Donna Frost

Chapter 7 228 Figure 7 . 6 As I was supported to become a facilitator, so I could support others A broad range of activities were experienced within the CCCI as supportive of the process of engaging our senses and bringing the invisible into the picture. Some of them were easier and more ‘approachable’ than others. For example, using association cards was found to be a low key first activity as was walking together in nature and using the natural environment to frame the reflection, for example. Creating some kind of creative expression was a little more challenging but it often opened a flood gate of possibilities and a wish to experiment with painting for example or drawing. Using our own body or bodies to create for example tableau vivant or to engage in collaborative mime was experienced as quite challenging, and creative authentic movement needed a very degree of trust. Whatever the approach chosen, facilitation was once again important, this time in helping the person concerned to unravel or unpick and understand the experience. ‘Telling the story’ of the experience via the creative expression was generally experienced as helpful, as was the juxtaposition of hearing a response from an observer: what was for example seen, felt and imagined? We learnt to capture the salient points as they arose and tried also to pay attention to what we were not saying, to explicitly ask the meaning of things we could now see but which had not yet been mentioned; colours, for example, or the relationship of objects to each other. During both the process of creative expression and the process of discussing it afterwards, there were chances to remind ourselves to pay attention to our bodily sensations. How did we notice ourselves standing or moving? What did our gut ‘tell us’? At which points did we notice disengagement with either the work, the creative