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->:=6;16 69 ?6@A6>=B84
29 8d !ules lerry - 73011 arls, lrance
Lel +33 (0)6 13 02 44 32 - www.presenceleadershlp.neL
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Merc. OP eL !eudl OO A:1U QPOR
Accuell 9h00
eL formauon de VBWP X OYBWP

CenLre (>658@
10, rue vlcq d'Azlr, 73010
MeLro Colonel lablen

Le Z2G> O, aul presenLera les fondemenLs de
l'approche 8elng ln MovemenL qu'll a
developpee. ulerenLs exerclces en blnmes,
Lrlades ou groupe nous permeuronL d'experlmenLer
L*."/!D .(+!("[+()(+L!
(L "+!\."-L"%+! E
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! LnLreprlse : 693t P.1
! ro-lndependanL (coach, consulLanL, formaLeur, .) : 493t P.1
! Assoclauons carlLauves ou soclales : 366t 11C
! aruculler (non professlonnel de l'accompagnemenL) : 366t 11C
.6;=68];636;9= eL consells : Maud 8aber - maud.raber[gmall.com /
06 79 36 83 39
";=1>84H2;= : conLacL[em.fr / 1el : 01 43 38 04 44
un 5@F2>@928>6
AK674:>86;16=
somauques, a parur
de =89G@H2;= vecues
-@G5 ?8;A6; esL un des
plonnlers reconnus de
l'lnLelllgence
somauque eL le
creaLeur de l'approche de
developpemenL lnLegral 8elng ln
MovemenL. CelnLure nolre
6eme uan d'Aikldo, ll esL
egalemenL lnsLrucLeur en
leldenkrals eL auLeur de
nombreux ouvrages en
developpemenL de l'adulLe par le
mouvemenL eL ergonomle des
posLures au Lravall. ragmauque
eL pleln d'humour, aul a le
LalenL de proposer en dlrecL
des proLocoles experlmenLaux
slmples eL adapLes permeuanL
de LesLer l'emcaclLe de ses
modes d'Lre eL de falre, eL de
les falre evoluer.
Special Edition: Paul Lindens Work 4
I caught up with Paul recently and he readily agreed to
answer a few questions for the AE community.
Q: Can you please describe Being In Movement
(BIM) mindbody training for us?
PL: BIM
is form of
bodywork that
focuses on
helping people
develop body
awareness and
experience
how intention
operates to
shape posture
and movement.
A key feature
of BIM is a systematic way of linking structural/func-
tional bodywork with psycho-spiritual change. The
emphasis is on integrating power and compassion in
the body as a foundation for effectiveness in daily life.
I have applied BIM with clients in areas such as com-
puter use, sports, and music. My primary focus has
been on the areas of abuse recovery and peacemaking.
Q. Why Aikido? What is it about Aikido that
makes it t so well into your BIM framework?
PL: Thats a good question, but its backwards. I
started Aikido in 1969 as a result of seeing a video-
tape of OSensei. I was captivated by seeing OSensei
move. As I practiced, I came to a halting realization
that something was missing in me, and it was prevent-
ing me from executing the Aikido techniques at all
well. Now Id say that I wasnt aware of my body. I
started to make up experiments to study the effects
of thought on movement. For example, I spent about
a year observing the effects on my walking gait if I
sent my attention in various different directions. The
experiments I did were suggested by the various things
I had trouble with in Aikido. When I started teach-
ing outside the context of Aikido the processes Id
by Tim Warneka, editor
Q & A with
Paul Linden
Aikido is a marvelous
practice for developing
body awareness, if it is
done with that as a
specic emphasis.
developed, that became BIM. BIM comes out of the
laboratory of Aikido, so its no wonder that Aikido ts
well with BIM.
Q: If someone wanted to begin developing body
awareness, what advice would you give them?
PL: I wouldnt give them any advice. Id give them
exercises to play with. For example, as you read this,
take a moment to let your tongue get soft and relaxed.
What does that do to your breathing? Can you devote
some attention as you go through your days to no-
ticing whether and when your tongue is tensed? Of
course, Aikido is a marvelous practice for developing
body awareness, if it is done with that as a specic
emphasis.
Id suggest they get my free book Reach Out or any of
my other books. Other than that, Id suggest that the
person seek out teachers of the various body aware-
ness modalities. A good place to start learning about
the various modalities would be with Mirka Knasters
book Discovering the Bodys Wisdom.
Q: As a writer myself, Im amazed at how prolic
you are. Any secrets?
PL: I love writing. Wrestling words and ideas into a
clear, aesthetic form feels just like Aikido on a good
day. The other thing is that I am irked by the amount
of discomfort in the world. I have developed some
tools for self-awareness that are modular, concrete, ef-
?(! /%.)*L! '( L.*$*"?
()-?%^_! '*+! \( !_)"+*".(
42 Embodied Peacemaking




