8 Hour Workshop Design

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Background

The purpose of this design is to introduce The Art of Illumination in order to provide a glimpse in to the learning design and process. It uses a combination of the performances from the Opening and The Practice of Recognizing , The Practice of Unfolding and The Practice of Embodying in order to provide the experiential context to set-up the key idea of collective virtuosity, and the individual and group activities. Compared to the entire design where each practice has a separate arts-based process, in this session design, the art-based processes for The Practice of Unfolding (paintings using house paints and water based pigments) are used for the practices of recognizing, suspending and unfolding, while The Practice of Embodying and Enacting use separate processes, according to the original design.

The high level objectives for this session are for participants to:

Apply the Art of Illumination’s design concepts to personal and organizational change opportunities;
Apply the Art of Illumination’s content to frame change opportunities with an emphasis on both inner dynamics and collective action

Participants will know if they have achieved these objective when they go to The Art of Illumination wiki to access the design documentation, if they contact Mark Shimada for guidance and advice, and most importantly, if they use any of the content for themselves personally, or with internal or external opportunities. To achieve this, requires that the learning design of the experience provide ways for participants to:

Describe ways in which aspects of the art of illumination design might be communicated in order for internal or external clients to support a future opportunity

Describe the reasons why the art of illumination design is meaningful and useful to one’s internal or external clients

Relates potential situations and opportunities for applying aspects of the art of illumination’s design

Recognize the value of the art of illumination design to one’s internal or external consulting services

Resolve questions about individual and group activities in order to customize individual and group activities for each of the five practices

Identify key learnings, insights or discoveries through reflection and debriefs about each of the five practices

Time	Content	Logistics/Process
	PREPARATION
00:00-00:30	OPENING This includes performance, transition and set-up.
01:00-01:45	THE PRACTICE OF RECOGNIZING In this design, this practice uses the arts-based learning process of painting from The Practice of Unfolding.
01:45-02:30	THE PRACTICE OF SUSPENDING In this design, this practice uses the arts-based learning process of painting from The Practice of Unfolding.
02:30-03:45	THE PRACTICE OF UNFOLDING In this design, this practice is slightly different than the 2 or 5 half-day version, as it has been used with the Practice of Recognizing and Suspending, earlier in the day.
03:45-04:30	LUNCH, CLEAN-UP and SET-UP
04:30-05:15	THE PRACTICE OF EMBODYING
05:15-06:00	THE PRACTICE OF ENACTING
06:00-07:00	OPTION: Time permitting, use this to close: Now, choose one sentence from your script that you feel is most important. Going around the circle, ask participants to read that sentence. Again, give them coaching, if needed: Read it again, more slowly. Read it again, except read each sentence twice. Listen to yourself. Really, listen as if these words were meant only for you. Give them feedback about their body position, ask them to really keep their feet grounded on the floor, back straight. When they have all read it once, then go one more time around the circle, each statement read only once. DISCUSSION (OSR only) Discussion What value, benefits and opportunities do you feel there are for one or more parts of this design? What other resources and ideas would you like to share for one or more of the practices? Mark uses performance to introduce one or more of the practices? What personal stories or resources would you use to introduce one or more of the practices? What ideas and thoughts do you have to create an opportunity for applying one or more parts of this design? What kinds of support and specific requests, if any at this time, would you like to make of your peers in today's workshop? EVALUATIONS Hand out evaluations and ask participants to complete before closing the session. CLOSE Invite anyone to make any positive comment they would like to anyone else in the session, about something they were encouraged, supported, or inspired by. Make final statements, and expressions of appreciation. Possible quotes to close with: “Leadership, when it thrives, is about promoting and maintaining the balance of constituencies in such a way that everyone concerned in the collective finds a way of caring that responds and co-responds in smooth, integrated ways that arise spontaneously out of the ongoing conversation.” (Forrest Hartman, Guilermo Wecsler, and Chancey Bell, “Leadership: Following into a Shared Enterprise,” 2006, p. 8) The leader is a great novelist who is telling the story of a community as it is unfolding. His talent is to be able to tell this story as “our story.” (Forrest Hartman, Guilermo Wecsler, and Chancey Bell, “Leadership: Following into a Shared Enterprise,” 2006, p. 15) Whenever you take a step forward you are bound to disturb something. – Indira Gandhi Consequently, leadership is about generating unsettledness, which prompts and calls forth what is enabling and responsive in the ongoing engagement with the world. Not to invent new worlds and new concerns but rather to discover old worlds and old concerns by making them one’s own—this is essential for leaders, who have a less traditional relationship to time than can be encompassed by the faith that we can invent the future. The modern tendency to impose the future at the expense of the past has been one of the greatest sources of suffering in the modern world. The leader is attuned to time in another way. He leads, not because he sees ahead, but rather because he sees before him the possibility that already is. Like the conductor of he symphony, he sets the tempo for the concerted effort, but in so doing he is necessarily sensitive to the demands of the composition and the abilities of the players. In this way, both coming out of and coming into one’s own is the point. This process is neither a leading away nor a leading the way: it is the looking ahead that is looking back in finding its own way. The future returns from one’s own past. The future in this curious sense is catching up with us, if we let it be by not trying to invent it. (Forrest Hartman, Guilermo Wecsler, and Chancey Bell, “Leadership: Following into a Shared Enterprise,” 2006, p. 17)

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