stress.

• It increases the sensation of energy.

• Help to sleep better.

• It contributes to the liberation of immediate emotional and psychic tensions.

• It produces an increase in the security and the emotional stability.

• It improves the understanding capacity.

• Help to the introspection.

At social level:

• It ensure communications, it promotes the individual expression and it favors social integration.

• It increases the capacity of expression of the people, being able to revert his timidity.

• In group therapies it increases to the sociability and the confidence.

• The isolation, so common in our days reverts.


The Factory (three sessions, of 2h each) is divided in two main Blocks:

Block 1: “Percussions: Introduction to the technique of the Drawer, the Darbuka, the Djembé and other smaller percussions

In this first block it is tried to undergo the effect that produces on our sensorial channels the fact to touch diverse rates with diverse instruments.

Specific contents:

• Initiation to the most basic techniques of the drawer, darbuka, djembé and some smaller percussions.

• Practice of diverse forms to percutir.

• Internalization of the associated more elementary traditional rates to these instruments.

• Very simple and comprehensible synthesis for basic a rythmical education.

• Experimentation with the mixture of rythmical landlords that help us to harness the concentration, the coordination and listening within the group.

• Development of the rythmical improvisation and work of creation with this language.

Block 2: “The senses of the Rate.

In this second block we will verify how the study and the experimentation with the rate lead to us towards the movement, the balance, really: to See-Rate. In him we will verify to what extent the rate moves to us, “manipulates to us affective and corporally and it allows to participate us actively in all these sensations.

Specific contents:

• Study of silence as essential component of music and the dance.

• Laws of the movement: how they influence in us.

• Analysis of the rate and the movement in the nature.

• Tribal dances and rates: the search of our more primitive essence.

• Percussion body: use of the own body as instrument.

• Construction/corporal deconstruction.

• Work from disciplines as the Tai-Chi and the Aikido, that help us to take brings back to consciousness of the space and to perceive other ways to feel the rate.

• The “Magical Stop.

MATERIAL OF SUPPORT FOR the FACTORY (provided by the organization of the course):

• Diverse percussion instruments.

• Scores.

• Materials several, as cords, tapes, water, etc.

• List of recommended hearing.


• To go to the sessions of work with comfortable footwear and clothes.

• Before each session to take off ring and bracelets.

• After each session to be applied to cream softener of hands.

• If the participants wish to bring their own percussion instruments are invited to them to do it.



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