The Practice of Enacting

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90 min. design	8 hour design	5 half-day sessions
	The purpose is to briefly introduce participants to the Practice of Enacting, to let them experience and discover it for themselves through activity, reflection, discussion.	The purpose is to briefly introduce participants to the Practice of Enacting, to let them experience and discover it for themselves through activity, reflection, discussion.
There is no 90 minute design for this practice like the Practice of Recognizing. This is because the Practice of Recognizing is an introductory session, and should precede all other practices.		CHECK-IN and REFLECTION (15 min.) CHECK-IN Ask, in general, about how participants are? How has their week been? Any insights or discoveries, related or unrelated to any of the practices, or their personal and business challenge? REFLECTION: My Personal or Business Challenge How has the definition of your personal or professional situation changed, if at all.
		TRANSITION From the very beginning, we’ve been exploring the idea of self-trust and trust in others, about the individual and collective virtuosity. You explored them through a variety of art-based experiences, anchoring and reflecting around a personal or professional challenge. Each session has been around a different practice, each a unique way of finding ideas and insights, sometimes with answers, sometimes only a positive feeling of enjoyment. These practices are life-long pursuits. There isn’t a defined level of competence of accomplishment, they have only been vehicles of new understandings and perspectives.
	SET-UP (15 min.) Let's watch a video clip to set the stage for the practice of enacting. Scene 1: Play the video clip beginning at 82:46 on the DVD, "Touch the Top of the World." Let this first clip play until Erik says, "okay, let's go down." Like when we began with a story about the blind, Erik Wehenmeyer was blind. He was the first blind person to climb Mt. Everest in 2001. It was the most successful ascent up Mt. Everest. 19 people made the ascent. But, what is important for us today isn't that he climbed Mt. Everest, it's the hows, all the events that led to that moment. If there is at least 20 minutes for showing the clips, then show the following clips followed by the comments, otherwise, just describe the scene and highlight: Scene 2: Rewind to 3:40, play until 8:29. (This is the scene where Erik is struggling to walk the ladder over a crevasse, his fellow climbers reactions, then inevitably, his new mindset and body awareness to walk across the ladder.) This is the practice of recognizing. You can imagine all the voices that Erik heard in his head as he tried to walk across the ladder over a crevasse, and also what he was thinking about himself, as others complained about how long it would take him. This scene is also about the practice of embodying, because you could see and feel the tension in his body before he quieted his mind. When he did find the focus and mental stillness, his body was aligned with his mind. Scene 3: Fast foward to 26:00 - 27:26. (This is the scene where Erik is being asked by a blind teacher to use his senses to navigate, it is called echo location. Another part of the scene is where Erik climbs a wall for the first time.) This clip shows you the practice of suspending. Remember the practice of suspending using the Hero's Journey, how the hero develops a magic power, and crosses into the unknown. Erik's magic power is echo location. He crosses into the unknown when the teacher takes away his cane, and he has to walk without anything as his guide except his own abilities to sense and hear where he is. But, it is also this skill that gives him the confidence to climb a wall, giving him another skill that leads him to believe that he could climb Mt. Everest. It's subtle, but important. Erik had to give up who he thought he was to step in to the possibility of something unknown and unfamiliar, something that eventually gives him the ability to return home. After his return from Mt. Everest, Erik became a teacher of mountaineering to not only blind individuals, but also in corporate workshops. Okay, the next clip. Scene 4: Fast forward to 74:26, and play until 76:35. (This is the scene where they are faced with incredible winds and storms. Erik feels that it's going to clear up, which is does, so they can make the final ascent.) The practice of embodying. The night before the final ascent, the weather had gotten so bad, that they didn't know if they would make it. As they went out in the wind and storm, it had gotten so bad, that they were almost ready to turn around. But, Erik felt that it was going to clear up, and it did. Did he feel it in his body? I don't know. But, like Nanoia, I'd like to believe that there was something in Erik's way of being, his entire being, that gave him that intuition. But, why? Why would anyone who was blind want to climb Mt. Everest. Let's look at the first clip. Scene 5: Rewind to 54:24 - 58:12. (This scene is where the lead of the expedition tells them what it's going to be like when they go. He introduces Erik's father, who makes an announcement about funding.) The practice of enacting. Erik's father not only got the funding, but he explains why it's important. Because it will change what blind people think is possible. Erik and the expedition found a deeper reason why they would undertake the challenge. But, I think there was an even deeper reason. Scene 6: Rewind