Somatic Body Mapping with Women during Life TransitionsAnnette Schwalbe (2019)

This is an Accepted Manuscript of my book chapter publication on 26/02/2019 by Routledge in H. Payne, S. Koch, J. Tania, & T. Fuchs (Eds), Embodied Perspectives in Psychotherapy. Available online:

https://www.routledge.com/The-Routledge-International-Handbook-of-Embodied-Perspectives-in-Psychotherapy/Payne-Koch-Tantia-Fuchs/p/book/9781138065758?fbclid=IwAR3GbPu_VjGJzIj0oV4vYqPRSRP7mPDl88GeGLaFvxCRkHNU4RYgplyWbAw

Abstract

This chapter traces the development of Somatic Body Mapping as a creative, embodied and

feminine approach to marking and supporting life transitions. Beginning with the conception

of the Body Mapping methodology in South Africa, it spans ten years of evolution in the

author’s work as a body and movement psychotherapist and explores how different

conceptual frameworks, practices of embodiment and cultural contexts have shaped her

practice of Body Mapping with women in the UK today.

Introduction

Body Maps are life-size creations that start with a person being traced around her whole

body on paper or canvas. The resulting outline shapes the body-world that is then explored

and visually expressed through a combination of body meditations, movement, ritual, mark

making, drawing, painting and sculpting. Tracing and mapping of the body is an ancient

human practice and has been part of creative explorations in psychotherapy for a long time.

A formal methodology, however, was only conceived in 2000 at Cape Town University,

South Africa, in collaboration with women living with HIV/Aids (Solomon, 2008). The

resulting body mapping tool has since been adopted by researchers, artists and creative arts

therapists in a variety of settings worldwide (Crawford, 2010; Gastaldo, Magalhães,

Carrasco & Davy, 2011; Lu & Yuen, 2012; Lummis, 2015; Verhoest & Kamiru, 2016). This

chapter will illustrate my particular application of the South African methodology and its

development into a therapeutic and somatic approach to working with women during life

transitions. It spans ten years of practice in Kenya and the UK and highlights different

influences from movement and somatic practices which have allowed me to increasingly

‘flesh out’ the original and mostly narrative and art therapy based methodology.

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The writing is organised around a guiding interest in the connections between the organic

body, the experienced body and the represented body on canvas. Throughout, embodiment

is understood as a process in which neglected, unconscious and dissociated aspects of

being are brought into conscious and bodily felt presence.

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Outline of Beginnings: Between Heaven and Earth

Outline by Annette Schwalbe, Coleford, 2016

The act of marking the outline of one’s body in spiritual and social practices or simply for

play is as old as human civilisation. In the Gargas cave of Aventignan, France, dozens of

hand stencils line the rock wall. They date from about 27.000 years BC and are presumed to

have been part of funeral and sacrificial ceremonies. Hands were laid on the stone and their

shapes immortalised by blowing pigments over them, leaving a clearly defined outline.

According to Holle (1986), the stencils speak of a fundamental human longing to touch the

mystery of existence and the worlds beyond.

In our modern world, body tracing and printing is familiar to many children in and out of

school. Whether on paper with paint, in sand with sticks and fingers or in snow making ‘snow

angels’, the pleasure of making and leaving one’s own life size mark is the same. It touches

something fundamentally confirming about being in this world and in our individually shaped

body. To meet one’s own outline is not unlike seeing one’s shadow and can evoke feelings

ranging from exhilarating to unnerving.

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To meet the life size body outline of someone else is similarly impactful. In 2002 ‘Long Life’,

an exhibition of body maps by women living with HIV/Aids, opened at the South Africa

National Gallery in Cape Town. It caused a storm of critical acclaim, public emotional

response and political debate. This was at a time when people with HIV/Aids had lived and

died through decades of political denial, social stigma and exclusion from life-prolonging

treatment. With the beginning of a political change such treatment was now finally becoming

available, and with the devastating extent of the epidemic increasingly visible people started

to ‘come out’ as HIV positive. In this context, the body maps and stories on display were

revolutionary. They provided a completely new perspective on living with HIV/Aids and

seemed to emerge from a world of death, displaying a life force and palpable humanity that

could not be ignored when standing face to face.