POWERLESSNESS TOO 4.3
Working in a group of three, the two people working with you will act the
role of attackers. To attack, one person should place her hand on your shoulder
and thenwithout impact or great
forcepush you. It does not mean
hitting or striking your body! Then
the other person can do the same.
Have the attackers keep up a steady
barrage of pushes.
Dont resist the shoves, but in-
stead let yourself be pushed around.
As you are pushed, let yourself feel
what it is like to be out of control of
what happens to you. Let yourself
feel helpless and powerless.
What do you notice? Some
people will become passive and fear-
ful. Some people will respond with
feelings of anger and aggression.

Powerlessness is a state of smallness in the body, whether tensed or collapsed.
Speaking in body terms, how would we define power? The opposite of the contrac-
tion or collapse of powerlessness is expansiveness, softness, and equanimity. Power
is an antidote for the feelings of powerlessness, fear, and anger. How can we gener-
ate power? The next three exercises will focus on that.

CHEST PUSH 4.4
Are you a pushover? What is your immediate response when I ask that ques-
tion? Do you get limp and feel Yes. Or do you get rigid and feel NO!
Lets try an experiment in resisting and not resisting. Your partners job will
be to push on your chest, and your job will be to maintain your sitting posture and
not be pushed over backward. Women can have their partners push on their shoul-
ders.
Sit toward the front of a flat, neutral chair, without leaning back against the
backrest. First, sit up straight, like a model of social correctness. Suck in your
gut and throw back your shoulders. Have your partner push on you with a steady
pressure but not with extreme force. In this sitting posture, can you resist the pres-
sure? Unless you are massive and strong, probably not.
Now, slump down, and then come up to a good sitting posture by rolling
your pelvis forward in the proper way, as described in exercise 3.4. (By the way,
the psoas and iliacus muscles have very little sensation. You wont feel them when
les apporLs de ceue meLhode, d'ldenuer ses appllcauons au
quoudlen en envlronnemenL professlonnel, eL de Lravalller des
slLuauons problemauques qul vous moblllsenL.
Le `2G> Q permeura un Lravall approfondl sur des nlveaux de sLress
ou de complexlLe accrus. venez avec les problemauques qul vous
moblllsenL acLuellemenL !






our decouvrlr davanLage le Lravall de aul, vlslLez son slLe :
hup://www.belng-ln-movemenL.com ou ses vldeos ?ouLube.

Chapter 11: Yielding 101



ADVANCE TO THE REAR 11.5
This exercise is an extension of 11.3, but will include the added difficulty of
dealing with movement. For the exercise, you will need a room with clear space to
move in. Stand in a T-stance, with your left foot forward, and the back foot behind
and turned outward a bit. Have your partner stand in the same stance about four
feet (one hundred and twenty centimeters) away. That is, you have your left foot
forward, and she should stand in front of you with her left foot forward too.
Have your partner take one step forward with her right foot and push on your
left shoulder with her right hand. The push should be firm and contactful but not
hard and impactful. The push should be slow and continuous, not fast or abrupt.
Your job is to join the push. Match its direction, speed, trajectory and
rhythm. Simply float along in front of it, like a leaf on a wave in the water. There is
a particular movement which will help in this. As your partner pushes on your left
shoulder, step backward with your left foot, in a circular movement which swings
your shoulder off the direct line of the thrust. As you step back, let your right foot,
which now becomes the front foot, swivel a bit to face straight ahead.