to 21:20 - 23:15. (This is the scene where Erik finishes a wrestling match. Later he is with his mother, and he finds a pendant around his mothers necklace.) Fast forward again to the end of the movie from Scene 1, after 82:46, where Erik is kneeling before the short pole with the Tibetan flags on it, and he places the pendant on the pole. Erik's deeper why or because, was his mother. She died in a car accident when he was at a wrestling match. She represented for him, the belief that he could do anything, in spite of his blindness. It was his love for his mother that was his source for undertaking and believing in this climb. This is the practice of enacting. It is about courage, risk and authentic voice. It's what I call simply, "because." Whatever we discover and learn, the bottom line is how it becomes actionable. Today, that is why there is the practice of enacting. For the individual, the practice of enacting is about individual courage. It is about a candid and honest willingness to be truthful. This can often mean that there is awkwardness, as you try to do something unfamiliar, which often asks us to unlearn something in order to try something. Enacting – if and when an individual goes a little beyond their capacity, having the courage, faith/confidence to try a very challenging piece, this is when the individual begins to extend their abilities to a level of expertise that defines them. Enacting is the result that happens exhibitions, rehearsals, performances – the sharing of one’s gifts, talents, skills and interests. The practice of enacting can be about collective virtuosity when you sense as an individual that you have been part of something extraordinary, the result of many individuals in a collective. Today will be your opportunity to find your "why" or "because." We'd like to encourage you to go deep, as personal as you'd like to find that source for yourself, that inspires your efforts to contribute and be part of something bigger than you. See "Notes" section below to highlight any other ideas that would be useful.	SET-UP (30 min.) Let's watch some video clips to set the stage for today. The purpose of this is to review some clips that demonstrate the various practices, and also illustrate a key point for the practice of enacting, so that participants are emotionally engaged and ready to immerse themselves in the activity of the day. Scene 1: Play the video clip beginning at 82:46 on the DVD, "Touch the Top of the World." Let this first clip play until Erik says, "okay, let's go down." Like when we began with a story about the blind, Erik Wehenmeyer was blind. He was the first blind person to climb Mt. Everest in 2001. It was the most successful ascent up Mt. Everest. 19 people made the ascent. But, what is important for us today isn't that he climbed Mt. Everest, it's the hows, all the events that led to that moment. Let's look at another scene. Scene 2: Rewind to 3:40, play until 8:29. (This is the scene where Erik is struggling to walk the ladder over a crevasse, his fellow climbers reactions, then inevitably, his new mindset and body awareness to walk across the ladder.) This is the practice of recognizing. You can imagine all the voices that Erik heard in his head as he tried to walk across the ladder over a crevasse, and also what he was thinking about himself, as others complained about how long it would take him. This scene is also about the practice of embodying, because you could see and feel the tension in his body before he quieted his mind. When he did find the focus and mental stillness, his body was aligned with his mind. Scene 3: Fast foward to 26:00 - 27:26. (This is the scene where Erik is being asked by a blind teacher to use his senses to navigate, it is called echo location. Another part of the scene is where Erik climbs a wall for the first time.) This clip shows you the practice of suspending. Remember the practice of suspending using the Hero's Journey, how the hero develops a magic power, and crosses into the unknown. Erik's magic power is echo location. He crosses into the unknown when the teacher takes away his cane, and he has to walk without anything as his guide except his own abilities to sense and hear where he is. But, it is also this skill that gives him the confidence to climb a wall, giving him another skill that leads him to believe that he could climb Mt. Everest. It's subtle, but important. Erik had to give up who he thought he was to step in to the possibility of something unknown and unfamiliar, something that eventually gives him the ability to return home. After his return from Mt. Everest, Erik became a teacher of mountaineering to not only blind individuals, but also in corporate workshops. Okay, the next clip. Scene 4: Fast forward to 74:26, and play until 76:35. (This is the scene where they are faced with incredible winds and storms. Erik feels that it's going to clear up, which is does, so they can make the final ascent.) The practice of embodying. The night before the final ascent, the weather had gotten so bad, that they didn't know if they would make it. As they went out in the wind and storm, it had gotten so bad, that they were almost ready to turn around. But, Erik felt that it was going to clear up, and it did. Did he feel it in his body? I don't know. But, like Nanoia, I'd like to believe that there was something in Erik's way of being, his entire being, that gave him that intuition. But, why? Why would anyone who was blind want to climb Mt. Everest. Let's look at the first