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Putting the Shunned on the Map: South Africa

Body Map by Nondumiso Hlwele, Cape Town, 2002

The body maps in the exhibition ‘Long Life’ had been created in a process developed by

psychologist Jonathan Morgan and artist Jane Solomon together with the Bambanani

women’s group. Morgan (2004) describes body mapping as a participatory qualitative

research tool and a process which draws on the therapeutic disciplines of art therapy,

narrative therapy and body work. The methodology involved a sequence of creative and

reflective steps in which participants were traced around their whole body and then gradually

filled the resulting body outline and the space around it with pictures, symbols and words to

represent the path that their bodies had taken through life. This included physical marks (e.g.

scars, stretch marks etc.), body parts/areas of emotional significance (e.g. hands, womb

etc.), current states of wellbeing and illness, and visions of the future. The painting of the

maps took place in a group setting and was interwoven with personal story telling,

discussions and guided visualisation.

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The overall emphasis was celebratory and life-enhancing and represented a clear departure

from previous creative tools that Morgan and his team had developed for the documentation

of personal memories as a preparation for death and legacy to one’s own children. Body

Mapping, on the other hand, was a preparation for starting again, finding new life. Not by

pushing the suffering away but by giving it colour, shape and word alongside what each

woman treasured and loved about herself and her life. Body Mapping recognised the

importance of a positive outlook in maintaining a healthy immune system and enabled

participants to mark their resources and map out their path ahead.

As Victoria, one of the Bambanani women, put it: “When I look at this picture I can see what I

am and what I’m not, and what I believe in and what I don’t. I can see that my finger is

missing and I have HIV, but also that I’m strong, very strong” (Morgan, 2004, p. 56).

Apart from self-reflection and motivation body mapping also served the purpose of

communicating not just with one’s own children, but with the family and community at large.

Participants used the final art works to start conversations about HIV/Aids and tell others that

they were HIV positive. This ‘disclosure’ was a crucial step in finding new life as most people

were used to suffer in silence and under cover for fear of the very real possibility of being

demonised and rejected. Being colourful, life affirming and full of personal symbolism the

body maps helped break this silence in a more playful way. They made it safer to broach the

subject and allowed its creator to reveal their personal truths at their own pace. When taken

further, body maps also contributed to awareness-raising through exhibition during

community events, festivals and conferences. This possibility of ‘going public’ was an

intrinsic part of the methodology and workshop participants were invited in a final step to

write onto their maps a ‘message to the world’.

Today, I do not follow the original step-by-step methodology anymore nor work in the context

of South Africa at the turn of this century. However, the essence of mapping a lesser known

territory - that which has been rejected by self and society - is still core to how I work with

women in the UK. For centuries in the Western world, the body has been dominated and

objectified by the mind, the feminine relegated to the shadows and the natural world

exploited. Body mapping in this context strives to put back on the personal and cultural map

that which has been shunned and to give voice to a knowing and wisdom that is much

needed beyond the creator’s world. The collective message to the world remains the same:

see, listen and learn from us!

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Painting the Living and Dreaming Body: Kenya

Body Map by Berita Mutua, Nairobi, 2005

Wisdom of the Living Body

In 2004 I moved to Kenya with my family. Working as a dance movement psychotherapist in

Nairobi I joined visual artist Xavier Verhoest (2016) in facilitating body mapping workshops,

community projects and international events with women, men and children living with

HIV/Aids. Xavier had been trained by Morgan (2004) and my particular interest in the body

mapping methodology was to further tap into body wisdom, here understood as an

instinctual, felt and often not yet fully conscious knowing in the body (Stromsted, 2001).

Changing the original body mapping format of weekly group meetings to a five-day long

workshop created a sense of retreat which allowed for deep exploration. Each workshop

became an invitation not just to speak out but also to listen to the felt-body; to hear what our

flesh and blood has to say. For this we gave time and space for rest and incorporated a

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number of interactive exercises in which participants used touch to sense their own bodies,

connect with others and experience being cared for, held and supported. Inspired by Olsen’s

work in Experiential Anatomy (1991, 2002) and Brook’s approach to Sensory Awareness

(1974) participants were enabled to perceive the body from the inside and nurture a felt

sense of aliveness:

The mere fact that one comes to the other quietly and without overt

manipulation is normally very moving to the person touched. He

feels cared for and respected. And the one who touches, if he is

really present in what he does, is apt to feel something of the

wonder of conscious contact with the involuntary, subtle movement

of living tissue….an exchange of vitality occurs simply because we

are all alive and give off energy and have the senses and

consciousness to perceive aliveness (Brooks, 1974, p.103-104).

