I come out of the toilet on a private jet, having washed my hands. I walk on the red carpet down the plane and look out of a small window. Below is my home country, Latvia, it is Autumn, and I see green trees, brown trees, some dead trees, and possibly some water or a lake, but there are no houses. The plane is travelling from the UK to Latvia, it is flying low and I know it will be landing in about 20 minutes. I am aware of the presence of the pilot and a stewardess, although I don't see them, and I know I am in good hands. I sit down at a pink sofa, sitting opposite my grandfather. I am surprised as he looks as he did in his 30s, with black hair, black t-shirt and smart black jacket. He looks at me very lovingly, I feel warmth between us and I ask 'Why are you here?' Behind him I see my grandmother, standing and being busy, she looks as she did when younger; she is mature and protecting and reassuring. She is wearing a brown skirt and grey top. I don't want to focus on my grandmother and so go back to my grandfather. Without actually speaking I ask him 'Why are you here? Why now?' I know he is there to support and protect and guide me. 

We discussed the relationship of the dream to the dreamer’s intention to soon return from living in the UK to her home country, Latvia, where she was brought up by her grandparents.

Below is a photograph of Julia describing and discussing the painting of the dream. In reference to the dreamer's grandfather and grandmother, Julia highlighted in the painting the words 'relation' and 'the two relations'. We were very glad to have this event at the Centre for Counselling and Psychotherapy Education, which is the largest training centre for transpersonal psychotherapy in Europe.         

I am a guest at a summer house with a group of people. In the dream they are my friends, but at the same time I don't know any of them. The dream occurs in two scenes. The first in the living room, where all the people are together and prepare to pack and leave to their homes, but I have forgotten to pack. The second scene takes part in a bedroom. Everybody leaves and I am in the room with a woman and a child. The child is about three years old, the woman might be her mother. I am with the woman and young girl in the bedroom, playing with the young girl. Suddenly, a very large anaconda comes through the brightly lit door into the bedroom. It is striped with brown and green and beige. It looks at me with its long eyelashes revealing the face of a female snake. “She” moves to the bed, where she then lies comfortably, in a spiral. At first, I was surprised, then fearful, thinking it might attack the child, and finally I am calm.

During the discussion of the dream Julia highlighted the words: 'You were born Latin', and 'in Latin my own course', referring to the dreamer saying during the discussion that she was from Latin America and is in the middle of important changes; 'postponement', in reference to the delay in leaving; ‘In my dream I make fun’, in reference to playing with the young girl; 'powerful', referring to the anaconda; and 'female - child – the child - I know will be attacked - was very young', in reference to the fears for the child's safety.

We were very honoured to hold this Dream Salon at Cabaret Voltaire, which was the birthplace of Dadaism in 1916. In that year artists, poets and other literary creatives came to Zurich and to the Cabaret Voltaire to escape from the war. Dadaism then spread to other countries, and led to Surrealism, with the first Manifesto of Surrealism being written in 1924. Our Dream Salon took place in the historical hall of Cabaret Voltaire, where performances such as of Hugo Ball had taken place in 1916, details are here. Photo below is of Julia describing the finished painting and the painting process to the audience, other photos are of the Cabaret building and setting up the dream salon. An article about Hugo Ball, founder of the Dada movement, can be read in The Collector Magazine here. A 1967 short documentary by Greta Deses, presented at the Cannes Film Festival, and with contributions from Max Ernst, Gabrièle Buffet, Marcel Duchamp, Hans Richter and Man Ray, and with a reconstruction of a performance at the Cabaret, can be seen here. 

A woman's dream: I am in a large bedroom, which looks like an open plan apartment, with my large untidy bed and five smaller beds. There are five young men in the room, all wearing trousers but no shirts; smooth-chested and with bare, white torsos, like Greek statues. I am sitting next to one of them. I can feel our legs touching. I feed him a piece of carrot cake with a shiny chocolate topping, telling him to 'pay attention' to the topping, and to eat it while it is still warm. I think his lips look like the lips of a man I know and I have to check who this boy really is. Another young man arrives and tells me he is at medical school. He seems to be much more mature than the other boys. He stands up and says that he will go grocery shopping for me. I look at my bed and think I should tidy it up, so I go and do it.

Julia chose pages so that there was one large paragraph on the left-hand side, for the large bedroom scene, and a small paragraph on the bottom of the right-hand side, for the lips. She highlighted the words 'Eighteen years was the age', and 'the young man' and 'a young fellow', and 'youthfully', in reference to the young men.   

(Details of the anniversary conference are here.)