clip. Scene 5: Rewind to 54:24 - 58:12. (This scene is where the lead of the expedition tells them what it's going to be like when they go. He introduces Erik's father, who makes an announcement about funding.) The practice of enacting. Erik's father not only got the funding, but he explains why it's important. Because it will change what blind people think is possible. Erik and the expedition found a deeper reason why they would undertake the challenge. But, I think there was an even deeper reason. Scene 6: Rewind to 21:20 - 23:15. (This is the scene where Erik finishes a wrestling match. Later he is with his mother, and he finds a pendant around his mothers necklace.) Scene 1: Fast forward again to the end of the movie, after 82:46, where Erik is kneeling before the short pole with the Tibetan flags on it, and he places the pendant on the pole. Erik's deeper why or because, was his mother. She died in a car accident when he was at a wrestling match. She represented for him, the belief that he could do anything, in spite of his blindness. It was his love for his mother that was his source for undertaking and believing in this climb. This is the practice of enacting. It is about courage, risk and authentic voice. Whatever we discover and learn, the bottom line is how it becomes actionable. Today, that is why there is the practice of enacting. For the individual, the practice of enacting is about individual courage. It is about a candid and honest willingness to be truthful. This can often mean that there is awkwardness, as you try to do something unfamiliar, which often asks us to unlearn something in order to try something. Enacting – if and when an individual goes a little beyond their capacity, having the courage, faith/confidence to try a very challenging piece, this is when the individual begins to extend their abilities to a level of expertise that defines them. Enacting is the result that happens exhibitions, rehearsals, performances – the sharing of one’s gifts, talents, skills and interests. The practice of enacting can be about collective virtuosity when you sense as an individual that you have been part of something extraordinary, the result of many individuals in a collective. Today will be your opportunity to find your "why" or "because." We'd like to encourage you to go deep, as personal as you'd like to find that source for yourself, that inspires your efforts to contribute and be part of something bigger than you. See "Notes" section below to highlight any other ideas that would be useful.
	INDIVIDUAL ACTIVITY We'd like to begin with a writing exercise, a free-write, so that you have some content to work with, to give voice to, and through our process today, the hope is that you'll find your "why" or "because" that motivates, that is your reason for the practice of enacting. So, let's begin with the free-write for about 10 minutes, about one full page of writing. Get a clean sheet of paper, or two, find a comfortable place in the room, and free write to either the question "Why?" or to "Because." Don't edit, just get the words out, get your feelings and thoughts on paper. You'll have an opportunity to edit later. We’ll start with a writing activity, a free-write. When you notice most people finishing one page, give them a two minute warning, then conclude, and ask participants to reconfigure the chairs in a circle. If some participants express their concerns about reading it in public, because it is too personal, coach them to write as deeply and authentically as they want, and that they will have a chance to edit or filter later. What's important at this point, is for participants to be as authentic as possible. Invite participants to just read what they wrote. Ask others to just listen, put their writing on the floor, until they want to read theirs. Most importantly, ask participants to agree to safety, that what is said in the room stays in the room and that no matter what you hear, that you don't approach that individual about that subject at any time in the future, for any reason, unless they bring up the subject with you. Does everyone agree? (watch for nodding heads) Still, if anyone feels uncomfortable reading, let them pass, but give them some encouragement that when you share something very personal, it can change what it means, and maybe even change how you personally feel about it. Now from your script, choose and underline the 3-7 most important sentences in the entire script. They are for you, the most deeply felt and significant statements that you believe in. After almost everyone is done, give them a one minute warning. Invite participants to read their statements they choose. Coach participants. 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.	