This sensory focus was applied to the key steps of the body mapping process. For example,

in order to make the initial body outline on canvas, participants found their position through a

process of receiving touch, sensing their contours and moving in response to those

sensations into a position on the canvas that felt right rather than what looked right. Once

settled, they would be traced around by a partner which is another opportunity to feel the

gentle touch by the other as he or she slowly moved the crayon around one’s body. Filling

the outline with a background colour was likened to painting the inside walls of one’s home -

a deliberate antidote to the medical picture of their bodies as the battlefield of HIV/Aids. The

making of hand and foot prints as marks of identity became an act of honouring as

participants helped each other to apply paint to palms and soles, often with much hilarity as

the cool paint and the bristles of the brush touched the sensitive skin.

Expressions of the Dreaming Body

Central to each workshop was the development of two key symbols: a Symbol of Difficulty

and a Symbol of Strength. Body meditations – a combination of body scan, self-touch and

breath awareness - were incorporated in order to locate and experience the difficulty, often

the impact of the HIV virus, and one’s life-sustaining force in the body. Finding colour, shape

and word for those experiences were part of building the symbols which were eventually

painted on the body map. This linking of bodily experience with visual expression was

inspired by Jung’s technique of Active Imagination (Chodorow, 1997) and based on the

understanding that ‘our moving, living body is intelligent, and our thinking arises through

material physical sources as surely as it may seem to move beyond them’ (Fraleigh, 2000,

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p.57). Mindell (1982) coined the term DreamBody for what ‘hovers between body sensation

and mythical visualisation’ (ibid, p. 8), the spirit that animates both:

In practice, work on the dreambody depends on its mode of

expression. Sometimes it appears as the psyche in dream form,

sometimes as matter in body motions; sometimes as synchronicities

or accidents. In any given session dreambody processes oscillate

between psyche and matter (ibid, p.54).

This is where body mapping becomes not just a way of recording and communicating

experience but a creative process in which healing can take place and new direction can be

found. The forth and back between the living, felt-body and the represented body on the

map opens the space for a transformative spirit to enter. In such moments, the role of the

workshop facilitator ceases to be one of guidance as the guiding power of this spirit or

energy is beyond human agency. Instead, the presence of a witness is called for who can

perceive, mentally record, and, if needed, recall and reflect back what has happened.

The following extract is based on what I witnessed during a body mapping workshop in the

township of Korogocho, Nairobi:

Berita, the elder in the group, finds her symbol of strength in a

dream. Half way through the body meditation she falls asleep and

dreams that she is walking on a path back to the house in the village

where she was born. Her house has got a vegetable garden, and

she is healed and strong. Normally very quiet, Berita immediately

shares her dream with the group as she wakes up at the end of the

exercise. With some help she draws a head next to her own head

on the body map. She calls it her dream head that speaks to her of

happiness.

Some-time later, while everybody is busy on the floor and bent over

their canvases and paintings with much concentration, one of the

women, her baby in her arms, suddenly starts singing. It is a

traditional song of rebirth in a very old language the literal meaning

long-lost. It is a song that is sung during rites of passage such as

marriage or birth of a child. Now she sings it in honour of Berita’s

dream. Other women join in and they rise with their voices to dance

in-between the others painting on the floor.

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This is the middle day of the overall workshop and it leaves me in

awe. Something is born in the midst of the group and with it not only

the paintings but also gestures, movements and simple activities

take on a symbolic, even sacred character. I remember yesterday’s

washing of paint-covered hands and feet, two women bending in

front of every participant and pouring water over skin. Today,

canvases are being carried out of the room and into the sun to dry.

Like shrouds they are taken out of darkness to let their brilliant

colours shine. Later, they are brought back in to be stored for the

night. The workshop space empties and fills again as if following a

natural cause.

Six months later, Berita tells me that instead of walking home to her

place of birth like in her dream, some relatives from her home village

had decided to come and visit her in Korogocho – a first after many

years of estrangement. This reconnection came after they had seen

her on TV in a report on the Nariobi Art for Action Festival in which

Berita had shown her body map and told her story in the lead-up to

World Aids Day, 1st December 2005.

