As an individual begins practicing this form of Senoi dreamwork on a regular basis, it may not be practical to complete the second part of the Artifact stage in every case. Therefore, I usually suggest that the person at least sketch the gift and keep this sketch in a prominent place for a while. In addition, the person can then further concretize those artifacts from the work that was felt to be most significant.

In effect, the Artifact is a trophy representing the dreamer's victory over the spirit. If the dreamer keeps the Artifact in a "special" place where it will be seen often, the dreamer will automatically be reminded (reinforced) of the victory and newly acquired power. It is conceivable that the dreamer gleans considerable benefit being around such trophies, even when they are not consciously attended to, since the trophies may key-in to such deep areas of the personality.

As a general rule of thumb, the more ways the dreamer can manifest the gift in the waking life, the more completely the person assimilates and integrates this remodeled aspect of the personality. Secondarily, the dreamer's peers have more ways they can celebrate the dreamer's victory, and support the personality changes by remarking on the Artifacts.

This entire system positively reinforces the dreamer's creativity. What finer example of training anyone to express in the waking life the essence of his inner world! Indeed, the Artifact process serves as one operational definition of "artist" and does so in the ancient tradition of artistic production known as shamanism (11). It is noteworthy that the Senoi, rather than assigning the shaman role to a small number of individuals in the tribe, shamanize, i.e., heal their emotional problems through artistic production, as an entire tribe, through their dreamwork. This is apparently without precedent in comparable cultural groups.

Noone (12) tells of a Senoi tribesman who was given a six-foot blowgun by his spirit guide. The Senoi make their blowguns from a reed which typically grows to a length of only five feet. But the elders told him of a high ridge on the other side of the Central Highlands in Malaysia where legends spoke of the reed growing to a greater length. The young man's peers enthusiastically encouraged him to go on a quest to the legendary place. Reportedly the quest took two years, with the young man stopping several times along the way at different villages and even getting married in the course of his adventure. Eventually he did find a reed long enough to make the blowgun of his dreams and upon his return to his original village there was a great celebration and his name and story spread throughout the entire tribe. Henceforth he was held in very high esteem by his peers.