Active Imagination: A Practical Guide

Image: Unknown Artist. Fable of dog and its reflection from Kalila and Dimna. Egytp, circa 1310. Munich. Bayerische Staatsbibliothek, Kalīla wa-Dimna - Cod.arab. 616

Have you ever caught yourself having a full conversation in your head, not with another person but with a part of yourself that felt strangely other? Carl Jung believed such encounters were not merely daydreams but doorways into the deeper layers of the psyche. He called this practice active imagination and for him it was one of the most powerful ways of bringing the unconscious into dialogue with everyday life.

In a world saturated with mindfulness apps, neuroscience research and quick-fix self-help strategies, Jung’s approach might seem a little old fashioned yet it has a lot to offer - a way of relating to the inner world. Active imagination provides a method for navigating anxiety, creativity and identity in a simple and playful way.

Jung first described active imagination in the early twentieth century, refining it during his own period of intense inner exploration following his break with Freud. Unlike passive fantasy or guided meditation, active imagination involves consciously entering into dialogue with images, figures or archetypes that arise spontaneously. Jung treated these inner presences with seriousness, recording conversations with them in writing and art. One of the most important of these figures, Philemon, became his inner guide and contributed to the development of his psychology (Jung, 1963/1995).

What makes this practice relevant today is the growing scientific recognition that imagination and self-reflection are fundamental to how the brain constructs reality. Modern neuroscience has identified the default mode network, a system of brain regions active during daydreaming, memory and creative thought. Active imagination can be seen as a structured way of engaging this network, rather than drifting aimlessly in thought (Christoff et al., 2016).

The practice also resonates with Indigenous traditions in which dialogue with spirits, ancestors or animal guides is central to wisdom and healing (Walsh, 2007). While Jung framed his work in a Western scientific context, his method of conversing with inner figures bears striking parallels to these older practices. Similarly, contemporary therapies such as Internal Family Systems, which involves speaking with ‘parts’ of the self, echo Jung’s original insights (Schwartz, 1995).

Active imagination is not difficult to attempt. One begins by choosing an image from a dream, daydream or troubling thought. With eyes closed or through journalling, one allows this figure to appear as vividly as possible and then initiates a conversation. Questions such as ‘Who are you? Why are you here? What do you want me to know?’ can open the dialogue and take it into all sorts of unexpected and surprising directions. The crucial instruction is not to control the figure but to let it respond freely. Afterwards, reflecting on the encounter can reveal connections to present concerns or unresolved conflicts.

For instance, someone struggling with procrastination might encounter it symbolically as a heavy stone blocking their path. When asked why it is there, the stone may reveal that it is protecting the individual from failure (or success?). Such encounters often bring into focus Jung’s archetypes - universal patterns like the Shadow, which represents disowned parts of the self, the Wise Old Man who offers guidance, or the Trickster, who introduces disruption and humour (Jung, 1959/1981).

Jung cautioned, however, that one must remain grounded in ordinary life. There is a risk of being swept away by fantasy, mistaking inner figures for literal beings or withdrawing from the world. The aim is not to escape into imagination but to bring its insights back into daily existence. For Jung, the goal was individuation - the integration of unconscious material into a more whole and balanced personality (Jung, 1959/1981).

Through active imagination, forgotten or marginalised parts of the self one can find voice, which can lead to greater creativity, emotional depth and psychological resilience. Rather than treating the psyche as a machine to be fixed, it becomes a living landscape to be explored in a playful way. The practice affirms that the self is not a single and rigid identity but a chorus of voices, each carrying its own wisdom.

In an era where neuroscience seeks to decode consciousness and technology promises ever-faster optimisation of the self, Jung invites us to slow down, listen inward and take the imagination seriously. Active imagination resonates with many contemporary conversations - brain science, Indigenous wisdom, spirituality and modern therapeutic practice. Yet it also feels like the most basic and 'stripped out' version of connecting with inner self - through play and imagination, and the simplicity of the tool makes the practise accessible to every curious, hungry and playful mind.

Jung once wrote ‘The soul becomes a person whenever a person comes to soul’ (Jung, 1963/1995, p. 170). Active imagination is one way of making that meeting possible. If you are curious, choose a dream image, an inner critic or a recurring fantasy and try speaking with it. Write down what unfolds - there are no right or wrong answers here. At first it may feel strange, but the psyche speaks in symbols and symbols reveal their meaning only when given attention. 

Here is a short step-by-step guide to help you start:

• Set your space. Quiet space, notebook, pen and a timer (10–20 minutes). Decide your intention (e.g., 'clarity about my procrastination').

• Choose an image. Pick a figure or symbol from a recent dream/daydream (a person, animal, object, landscape etc).

• Arrive in the body. Sit comfortably, slow your breathing (you may want to do some breathing exercises to regulate yourself), feel your feet on the floor. Briefly note today’s date and intention.

• Open the scene. With eyes closed (or soft gaze), imagine the place where you might meet this figure. Let it appear without forcing details.

• Begin the dialogue. Ask out loud or in writing - Who are you? Why have you come? What do you want me to know? Write the figure’s replies verbatim, even if they’re unexpected. Respond naturally. Allow back-and-forth. Don’t try to control it. Let it surprise you.

• Keep the flow. If you get stuck, use prompts - What do you need from me? What do you protect? What would happen if you stepped closer/further away? If a new image arises, follow it.

• Close the encounter. When the timer ends, thank the figure and intentionally end the scene (watch it walk away, close a door or return to your room). Open your eyes, look around, take a sip of water.

• Integration. Write down a brief reflection - symbols, themes, emotions and a small action for today (e.g., email, boundary, creative step). Keep a diary.

References

Christoff, K., Irving, Z. C., Fox, K. C. R., Spreng, R. N., & Andrews-Hanna, J. R. (2016). Mind-wandering as spontaneous thought: A dynamic framework. Nature Reviews Neuroscience, 17(11), 718–731. https://doi.org/10.1038/nrn.2016.113

Jung, C. G. (1959/1981). Aion: Researches into the phenomenology of the self (R. F. C. Hull, Trans.). Princeton University Press. (Original work published 1959)

Jung, C. G. (1963/1995). Memories, dreams, reflections (A. Jaffé, Ed.; C. Winston & R. Winston, Trans.). Vintage. (Original work published 1963)

Schwartz, R. C. (1995). Internal family systems therapy. Guilford Press.

Walsh, R. (2007). The world of shamanism: New views of an ancient tradition. Woodbury, MN: Llewellyn.