Authentic Witnessing

Today, my facilitation style still rests on the intent to witness that which animates and moves

the body from a source that seemingly lies beneath the physical and sometimes beyond the

individual. This kind of witnessing is based on my ongoing practice of Authentic Movement

as developed by Adler (2002) and personally experienced through the teachings of

Stromsted (2015) and Hartley (2001). During the body mapping process it means that I am

present to the detail of observable changes in participants’ movements, be it spontaneous

gestures whilst sharing with the group, shifting positions during body meditations or a

particular energy, rhythm or pace in which a mark is made on the body map. Whilst

witnessing I also make a mental note of what sensations, feelings, images and thoughts are

stirred in me, knowing well that this might be different from the participant’s personal

experience. If she shares her experience and welcomes feedback I might offer to reflect

back what I have witnessed. At such times I speak in the present tense and stay with simple

observations in order to bring the remembered alive and allow each woman to make

meaning herself. If helpful I might also share some of my own experience in order to affirm

or complement a woman’s experience with an aspect of which she might be unaware. By

owning my interpretation of the experience I steer away from analysis and labelling of bodily

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experience, movement or artistic expression. Ultimately, each woman remains the expert

reader of her own body and map.

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Awakening the Cyclical and Emergent Body: UK

Body Map entitled ‘Stir it up’ by Ruth Love, Bristol, 2015

New research into feminine embodiment (Ardagh, 2011) and cellular memory of pre-and

perinatal experience (Gyllenhaal and Gyllenhaal, 2016) has further influenced my approach

to body mapping since returning to the UK in 2009. Concepts of a woman’s womb as her

embodied seat of creativity (Northrup, 2009) and concepts of re-birthing as a process of

resolving womb and birth related trauma (Noble, 1993) have led to a womb-like reshaping of

the body mapping set-up. The creative process now follows a cyclical rhythm and includes

additional elements of ritual that engage with experiences of incarnation at and before birth.

Participation in weekend intensives is limited to an intimate circle of maximum six women

and enhanced by a deliberately luxurious setting with red and orange rugs, cushions, sheep

skins, soft blankets and cosy lighting. The aim is to provide safety, comfort and pleasure for

the more timid voices of the body to come to the fore and speak from places hidden and

often shamed.

The Cyclical Body in Body Mapping

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Inspired by explorations of the menstrual cycle and the four natural seasons as experienced

in the UK the body mapping intensives are now offered as a cycle of seasonally themed

weekends each of which can be attended separately. Themes such as Nurturing New Life

Within (Spring), Coming to Full Bloom (Summer) and Gathering Riches for the Winter to

Come (Autumn and Winter) allude to the creative and psychological dynamics that Pope

(2009) calls a woman’s ‘elemental intelligence’ (ibid p.4). According to her, the different

stages of the menstrual cycle are a mirror of the coming and going of the natural seasons.

As such, it is an innate feminine compass to navigate life’s challenges from an embodied,

interconnected and co-creative rather than controlling place. It fosters an acceptance and

active engagement with changes in the body and in life:

The menstrual cycle is….a template for psychological and spiritual

evolution, an innate intelligence that works, guides and matures you.

A repeating rhythm you can’t control, the cycle is your training

ground for coming to know and love this elemental intelligence

(Pope, 2009, p. 4).

In the opening movement exploration of each intensive participants are guided to resonate

with the seasonal theme and locate themselves in what they know about their bodily cycles,

be they menstrual, energetic or otherwise. This initial connection is then spoken to and in the

circle collectively woven into the thematic canopy under which the women enter the body

mapping process. Ruth Love (2015), a participant whose body map is depicted in the picture

above (figure 4) speaks to her experience in her poem ‘stir it up’ which was shown alongside

her body map at the group exhibition ‘Seasons of a Woman’ in Bristol, UK in 2015:

This power is buried deep in the girdle of my hips,

in the sacred grove of my womb,

I have been searching for a way

to reach it, touch it, for years, yet,

now I have caught a glimpse of the bloody depths,

reached in and stirred the cauldron up

it frightens me. so much potential is there,

can I really let it out?

