Exploring images of the Greek-Cypriot woman through drama therapy

The Arts in Psychotherapy, Vol. 20, pp. 161-165, Printed in the USA. All rights reserved.

1993 Copyright

0197-4556/93 $6.00 + .oO 0 1993 Pergamon Press Ltd.

BRIEF REPORT EXPLORING

IMAGES OF THE GREEK-CYPRIOT

WOMAN THROUGH

DRAMA THERAPY

NINA STRONGYLOU,

MA, RDT with VICTORIA

WOODARD*

sary because different societies have different expectations and “normal” behaviors that may be misunderstood and misinterpreted by the therapist (Saleh, 1986). Many studies, for instance, have focused on the impact of culture on the family and the individual (Saleh, 1986; Tseng, 1985; Varma, 1988). Comparing the reactions of Japanese and American students to consultation and counseling, Fukuhara ( 1986) noted that, unlike their American counterparts, Japanese students had trouble making use of their counseling because of cultural prejudices and limitations. A therapist trained in Western schools of psychotherapy learns that the individual is the center of the world and her or his environment (Saleh, 1986). Yet, individuality is not emphasized in the East (Saleh, 1986; Vat-ma, 1988). Pedersen (1986), Schwartz (1985), and Varma (1988) suggested that therapists study local folk and religious tradition and approach therapy from that perspective. Drama therapy can combine mythology and rituals with therapeutic and theatrical techniques to assist individuals in their quest of self-understanding (Johnson, 1982). The Greek-Cypriot culture includes a rich repertoire of Greek myths and a religious

Verbal psychotherapy is limited when working with certain ethnic populations. In the Eastern Mediterranean, for example, direct communication and confrontation are threatening to human relations and social systems. Vulnerability and expression of feelings in public are considered shameful. Individuality is not emphasized. A 1988 drama therapy group that I (Strongylou, 1989) conducted in Cyprus demonstrated that expressive therapy techniques can be a stepping stone between culturally prescribed guardedness and verbal psychotherapy. The group also showed that cultural images facilitate an exploration of cultural identity and uncover historic and social influences. Research in psychology, sociology and anthropology shows that culture has an impact on its people (Bernard, Killworth, Evans, McCarty, & Shelley, 1988) and that people’s behavior and attitudes differ from culture to culture (Adler, Doktor, & Redding, 1986). Pedersen (1986) and Schwartz (1985) suggested that therapists need to recognize, be aware of and understand the perspective, values and expectations of the culturally specific client before proceeding in any therapeutic relation. This understanding is neces-

*Nina Strongylou, born and raised in Cyprus, completed her higher education in the United States. She is a drama therapist and Coordinator of Rehabilitation Services at Woodside Women’s Hospital, Redwood City, CA. Victoria Woodard is a writer in Healdsburg, CA. She has an MA in Feminist Therapy from Antioch University, and worked with Nina Strongylou on this article.

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tradition that emphasizes rituals and elaborate ceremonies. One benefit of drama therapy in cross-cultural situations is that, unlike verbal group therapies, it permits people to communicate through activities. Shortterm drama exercises, such as sensory awareness, transformation of objects, mirroring, movement and pantomime, can help the client to relax, feel safe, connect and get closer to other members of the group (Koltai, 1981; Landy, 1986; Spolin, 1981). Cultural

Background

Cyprus, an independent Greek island located in the East Mediterranean, has a history that is determined by its geographic location. It was conquered and ruled by Assyrians, Egyptians, Romans, Crusaders, British and Turks, among others. The most recent invasion occurred in 1974 when Turkish troops seized 40% of the island and caused 200,000 Greek-Cypriots to flee their homes. The Turkish occupation of Northern Cyprus continues to the present day. As a result of foreign influence, the Cypriot culture includes both Eastern and Western attitudes and beliefs. The following elements explain why Western psychological theories have limited application in Cyprus. Individuality is seen as “selfishness.” Personal changes are not accepted easily. Appearances are important; therefore discussing personal or family dilemmas is shameful and a betrayal of trust. In psychological terms, individuation is discouraged rather than fostered. This combined with extended family and patriarchal values, constitutes cultural norms with women, in particular, affected by role inflexibility. Traditionally, girls are raised to become wives and mothers. However, the 1974 migration of refugees from Turkish-occupied Cyprus broke up communities and diminished their influence over the individual. Refugee women started working outside the home to make ends meet; at the same time the women’s movement blossomed. Higher education seemed crucial for both young men and women, to insure security in the event of another war. Because Cyprus had no university at the time, families sent their children to foreign schools. These social changes result in inner-personal struggles. Young Cypriot women are beginning to question the traditional sex roles with which they were reared. To them, fighting for change in a traditional society feels a solitary and monumental task. Women of all

