Conclusions And Contraindications

This type of intervention can be felt as leading to a "laissez-faire" group, that is, without any boundaries. It may appear so, but for me being part of the group matrix does not mean being an equal part. As the conductor, I watch the boundaries and hold the group together. I do not lead the group in a direction planned beforehand. I do not stand outside the group, but I help from the inside by interpreting and encouraging interpretations from clients in order to enhance their mutual understanding.

To be the conductor as part of the group matrix is a demanding task. I have to make certain that I am not crossing ethical boundaries and have to accept the uncertainty of not understanding everything. My emotional, sincere involvement in the flow of interpersonal communication may stimulate members of the group to attack me, pointing out aspects of my character that are sensitive for me. For example, when a client attacks me for being too mild or unassertive and stresses that this is why the group is stuck. A quick introspection on the countertransference situation brings me back to the role of conductor of the group. I have to rely on my own capability and experi-

I Am Part of the Group Matrix

ence and feel secure in my knowledge and be ready to be part of the continuous building process of the changing group matrix.

REFERENCES

Cortesao, E. (1968). The Concept of Group Matrix. London: Group Analysis-Group Psychotherapy Analytic Workshop, 1(2) 35.

Foulkes, S.H. (1964). Therapeutic Group Analysis. New York: International Universities Press, Inc.

Foulkes, S.H. & Anthony, E.J. (1989). Group Psychotherapy: The Psychoanalytic Approach (Second edition). London: Kamac.

Nitzun, M. (1996). The Anti-Group-Destructive Forces in the Group and Their Creative Potential. New York: Routledge.

Rippa, B. (1998). Practical Aspects of the Group Matrix-A Theory in Practice Challenge for the Group Therapist. Mikbatz, The Israeli Journal of Group Psychotherapy, 4(1) 19-24.

Roberts, J.P. (1984). Resonance in Art Groups. Group Analysis, 17(3 ) 211-219.

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