The Body Mapping Creative Cycle

Following the opening circle, the creative body mapping process starts with the first body

meditation. ‘Meditation’ thereby connotes a mindful, curious and receptive meeting of one’s

body world. Whilst in the past this had been framed as two contrasting explorations of ‘a

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difficulty in one’s life’ and ‘one’s inner strength’ I have come to fully trust that the body will

respond to what has been spoken in the circle in just the way that is needed. As a result, the

invitation now is non-binary: to ‘[b]e open to the messages and mysteries of your body and

its symptoms. Be eager to listen and slow to judge’ (Northrup, 2009, p. 54). Such letting go

of control requires a safe physical and conceptual container as well as a clear sequence of

engagement.

Each woman is guided to set up her own comfortable place with cushions and blankets, a

mini womb space mirroring the larger workshop setting. In line with the concept of mapping,

the ensuing body meditation is accompanied by my narrative that likens the body to an inner

landscape that can be sunk into, travelled and discovered. Participants are guided to attend

to one or two places in their body that call them through a particular sensation or an absence

of sensation. Stillness, movement and self-touch support ‘getting to know’ these places and

patience allows for textures, shapes, colours and intuitive images to come into view. The

shift from sensing to inner seeing lays the ground for the later mark making and facilitates

the gradual re-surfacing from the inner landscape to outer seeing when opening the eyes.

As the creative cycle continues participants are guided to cast their eyes over the art

materials on display. In order to maintain a felt connection with what has been experienced

and seen inside a choice of materials are offered that are not only visually compelling but

also appealing to the senses and linked to the natural season at the time. This comprises

paint, crayons and pastels; fabrics and leather of different textures; beads, clay, charcoal,

stones, shells, bones, feathers, leaves, petals, seeds, moss, bark, roots, seaweed and

anything else I might have gathered in ‘the land out there’. Participants spontaneously

choose what to work with and either draw, paint or sculpt. Only when the artistic marking of

the experience is completed do we return to speaking, sharing and reflecting, thereby

completing the core creative cycle of body mapping.

This cycle of speaking – sensing – seeing – marking – speaking is repeated several times

throughout the body mapping process. At the beginning of the intensive, however, it has

particular significance and serves each woman to find the starting point of her track of

exploration. The first art work is like the seed that is later planted into the ground of her body

map. Like a seed, it already contains all that will unfold. Brought forth from the woman’s

inner land, it connects her past, present and future in a way that is relevant at that particular

moment in time.

Natasha Sackey (2015), a participant and contributor to Seasons of a Woman describes the

creative unfolding of her inner bodily landscape in ‘Transfiguration’:

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Every fingerprint of paint became a new discovery of who I am, as

did every colour, every texture and every curve. My hair felt like a

mane of power untamed, released and free. I could feel my energy

moving, shifting around, even dancing around inside my body. I felt

vibrant within and I understood why I wasn't afraid. I was, in fact,

excited. My life was changing shape but so was I.

Birth of a New Sense of Self

Most women attend body mapping intensives during a time of transition in their lives and

with a longing to explore who they are right now and who they are becoming. What prompts

participants can be natural transitions such as becoming a mother or entering menopause;

deliberate changes such as ending a relationship or changing career; or unexpected life

events such as illness, loss of work or death of a loved one. These are prime times for past

wounding to re-surface as well as untapped potential to be released. Whilst the repetition of

the creative cycle described above provides the safety and containment needed to process

both, an additional process has recently been developed that supports the birth of a new

sense of self. It is a collective ritual designed by each woman in preparation for coming onto

her map and being traced around her body. At this point in the process, having moved

through the initial creative cycle and found her thematic and artistic starting point, her map is

still a blank canvas, cut to size but yet unmarked.

One at a time and in conversation with me she intuitively comes up with key movements and

‘ingredients’ that she would like to be part of her transition from ‘off the map’ to ‘on the map’.

This can be an extended journey through space or a simple step, begun from any position

she chooses. She is also encouraged to enlist as much support as she wishes from the

group which can be touch, mere physical presence or witnessing, specific movements or

gestures, sounds or words. This is then tried out with the group, double checked and

reworked until the sequence and important details are clear to everyone and exactly as the

woman wishes. Only then do we ‘go live’ and perform the ritual which usually takes a few

minutes, followed by spontaneous movement, shifting and resting on the canvas until she

has found her position and feels ready to be traced.