Go along with the power of the push just a moment before it actually impacts
you. You could think of this moment as the instant when your partner touches your
skin and the instant just before the pressure begins to push on your skin. If you do
this, you will take all the power out of the thrust. It will not actually deliver any
force to your body.
Note that going along with the thrust of the movement is not a passive action.
You have to be very active, both in perception and movement, to match your part-
ner's attack. In order to do this, you must move from center, with your body open
and aligned well.
Chapter 5: Love 57




NOSES 5.8
In this exercise, rather than hurling tissues, your partner will yell insults at
you. Being on the receiving end of a loud yell can be very stressful, and that will
give you the opportunity to use the Soft Belly Breathing, Smiling Heart, Soft Face,
and Soft Eyes techniques to preserve your equanimity.
Remember to calibrate the at-
tack. You have the right and the ob-
ligation to decide for yourself what
level of attack would be difficult
enough for you to derive benefit
from the practice but not so difficult
that you would not be able to suc-
ceed.
When I work with children, I
usually lean in close and yell, YOU
HAVE TOO MANY NOSES!!!
Most kids will giggle at the stupidity
of the attack, but at the same time
they will respond with some fear to
the loud voice on the part of an
adult. By using this silly attack, I
get to attack while at the same instant showing that this is really not an attack at all.
You could have your partner loudly yell things like slimeball or jerk. Or
you could have her yell a bit more quietly and choose less irritating things. At this
stage in the lessons, you should probably stay away from truly hurtful things to
yell.
What did you do when your partner yelled at you? Could you remember to
soften your body and open your heart? Was that easy, or did it take effort?


TOWEL CHOPPING 5.9
This exercise will be a further step in the use of the hip joints as a source of
power.
Stand in front of and facing a table, couch, or chair, with your feet side by
side and about shoulder width apart. Press your fingertips into your hip joints and
with a rapid movement thrust your tailbone back while bending your knees and in-
clining your torso just a bit forward. Do this a few times. This is similar to the
Pressing Hip Joints exercise (3.5).

100 Embodied Peacemaking



other words, resisting increases the power of the attack, and yielding reduces the
power of the attack.

It is important that yielding and being centered go together. If they are di-
vorced from each other, you don't have yielding but rather being defeated. This next
exercise will take yielding a bit farther.

WOBBLE 11.4
Stand in the middle of a circle of four people.
The people around the perimeter of the circle should stay about an arm's
length from you. Their job is to deliver a series of shoves to your shoulders. Make
sure that they shove not strike! In other words, the pushes should be gradual, with
no sudden impact, and not very forceful.
How do you respond? Most people wobble around, tipping this way and that,
losing balance as they are pushed in the various directions. Giving in to the force is
a passive response, not yielding. So far, this is the same exercise as 4.3.
Instead, to maintain good balance, you must receive the force actively. You
should actively walk in the direction of each shove, keeping the weight of your
torso over your legs. And what would facilitate this? Of course it would be breath-
ing, softening, opening the heart, and becoming spacious.
The problem is that being shoved around often makes people afraid or angry,
and because it does, it offers the possibility of practicing taking conscious control
of themselves.





->:=6;16 69 ?6@A6>=B84
29 8d !ules lerry - 73011 arls, lrance
Lel +33 (0)6 13 02 44 32 - www.presenceleadershlp.neL
C h a p t e r 6 : F o c u s 6 5


t h e g a s o r t h e b r a k e s , a n d y o u r m u s c l e s c o u l d n o t e x e c u t e a c l e a r m o v e m e n t u n t i l y o u
d e c i d e d w h a t t o d o .
T h i s e x p e r i m e n t m a k e s i t q u i t e c l e a r t h a t t h e r e i s a n i n t i m a t e c o n n e c t i o n b e -
t w e e n y o u r m i n d a n d b o d y . A l l y o u h a v e t o d o i s w i s h t o b e g i n m o v i n g i n s o m e d i -
r e c t i o n a n d y o u r b o d y w i l l b e g i n t o d o t h a t m o v e m e n t . T h a t i s n o t a w f u l l y s t a r t l i n g
w h e n y o u t h i n k a b o u t i t . T h e b o d y i s , a f t e r a l l , t h e w a y w e g o a b o u t d o i n g w h a t t h e
m i n d w a n t s . B u t f e e l i n g t h i s , e x p e r i e n c i n g i t , g i v e s u s a l i v e d e x p e r i e n c e o f t h e f a c t
t h a t t h e r e i s n o s e p a r a t i o n b e t w e e n t h e m i n d a n d t h e b o d y , e v e n t h o u g h t h e n a t u r e o f
o u r l a n g u a g e f o r c e s u s t o t a l k a b o u t t h e m a s s e p a r a t e , d i f f e r e n t t h i n g s . O f c o u r s e ,
t h o u g h t h e r e i s n o s e p a r a t i o n , w e o f t e n w i s h t o d i s c u s s s p e c i f i c a l l y t h e m e n t a l o r t h e
p h y s i c a l e l e m e n t o f h u m a n e x p e r i e n c e , s o h a v i n g l a n g u a g e w h i c h d i s t i n g u i s h e s m i n d
a n d b o d y i s u s e f u l . H o w e v e r , e v e n t h o u g h i t i s o f t e n u s e f u l t o s p e a k a b o u t t h e m i n d
a n d t h e b o d y a s t h o u g h t h e y w e r e t w o s e p a r a t e t h i n g s , i t i s i m p o r t a n t a l w a y s t o r e -
m e m b e r t h e i r o n e n e s s .
T h e i m p o r t a n c e o f t h i s p r o c e s s o f i n t e n t i o n a l p r o j e c t i o n i s t h a t p a y i n g a t t e n t i o n
t o i t o f f e r s a s u b t l e m e t h o d o f d i s c e r n i n g t h e f a i n t b e g i n n i n g s o f c o n t r a c t i o n a n d a
p o w e r f u l m e t h o d o f r e p l a c i n g t h e c o n s t r i c t i o n o f c o n f l i c t w i t h t h e e x p a n s i v e n e s s o f
p e a c e f u l n e s s .

