The Preconventional Stages of the Arts: Spiral Dynamics Purple and Red

“[Egyptian art] was…a continuous exercise in the development of individual consciousness.”

— John Anthony West, Serpent in the Sky

The following is the first of three posts that will comprise a complete Spiral Dynamics analysis of the arts. If you’re not familiar with this model of developmental psychology, please check out my overview here.

My analysis will cover the Spiral Dynamics stages Purple through Turquoise. This post features the “preconventional” stages. Next week will comprise the “conventional” stages Blue, Orange, and Green. The following post will comprise the “post-conventional” stages Yellow and Turquoise.[1]

Analysis of each stage will feature:

· The basics of each stage, including an overview of its worldview and sphere of concern, core values, motto, and percentage of world population at this stage[2]

· The role of the arts in a society at that stage

· That stage’s approach to the arts

· How the stage views mistakes and success[3]

· A list of examples of art forms at that stage

Purple—“Magic”

Feeling “at home,” safety, tradition. Motto: “In the name of the clan and existential reality, I sacrifice myself.”

Basics of Purple. Purple is all about safety, tradition, and belongingness. Its worldview is that the world is frightening and mysterious, that spirits must be placated, and people must join together to survive. Morally, Purple is collectivist, and its circle of concern is limited to its immediate family members within the tribe (about one hundred people). The individual self is not differentiated from the tribe. Purple is at its best in creating a safe, warm environment, social-emotional bonding, loyalty, and in the use of intuition and imagination. Purple is at its worst in its fixed adherence to rules, closed-mindedness, clinging to the past, and its “us vs. them” mentality. Purple first developed approximately fifty thousand years ago and currently comprises ten percent of the world’s population.

The role of the arts in Purple societies. In Purple societies, there isn’t an idea of the arts, as such; instead, the arts are integral to every aspect of society, showing up in traditional crafts and folkways that give form to the built environment and religious needs. Everyone in the community considers themselves to be an artist or craftsmen in some way. In Purple, the role of the arts is to affirm the togetherness and identity of the tribe, to pass on the tribe’s traditions, and to participate in the sacred and mysterious workings of nature.

The Purple approach to the arts. In contemporary arts contexts, Purple shows up as the sense of bonding with fellow cast members, regarding the creative act as mystical communion with the larger forces of nature, keeping your body or your instrument safe, the use of applause, belief in back-stage superstitions (e.g., “break a leg!”), the establishment of basic routines, the enjoyment of repetition and basic motor skills, the use of lucky charms, learning from and honoring elders, learning by rote, the passing down of traditions, the expectation that the student or apprentice will blindly follow a teacher’s directions, the attitude: “If it was good enough for grandad, it’s good enough for me,” the feeling of trust and connection between teachers, students, or colleagues, the use of a special space for creating or teaching, and the advice to “Slow down and just do what I say.” 

Mistakes and success according to Purple. To Purple, mistakes are a sign of disobedience to the all-powerful and mysterious authority/deity/parent and are worthy of punishment, whether the mistake was accidental or intentional. Success happens when the authority/deity/parent is happy. Someone at Purple, upon seeing a mistake, might say, “The gods will be angry!” The primary emotions around mistakes are fear and shame.

Examples of Purple art forms. Indigenous forms of drumming, chanting, and dance, work songs, folk music, traditional handicrafts, the use of weaving as an aid in remembering the tribe’s history and legends, indigenous “porquoi” stories (like that of how the leopard got his spots), Australian Aboriginal song lines, folk dance forms like square dancing, injunctions against certain forms of music or art, and any oral traditions that are passed down generation to generation.

Red—“Mythic”

Power, speed, impulsive. Motto: “I take command while disregarding others.”

Basics of Red. Red is all about passion, power, courage, and assertiveness. Its worldview is that the whole world is a jungle and that only the strong will survive—an “eye for an eye” mentality. Morally, Red is individualistic, and its circle of concern is primarily egocentric, but can also extend to the people in its immediate tribe or religion. Red is at its best in its ability to “just get it done” under pressure, its ability to make bold choices, to muster energy, and the courage to stand up for itself. Red is at its worst in its egotism, authoritarianism, exploitation, impatience, and rudeness. Red first developed about ten thousand years ago and currently comprises fifteen to twenty percent of the world’s population.

The role of the arts in Red societies. Red societies have the beginnings of specialization in the arts (court musicians and other artisans show up at this level). For Red, the point of the arts is the glorification of the individual self, political figures, or deities.

The Red approach to the arts. In contemporary arts contexts, Red shows up in the reliance on gut instincts, the use of authority to get one’s way, a “my way or the highway” attitude, egotistical displays of technical prowess, the thrill of powerful creative experiences, the ability to follow and develop your own creative impulses, wanting to “just get to the end of the song,” the drive to get things done, the creation of a sense of urgency, the desire for instant gratification, the view of the teacher as an all-powerful and all-knowing master, a “do it because I said so,” attitude, the setting of boundaries, and the ability to break with traditional ways.

Mistakes and success according to Red. Red generally views mistakes as flaws belonging to other people and objects and will tend to blame others to avoid punishment. Like Purple, Red can’t yet fully tell the difference between intentional and accidental mistakes, and so to Red, the primary concern when making mistakes is whether Red can get away with it. Someone at Red, upon seeing someone else’s mistake, might say, “You’re wrong.” Success, on the other hand, happens when Red gets its way. The primary emotions around mistakes are fear and anger.

Examples of Red art forms. Death Metal, gangster rap, Taiko drumming, Russian squat dancing, sea shanties, “hell week” (the period of intense rehearsals before the opening of a play), the use of pyrotechnics, anything ostentatious, a “great big bang” at the end of the piece, parades, fanfares, portraits of the rich and powerful, theater or stories that glorify powerful political figures or gods, wild rock stars, the character “Jules” from Pulp Fiction, the “bad guy” from many stories and movies, stories that feature the hero’s journey (like the Iliad and the Odyssey), capoeira, and graffiti.

[1] Note: Please keep in mind that my descriptions below are the result of my own research (and, in some cases, educated guesses), and are in no way meant to be taken as exhaustive or authoritative. While I have framed these descriptions in terms of the arts, be open to any connections that arise about how each stage applies to other areas of life and society. Also, I have omitted a description for Spiral Dynamics stage Beige because, as a survival-oriented stage, Beige doesn’t have much to say about the arts.

[2] These basics are drawn from the works of Ken Wilber, Leo Gura, Suzanne Cook-Greuter, the Stichting Center for Human Emergence the Netherlands, Don Beck, Clare Graves, and others. Sources for this analysis: www.SpiralDynamicsIntegral.nl, https://www.thenextevolution.com/spiral-dynamics/, https://youtube.com/playlist?list=PLFfM65xLnO-G2ytmWV1A6WBNrvLte92kN https://www.researchgate.net/publication/356357233_Ego_Development_A_Full-Spectrum_Theory_Of_Vertical_Growth_And_Meaning_Making

[3] Note: I have included these comments to address the deep-seated fears so many artists feel around making mistakes. Unfortunately, much artistic training, especially at the highest levels, focuses on mistakes to an extent that many musicians and dancers, for example, create with a chronic sense of anxiety. What many don’t realize is the degree to which the way you react to mistakes is a function of your stage of development. In many cases, freedom from this anxiety can be found by growing into the later stages of development.