SECTION I – DEMOGRAPHICS

First Name
Last Name
Middle Initial
Organization (if applicable)
Street Address
Address (cont.)
City
State/Province
Zip/Postal Code
Country
Work Phone
Home Phone
FAX
E-mail	required
URL
Birth Date
Gender	Male Female
Can we leave phone messages? Yes No   Can we quote your responses when compiling the survey results? Yes No   Can we use your name if a response is quoted? Yes No   Are you a former member of a cultic group?Yes No   Are you a second generation former participant of a cultic group, i.e., born or raised in group? Yes No   Are you a family member or close friend of somebody who was/is involved with a cultic group?  Yes No   Are you an interested professional - please specify field: Yes No   If you are none of the above, what would you call yourself?   Name of group to which ex-member or second-generation former participant belonged (or name of leader if the group has no name):       Membership   How long have the ex-member been out of the group? #months #years   What month/year did group involvement begin? month (MMM)  year (YYYY)   What month/year did group involvement end? month (MMM)  year (YYYY)   Age when group involvement started?   Age when group involvement ended?     Recovery Services - select types of recovery services received and how long?   Has the ex-member received some form of recovery services? Yes No   exit counseling / How long?   (1 month, 18 months)   psychotherapy/ How long?    pastoral counseling /How long?    other / How long?  Describe "other" service received.     SECTION II - QUESTIONS 1 What does 'creativity' mean to you? 2 Do you have personal experience with a cultic group's impacting on your creativity?  Yes No   What group?     In what way?   For questions 3-6, please use your definition of creativity above to rate the group with which you have most experience.   Please use the following 1-5 rating scale for questions 3 through  7 1 not at all 2 very little 3 some 4 a lot 5 great deal don’t know 3 Please rate the degree to which this group suppressed the creativity of its members. 4 Please rate the degree to which this group encouraged or enhanced the creativity of its members. 5 Please rate the degree to which the exploitation of creative interests was used in this group's tactics of recruitment. (For example, some pseudo-therapy groups lure actors and performance artists to their organization by promoting their own theater companies and productions geared towards social change.  Others lure artists and appreciators of the arts by embedding the philosophy of classical aesthetics within their group philosophy, often selling glossy publications as enticement.) 6 Please rate the degree to which the exploitation of creative interests was used in this group's tactics of retention or indoctrination. (For example, some groups focus major energy and expense on internationally traveling theater and puppet performances.  These shows are produced by highly skilled member artists who are lured into the group by these types of activities and once recruited work at the same 24/7 pace that others do to promote the leader's goals, though here creative skills are those specifically exploited by the leader.)     7 In this group was/is there a difference between the recruitment period and other phases of involvement in regard to the exploitation of creative interests. Please describe. (For example, in one group in England a focus on music and dance promoted spiritual beliefs and attracted potential members.  For the first period of involvement this generated much enthusiasm, while it increasingly was used to justify the group leader’s harsh and irrational treatment of those who did not meet their standards of dance, music, etc. as a means to do God’s work.)   8 If you believe the group that you are highlighting enhanced creativity, please describe: (For example, in one music cult, time and space were provided enabling development of creativity in the cult member despite solitary confinement and other forms of oppression.)      9 What tactics do you think cult leaders in general (not just the group you have most experience with) use to influence their followers' creativity?    10 Do you know of any published articles or books on the theme of Cults and Creativity?  We are looking to review one or two in this issue, and also to create a list for reference purposes.   11 Please rate the degree to which you disagree/agree with the following as aspects of a definition of creativity:      1 disagree strongly 2 disagree 3 neutral 4 agree 5 agree strongly don't know 11a Capacity to freely use metaphor and other forms of symbolic expression, without meaning being coercively fixed as in "loaded language."    (For example, one communal living quarter was dubbed by cult members who lived there as “The Doubting Castle” to remind them that as doubters –no one can ever be devoted enough - they must relentlessly prove their devotion by greater renunciation.  According to one report, the members gave no thought to this metaphor possibly implying pro-active ownership of their doubts that might lead to leaving.) 11b Capacity for and freedom to play, i.e. spontaneity 11c Capacity to tolerate  paradox and thereby uncertainty 11d Capacity to see and experience everything afresh.