Introduction
-facilitator introduces herself
-overview of schedule
-statement of objectives:
to create a safe and comfortable environment to learn about ourselves
to break the silence by expressing ourselves
to break the barriers between different modes of expression
to raise body awareness and appreciation
and to reevaluate our bodies as art and as potential creators of art
-initial question and answer

Name Game
-standing in a circle each person states their name
-each person then chooses a verb starting with the first letter of their name
-each person creates a movement to go with that verb
-going around the circle again, each person shows their movement and says their name and verb while others echo the words and movements
-faciliator begins by entering the center of the circle and closing her eyes
-she is then spun by the others until she chooses to stop
-she points at the person she is facing and opens her eyes
-the others, whom she isnÕt pointing at, all perform that personÕs movement and words
-that person then enters the center and begins again from the spinning
-this continues until everyone has been in the center and everyone has learned each others names

Guided Meditation: Relaxation, Body Awareness/ Awakening
at a very slow pace: -everyone sit or lie as you are most relaxed and comfortable and close your eyes -consentrate on your breathing -find where your breath is coming from, is it high in your chest or low around your belly -bring that breath in slowly and allow it to fill more of your body each time, until you breath is extending into your fingers and toes -with each exhalation, focus on sending out all the tension you have been holding in your body, give attention the parts of your body that are less willing to relax -with each inhalation, let warmth and calm come into the areas you have released -feel your heartbeating within you -your pulse may not be in your chest, you may feel it more strongly in other parts of you body, notice where those beats are and if you have associations for why it would be there -starting at the tips of your toes, begin to mentally scan through your body -notice any variations in temperature, associations of color, sound or other stimuli -notice any areas you skim or skip over, or that cause you pain -go back to these areas and concentrate on them -where are they exactly, can you feel where they are in space, in realation to the floor or to your skin, do they feel warm or cool or barely there at all -continue to scan through your body, paying attention to the differences you notice and relax these areas until your body feel realativly balanced -while relaxed can you feel without moving or looking where your body rests in space -do you know where you perimeters are, can you feel where the air hits yopur skin or you legs meet the floor -can you feel where you bones are inside your body, you eyes and you brain resting in your skull, the blood pulsing through your body -experiment with concentrating on these different aspects, note which come easily for you and which are difficult for you to become aware of -slowly begin to move, touching the air with your fingertips, remembering where those perimeters actually are -continue with this type of movement until you feel ready to slowly come to a sitting position and open your eyes

Awakening Massage
-begin alone and then work with partners -Self Care Massage from Massage for Pain Relief, pp.16-27 -kneading the head -kneading the temples -combing the head -pushing the eyebrows -rotating the eyes -wiping the face -pushing the nose -pinching the ears -pressing the ears -rubbing the neck -kneading the breastbone -rubbing the lower back -rubbing the hands -rubbing the arms -pressing the thighs -kneading the knees

Sharing Weight and Trust Lifts
-at least one person should always stay out of the lifts and act as the spotter, watching and calling the groupÕs attention to potential problems
-beginning in a circle, the facilitator enters the center and slowly begins to lean
-the others support her weight with their bodies and experiment with how they can work together and with the facilitator to support her and each other
-once everyone is comfortable and confident with this the facilitator creates an empty space with her body, for example: lifting a foot or reaching out an arm
-the group fills this empty space, supporting her body
-she continues to do this, varying difficulty with the group and may continue to climb or be supported into a lift
-if she is well supported the others may chose to move, ÒflyingÓ her around the room
-once the facilitator has asked and has been slowly supported to the ground another volunteer may climb and repeat the process

Discussion/ Open Forum
-how we carry our pain in our bodies
-reevaluating our bodies as works of art and as potential creators of art
-modes of creative expression
-breaking down of the barriers between these modes
-readings from BodyÕs Wisdom: Intelligence Within the Body, p.46 Emotion and the Body, p. 48 How and When We Became Disembodied, p.28 Body Alienation, p.23

Creative Expression

-at any point these exercises may blend and alternate, these are merely guidelines in case more explanation or structure is needed

-markers, crayons, play-doh, paper and other art supplies are set out on floor
-music is playing in the background and discussion may continue
-first exercise: visual art/expression
-draw/ sculpt/ color our bodies -portray them as we percieve that they are
-if applicable, modify or recreate these images and as weÕd like them to be
-optionally show, explain and/or discuss these images

-free writing on the issues raised in the workshop and the experiences thus far
-experiment with writing in color and drawing the words with the art supplies
-create a visual picture with your words

-ÓblindÓ movement improvisation to music
-each participant finds her own space on the dance floor
-everyone closes her eyes and keeps them closed for the duration of this activity
-music begins and all are encouraged to begin moving
-emphasis is on expressive movement
-this does not have to be dance, it does not have to be recognizable or coherent, it is simply a reaction to the music, to the experience and the way one thinks and feels at that particular moment
-emphasize that no one is watching and there is no need to feel inhibited

-ÓblindÓ improvisation with an emphasis on physical contact
-participants close their eyes and keeo them closed for the duration of this activity
-all are led by the facilitator to the center of the room
-at the start all are near others but not yet touching
-music begins and participants begin to move
-emphasis is on interaction between bodies and movement
-experiment with planes of movement and touching
-work with weight support and leans
-focus on the visceral and kinetic experience, not figuring out where and with who

-noise
-this can be speach, percussion on self or external means, vocalization, instrumental or otherwise
-the facilitator may specify when to begin
-focus on individual expression and how that alters and adjusts to others
-note if the noises tend to come together to form a sort of cohesion

Presentations
-each of the participants shows and discusses at least one work which they have completed in the workshop
-this is done is a relaxed context without pressure and is not in ÒpresentationalÓ style