The Emergent Body

This arrival and ‘coming into shape’ on a yet unchartered ground touches something primal.

It echoes with our original coming into human body: our incarnation at the time of

conception; our first human contact during implantation in our mother’s womb; our

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development through the various embryonic and foetal stages; and our coming into the world

‘out there’ at birth. Research in pre- and perinatal psychology shows that:

“[i]n any particular moment, who we are and who we think we are is

layered upon our cellular history and the early cellular responses

that led to our most basic biologic functions. The early human cells,

like primitive or simple organisms they were, grew and survived and

learned while engaging in challenges and transitions marked by

chemical and cellular processes. When challenges occur, transitions

are faced, and successes achieved in our experiences as children or

adults, we feel an intensity of life. Stimulating experiences translate

into emotions and thoughts that echo our primal experiences: desire,

hunger, hope, fear, struggle, and success––all of which are

elements of myth (Terry, 2013, p.282).

In the ritual journey onto the body map these ‘elements of myth’ come into play through

gestures, movements, path ways, pace, flow, contact with others, sounds, props, shapes,

shifts, position and colour(s) chosen for the outline and the words spoken to describe the

experience of the ritual. Whilst many of these elements are chosen deliberately, some

emerge spontaneously as the ritual takes place. This mix of control and surprise allows each

woman to actively participate in the Creation Myth of her emergent being imprinted on the

canvas. As the echoes of her primal past present themselves she chooses how she brings

them into outline on her body map. Since this is done with the caring and midwife-like

support of the other women her creative re-birth also counteracts some of the collective

experiences of women in our Western society that still controls, commoditises, shames and

medicalises the female body right from our beginnings in the womb.

The aim for body mapping as practised today is aligned with Northrup’s vision to fall in love

with our blood and flesh (Northrup, 2009, p. xxiii). For this to happen we need to gently and

compassionately bring back into conscious, tangible and vibrant body those aspects of

ourselves that have not yet felt safe to be in, or return to, this world. That which we have left

behind, blanked from our minds, frozen in our bodies and neglected in our souls. In this life

time or for generations. In the body mapping process, the retrieval can be done with

pleasure. Pleasure in our feminine body with no other aim but to satisfy our own desire to be

more fully who we are.

Workshop and Seasons of a Woman exhibition participant Christina Greenland (2015)

speaks to this in her body map poem ‘Love Story’:

I find you floating in the heavens,

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You are free and peaceful

But alone,

Without boundaries or ground.

I fear for you,

Lest you should float forever or disintegrate.

And you fear the earth,

And the harshness of life.

Carefully and deliberately

I mark your boundaries.

And others help

And with touch and with love

We coax your corporeal body

Preparing for your arrival.

You arrive.

And I go under your skin,

Trace the constellations of your body,

Hear the pounding of your heart,

Feel the warmth of your hands in mine.

And with my breath I give life to you while you fill my lungs with air.

Conclusion

At the end of each woman’s body mapping process lies new ground charted: visible on her

map and felt inside her body. This new embodied image of self is the result of a careful forth

and back between experience and creative expression within the bounds of her physical

being and at the moment of transiting from one phase in her life into another. As this chapter

has shown, the particular combination and sequencing of group exchange, movement,

touch, body meditation, ritual, drawing, painting and sculpting have changed and evolved

over the years. What remains throughout, however, is the effect that body mapping has: to

restore life force to aspects of being that had been lost. This is beautifully expressed in the

ending of the already featured body map story ‘stir it up’ by Ruth Love (2015):

now face to face with myself,

I look myself in the eye,

in the womb,

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in the heart,

and am so achingly terrified

and so overcome with love

that tears fall down my cheeks.

this woman, this creation is me, a me

I don't, can't

see and yet I'm there, always.

I have unleashed myself, broken through

my walls, and leapt out, onto a page

to be seen, to be remembered,

to be looked at and pondered over, 

to be greeted, like an old friend who

I haven't seen in years.

Acknowledgements

I would like to honour all women with whom I have worked and body mapped together over

all those years. To partake in your cultures, communities and moments of renewal has

fundamentally shaped me as a woman and practitioner. I also honour all men who were part

of the body mapping work in Kenya and deeply treasure my collaboration with Xavier

Verhoest, Thomas Mboya and Shabu Mwangi during that time. Thank you for your lasting

friendship and inspiration.

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