T h i s n e x t p r a c t i c e i s a b a s i c A i k i d o e x e r c i s e . A i k i d o i s a s o f t m a r t i a l a r t , o n e
w h i c h e m p h a s i z e s p h y s i c a l r e l a x a t i o n a n d m e n t a l f o c u s r a t h e r t h a n h a r d m u s c u l a r
s t r e n g t h . R e l a x a t i o n a n d f o c u s a r e t h e f o u n d a t i o n f o r a d i f f e r e n t k i n d o f s t r e n g t h .

U N B E N D A B L E A R M 6 . 4
S t a n d i n f r o n t o f y o u r p a r t n e r a n d p u t y o u r r i g h t a r m o v e r h i s o r h e r l e f t
s h o u l d e r . ( Y o u c a n r e v e r s e t h e d i r e c t i o n s i f y o u a r e l e f t h a n d e d . ) K e e p y o u r e l b o w
s o m e w h a t b e n t a n d p o i n t e d d o w n
a t t h e f l o o r . I f y o u p o i n t y o u r e l -
b o w h o r i z o n t a l l y t o w a r d t h e r i g h t ,
t h e r e i s a r i s k y o u c o u l d i n j u r e
y o u r e l b o w .
H a v e y o u r p a r t n e r p u t b o t h
h a n d s o n t o p o f y o u r e l b o w a n d
p u s h d o w n t o b e n d i t . H e c a n
b u i l d u p t o a f i r m p r e s s u r e , b u t i t
h a s t o b e g r a d u a l s o t h e r e i s n o
r i s k o f i n j u r y . Y o u r t a s k i s t o k e e p
y o u r a r m s t r o n g s o i t d o e s n t
b e n d .
A f t e r y o u t r y t h i s , s t o p t o
r e f l e c t o n w h a t y o u d i d . D i d y o u
g e t s t i f f a n d r e s i s t a s h a r d a s y o u
c o u l d ? M o s t p e o p l e d o . H o w d i d




Chapter 7: Spaciousness
69


w
ith your arm
s tow
ard both slices at the sam
e tim
e. C
an you focus on w
hat is going
on w
ithin your body as w
ell as on your relationship w
ith the tw
o objects outside of
yourself?
This is obviously m
uch the sam
e exercise as the Flow
er exercise (6.5) in the
last chapter. H
ow
ever, the difficulty lies in m
aintaining tw
o focus targets at once.

N
ow
, lets provide a challenge. A
gain, w
e w
ill ask your partner to try to dis-
tract you. The usual things w
ill do. Tickling or tapping you is good. O
r if you w
ant
a real challenge, try to m
aintain a calm
body and an outw
ard flow
of intention
w
hile your partner flicks your
nose w
ith his finger!
W
hat do you do
w
hen
your
partner
tries
to
distract
you?
W
hat
happens
to
your
breathing? D
oes your posture
change? D
o you stay relaxed
and alert? D
o you tense up and
pull aw
ay? O
r som
ething else?
W
hat do you do in your face,
and in your body as a w
hole?
D
oes
your
concentration
on
reaching outw
ard for the tw
o
pizza slices w
aver? O
r can you
keep your breathing and your
body stable and clear, m
aintain