WITH WOODARD ages and socioeconomic backgrounds in Cyprus need an opportunity to express and share feelings about this experience, which is an emotional as well as a social revolution. Symbolic

Images of Greek-Cypriot

Women

Cross-cultural influences have had an impact on the symbolic imagery of Greek-Cypriots. Three images profoundly affect the behavior and identity of Greek-Cypriot women: The Goddess Aphrodite, the Virgin Mary (known in Cyprus as Panayia-the Most Holy) and the Middle-Eastern Veiled Woman. These symbols have been passed down from mother to daughter through multiple generations. Aphrodite is the ancient Goddess of love, representing personal freedom. Modem women in Cyprus grow up with prohibitions and restrictions. Aphrodite’s myth teaches women to voice their needs, exercise personal choices and have control over their lives-not only in terms of sexuality, but in all aspects of their existence. Panayia is seen as the mediator to God and the “Mother” of all Greek Cypriot people. Because Cypriot women are not taught to individuate, it is hard for them to emotionally mother a child. I (Strongylou) see Panayia as the only “individual” female in Cypriot society. Cypriots experience from Her the emotional mothering that women cannot give their children. She represents abundance and abiding hope and holds their faith in the future. At the same time, patriarchal values try to reduce Panayia’s significance to Her role as the Mother of Christ. This reinforces the idea that Cypriot women gain status through motherhood. Panayia is also depicted as the submissive woman who accepts Her fate. Women are encouraged to model their behavior after Hers and made to feel guilty if they choose other lifestyles. Greek-Cypriot women are tom between identifying with Panayia’s image as Most Holy and the imposed image of Her as submissive woman. By exploring this inner conflict and making it conscious, women learn that the guilt they feel comes from patriarchal values, not God. Greek-Cypriot women, as far as it is known, have never been veiled. However, the Middle-Eastern Veiled Woman is an influential symbol in their lives (Strongylou, 1989); she unconsciously learns from other women how to be in charge, yet publicly invisible. Typical Cypriot women have been assigned the roles “weak” and “inferior.” Of course, this means some women are abused by male family members.

IMAGES

OF THE GREEK-CYPRIOT

Over the generations, psychologically strong women learned to play these roles to their advantage, using them to have status in their homes and control over their families. It is important for modem Cypriot women to understand the influence of this symbol in order to realize that their mothers and grandmothers are not as helpless as they appear. Young women can choose to continue “the veiled tradition” or change it by being assertive and direct rather than manipulative and passive-aggressive. The Drama Therapy Group The drama therapy group consisted of 8 heterosexual, middle-class women aged 23 to 26. One was a married mother, one engaged, three in relationships and three single. All were college-educated and had spent 3 to 5 years studying in Western Europe or the United States. All had recently returned to Cyprus, where they were working. They all grew up in Nicosia, the capital city of Cyprus. Sessions were designed to focus on expressing feelings and attitudes about life as Greek-Cypriot women by exploring the cultural images of Aphrodite, Panayia and the Veiled Woman. Each woman chose a pseudonym to protect her confidentiality. Eleonora, San Fran, Anna, Eva, Astria are the names covered here. Siobhan 0. Korman, an American drama therapist, was invited to consult and videotape the sessions. Groups were conducted in the GreekCypriot language. After the first three sessions, which involved guided-imagery, improvisation and mask-making, the group directly explored cultural images. I (StrongyIOU) told one story each about Aphrodite, Panayia and the Veiled Woman. After each narration the women had 15 minutes to devise and rehearse a skit of it, which they then performed for a video camera, using masks and veils. Participants were able to work as a collective unit and the skits showed much imagination, spontaneity and aesthetic sensibility. Below are explored participants’ choice of character in the skits and descriptions of the outcome of the discussion that followed the improvised performances. Eleonora, whose mother died the week before this session, chose to play Aphrodite. I (Strongylou) met with Eleonora individually and she agreed to continue her participation in the group. She also mentioned that her father had died 2 years ago. At the beginning of the group session she explained that although she was sad, she had been anticipating her mother’s death for