INDIVIDUAL ACTIVITY AND DISCUSSIONS (2 hrs.) We'd like to begin with a writing exercise, a free-write, so that you have some content to work with, to give voice to, and through our process today, the hope is that you'll find your "why" or "because" that motivates, that is your reason for the practice of enacting. So, let's begin with the free-write for about 10 minutes, about one full page of writing. Get a clean sheet of paper, or two, find a comfortable place in the room, and free write to either the question "Why?" or to "Because." Don't edit, just get the words out, get your feelings and thoughts on paper. You'll have an opportunity to edit later. We’ll start with a writing activity, a free-write. When you notice most people finishing one page, give them a two minute warning, then conclude, and ask participants to reconfigure the chairs in a circle. If some participants express their concerns about reading it in public, because it is too personal, coach them to write as deeply and authentically as they want, and that they will have a chance to edit or filter later. What's important at this point, is for participants to be as authentic as possible. Invite participants to just read what they wrote. Ask others to just listen, put their writing on the floor, until they want to read theirs. Most importantly, ask participants to agree to safety, that what is said in the room stays in the room and that no matter what you hear, that you don't approach that individual about that subject at any time in the future, for any reason, unless they bring up the subject with you. Does everyone agree? (watch for nodding heads) Still, if anyone feels uncomfortable reading, let them pass, but give them some encouragement that when you share something very personal, it can change what it means, and maybe even change how you personally feel about it. DISCUSSION Ask participants to comment about their writing and speaking so far. As the facilitator, do not make any judgments or comments, just reinforcement and acknowledgment of their courage and authenticity. INDIVIDUAL ACTIVITY (cont'd) Now from your script, choose and underline the 3-7 most important sentences in the entire script. They are for you, the most deeply felt and significant statements that you believe in. After almost everyone is done, give them a one minute warning. Invite participants to read their statements they choose. Coach participants. 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. DISCUSSION Ask participants to comment about their writing and speaking so far. As the facilitator, do not make any judgments or comments, just reinforcement and acknowledgment of their courage and authenticity.
		GROUP ACTIVITY and DISCUSSION (30 min.) 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 Ask participants to comment about that exercise. As the facilitator, do not make any judgments or comments, just reinforcement and acknowledgment of their courage and authenticity.
	EVALUATIONS, REFLECTION and DISCUSSION (15 min.) Hand out evaluations and ask participants to complete before closing the session. REFLECTION Has your motivation or incentive changed for what you wish to contribute? DISCUSSION Ask for any comments or thoughts from the group. “Our lives begin to end the day we become silent about things that matter.” - Martin Luther King Jr.	EVALUATIONS, DISCUSSION, and CLOSE (15 min.) Hand out evaluations and ask participants to complete before closing the session. DISCUSSION and 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)

Notes:

Instances like this are when a group’s collective effort “moves, inspires, motivates, incentivizes” the quality of the individual’s contribution. Ideally, it is when the efforts are harmonized without any effort, and the experience is surprising exhilarating. Sometimes, we can find these moments in rehearsal.
The heart of rehearsal is authentic experimentation. To the extent that we are really open and willing to play, to try new things, to know when we realized what we are searching for, this is when the merit of a performance excels, with or without any expectation.
Experimentation is about learning to test and get feedback, to develop our self-confidence.
Experimenting is not something we commonly pursue in our traditional organizational life. There are some good reasons why we don’t, and some unconscious reasons. When there is a conscious reason, that is good.
When there is an unconscious reason, then that’s what we need to …
But, when we think about experimentation, we are creating an opportunity to see if there is a different possibility. And, as an experiment is pursued, we either realize what we were curious about, we discover something unexpected, or w come to recognize that we must find a different path. When we enact through experimentation we give ourselves .. boundaries of freedom. The walls of the sandbox are farther apart, sometimes even the toys in the sandbox are different. When we think about experiments, we also give ourselves permission to try things that we might not usually do. To maximize the potential of an experiment, the variable of recognition, suspension, unfolding (emergence), and embodiment can greatly alter what and how to experiment.
At the heart of our choices and actions is motivation, is the depth of our understanding and feeling, it is sourced by our answer to “Why?” or in response to "Because."
In the story about my team, many of the team members found their own reason “why” they were on the team. It was something that was not explicit before. But, knowing “why?” I think made a contribution throughout the rest of the project. And, when we understood the other person’s “why,” we also had the context for their comments and opinions.
In rehearsals, the person playing a character needs to understand why that character is saying those lines, and what their motivation is.
So, today is about rehearsal and experimentation.
It is about the practices.
It is about both individual and collective virtuosity.
It is about self-trust and trust in others.
To explore these areas, you are the performer.
Today’s activity is for you to write and rehearse your own "why?" or "because." You will spend most of the day doing that, until we have a final debrief and close.

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