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some time. She seemed depressed throughout the session but did not create sympathy for herself. Eleonora was dressed in black, as the traditional custom for mourning requires. As the myth called for, Aphrodite/Eleonora was born from the foam of the sea. She chose to hold a white and a black veil, representing “passion,” as she explained. It seemed that Eleonora was able to use Aphrodite’s birth as a model for her own life; she was facing a new beginning liberated from parental expectations. Two weeks after the sessions were over, she left Cyprus to further her studies. San Fran joined the group feeling victimized and helpless. She was deciding whether or not to separate from a non-Cypriot man she met while studying abroad. Her parents, and Cypriot culture in general, were pressuring her to break off the relationship. San Fran was chosen by the group to play Panayia. She seemed to assume the role with great relief. The traditional myth says Panayia easily accepted her miraculous pregnancy as her fate. San Fran, however, had an inner struggle between her own desires and accepting her role as a good Cypriot daughter. Two sessions after playing the role of Panayia, she chose to stay in Cyprus and separate from the “foreign” man. She said, “I believe in fate. . I may have emotional scars for life, but I don’t regret anything I did . . .” Like many Cypriot women who become worn down by the struggle to individuate, San Fran identified with the patriarchal aspect of Panayia and accepted her fate. Anna, offering to play the Veiled Woman, said that her mother is controlling and “watches me all the time.” During the course of the group sessions, the mother opened Anna’s purse and found a letter that displeased her. She kept the 24-year old Anna in “house arrest” for a week. The “Veiled” Anna was able to act out both the young girl and the mother. In that role Anna could control and manipulate her environment as her own mother controlled her in real life. Following the completion of the three skits, the women discussed the power of the symbols in their lives. Excerpted below are some of their comments: Eleonora:

Eva: Anna:

If you noticed with the Veiled Woman, we took elements from Cypriot life to do it. The mother was dominantWhen I played the Veiled Womanbeing manipulating-it happens in every

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164

San Fran:

Drama Therapist: Eleonora:

Eva:

Astria: Eva: San Fran:

Eleonora:

Eva:

Eleonora:

oppressed society. You try to find ways to survive. When the husband is stronger, the woman finds ways to be more manipulating. Aphrodite was free so she did whatever she wanted, but in a familywhere the husband is strict the woman finds other ways to survive. How do you see these images in Cyprus today? Aphrodite is an image that everyone wants to be, but they are scared of herShe is something “bad.” The culture made her into a “bad” symbol because she is “too” free-She’s not “moral.” I see the images existing in every family. The grandmother is Panayia, the mother is the Veiled Woman and the daughter is Aphrodite. Do these coexist or is it a constant fight between the three women? They coexist, they fight-That’s life! There are many types of women. Some are more Aphrodites, others are more conservative. One person has all three aspects in her. Sometimes you may be Aphrodite, sometimes Panayia. Maybe we want to have both Aphrodite and Panayia within us but I think we are fooling ourselves. The self cannot be true to both parts. You’re either Aphrodite or Panayia. No that’s not pretending or fooling yourself-that’s choosing what you want to do at a certain moment in your life. When we say “Panayia is inside of us,” that doesn’t mean we go to church every Sunday or we believe in God. That means there are certain elements of her inside of us. For example, I see certain elements of humility inside of me. . . These symbols are given to you from the day you were born-You don’t get rid of them. You don’t live your mother’s life but you get what she knows.

Following the discussion, up and volunteers “dressed”

three chairs were lined them to represent Aph-

WITH WOODARD rodite, Panayia and the Veiled Woman. Taking turns, each group participant sat in each chair and spoke as if she were that character in contemporary Cyprus. All women were able to portray the characters with ease and fullness. Conclusion From the post-performance discussion and subsequent sessions, it was clear that the three symbolic images have meaning in Greek-Cypriot women’s lives. Both during and after the skits, women seemed to identify strongly with one or more of the three images. The drama therapy group allowed participants to explore various roles in a culture that discourages doing so. Additionally, group members said they appreciated the emotional support and the opportunity to discover common bonds of being raised in the same culture. An important consequence of this drama therapy group was the affirming power the participants gained from the collective experience of sharing personal truths and finding commonalities. Other findings were that specific cultural images connect group sessions, clarify the context, help group members find self-understanding and are a source of cohesion and inspiration for the group itself. These cultural reference points avoid an imposition of Western verbal psychotherapy and heighten group members’ sense of personal and cultural identity. References Adler, N. J., Doktor, R., & Redding, S. G. (1986). From the Atlantic to the Pacific century: Cross-cultural management reviewed. Journal of Management, 12(2), 295-318. Bernard, H. R., Killworth, P. D., Evans, M. .I., McCarthy, C., & Shelley, G. A. (1988). Studying social relations crossculturally. Erhnology, XXVII(Z), 155-178. Fukuhara, M. (1986). The attitude of students toward consultation/ counseling. School Psychology International, 7(2), 7682. Johnson, D. R. (1982). Principles and techniques of drama therapy. The Arts In Psychotherapy, 9, 83-90. Koltai, .I. (1981). Movement, drama, and therapy. In G. Schattner & R. Courtney (Eds.), Drama in rherapy, II. New York: Drama Book Specialist. Landy, R. (1986). Drama therapy, concepts andpractices. Springfield, IL: Charles C Thomas. Pedersen, P. (1986). The cultural role of conceptual and contextual support systems in counseling. American Mental Health Counselors Association

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