Working with Dilemmas

by Kirstin Irving - ChangeTools Ltd.

Dilemma: a situation requiring a choice between equally necessary alternatives which are seemingly incompatible”

Life is full of dilemmas, constantly in motion: Should I privilege short-term interests and financial security for today, or take some risk and innovate for the future? Should I drive my team in the direction I believe to be right, or should I invite them to share the multiplicity of ideas they hold? Should I do what is right for me and my family, or what is right for the whole of life on Earth?

Given the tensions that exist, how can we work with the energy of our critical dilemmas to transform the situation and generate ideas for resolution?

In his work on dilemma thinking, Charles Hampden-Turner maps the apparently contradictory values at 90 degrees to one another. Taking the polarised values away from either end of a continuum and turning the line around is an important first step; it changes how we view the nature of the dilemma and how we are able to work with the patterns at play.

In a dilemma, we often find that one of the conflicting values is based around sustaining an existing performance value that is deeply ingrained and well-measured. Known as the ROCK value, it is considered to be the foundation of success. It is strongly protected and feels immoveable.

The other main conflicting value is typically based around change. Known as the WHIRLPOOL value, it is dynamic and considered to be the irresistible force. Capable of keeping pace with or staying ahead of a changing environment, it can be hard to grasp hold of and difficult to predict.

For success through time, both values are needed.

The Five Zones of a Dilemma

To work effectively with the forces at play, we need to understand the five zones of a dilemma:

We find ourselves in the COMPROMISE zone when we avoid the dilemma, deny its existence or accept a compromise in which neither value dimension gets pursued. The result is a downward or degenerative spiral.

Where the rock value dominates, we find ourselves in the TOP-HEAVY zone. Neglect or rejection of the whirlpool value sows the seeds of collapse. Often the rock value dominates through a powerful, though questionable, logic which rejects the whirlpool value as intangible and impractical.

Where the whirlpool value dominates, we find ourselves in the LOPSIDED zone. Neglect or rejection of the rock value sows the seeds of collapse. Often the whirlpool value dominates through a strong energy to overthrow stability or permanence, or through ungrounded enthusiasm.

The CONFLICT zone is where both values are strongly expressed but there is no creative resolution. With the rock and whirlpool values locked in a battle for supremacy, protracted conflict wastes resources. In its destructive form, conflict finds us flipping to the Top-heavy, Lopsided or Compromise zone. In its creative form, however, conflict can be a driver for learning and innovation, with the possibility of a whole new situation emerging.

In the RESOLUTION zone, both rock and whirlpool values are expressed even more strongly, but in a way that involves collaboration, flexibility, accommodation and mutual support. By engaging in a solution-oriented process, the energy that exists in the dilemma is directed to generating ideas for resolution and transformation becomes possible.

“Generative thinking: sparking one idea off of another and creating something new”

Learning to Operate in the Resolution Zone

We can think of navigating a dilemma as a dynamic process similar to sailing a boat: to reach our destination we need to manage the creative tension between the apparently contradictory forces, the tide and the wind, holding them in a generative relationship and making use of timely feedback to tack to and fro, making the best headway possible.

There are different approaches to facilitating this kind of generative process. In our experience, working with constellations is particularly powerful and productive.

Constellations: A Dynamic, Social and Generative Approach

Constellations offers us a radically inclusive approach to navigating dilemmas, honouring and working with all values and views, however unpalatable or discomfiting they may feel to be at the outset.

1. We begin by working with the owner of the dilemma to get hold of the central issues that are creating the tensions being experienced. We always start with dialogue and prepare to explore the dilemma by identifying a straightforward statement of the main inquiry at hand, for example ‘how can I achieve financial stability today while also taking entrepreneurial risk for the future?’. Often this involves sharing some vision of what it might be like to achieve both values despite the tension.

2. Through a facilitated process, we create a three-dimensional living map of the dilemma and the dynamics at play. Holding contradictory opposites can be hard for the analytical mind but through constellations we are able to recognise and hold patterns with greater ease.

3. A fundamental premise of constellations is that everyone and everything in the system – including strongly held, apparently polar opposite, values – have an inalienable right to belong. Through the process, all perspectives and voices are honoured and all are invited to generate ideas for resolution.

4. By tuning into the dynamics of the dilemma in action, we are able to move beyond the binary. We start to see that strongly-held values all have their own context, background, intelligence and raison d’etre. Assumptions are explored and points of view become better understood.

5. Calling on the collective wisdom of the system, new insights emerge and previously unimagined solutions are generated and tested.

6. The dilemma holder leaves the constellation with a greater sense of possibility and often tangible next steps for how to work productively with the explored dilemma. All other participants usually leave with new insights too, given that the essence of the explored dilemma often finds resonance with critical dilemmas of their own.

“Out beyond ideas of wrongdoing and rightdoing, there is a field. I’ll meet you there.”    Rumi, 13th Century

Whether you’re navigating dilemmas in the organisations and communities you’re part of or working with the messiness of life closer to home, building your capacity to open to other perspectives, to change some of your views about the ways in which the world works and to learn through creative, solution-oriented processes is key.

Rather than collapsing into compromise, allowing one value to dominate at the expense of the other, or constantly navigating conflict between values without any creative resolution, constellations offer us the potential to go beyond apparently contradictory views to something new.

Learn more about our Landscapes of Change retreat series and how constellations can enable you to make sense of stuck or difficult situations in a way that is transformative and leads to a greater sense of ease and flow.

To learn more about dilemma thinking and other approaches to facilitating resolution, visit H3Uni. Thanks to Bill Sharpe for sharing this work with us.

“Constellations is a very special process, something that’s a real privilege to be part of. I can’t recommend it strongly enough. It’s extraordinary. It doesn’t make sense, but it’s such a powerful, insightful tool.”

Want to find out more…?

If you’re interested in coming to a workshop check out the upcoming ‘Landscapes of Change’ - Retreat Series, or if you’re new to constellations, take a look at my previous blog explaining the background to constellations, and how I work with clients in workshops.

If you want to discuss the possibility of organising a workshop with Marcos or if you’d just like to have an informal chat, please feel free to get in touch.

Spoon carving: (Warning!! - Try this and it could be addictive!)

In January 2016 I was lucky enough to attend a course at West Dean College called “Greenwood spoon carving with traditional tools”. As a keen woodworker with a reasonable amount of experience, I was interested in learning from a real expert. West Dean is an amazing place for art and craft courses and Nic Webb, our tutor, was not only a brilliant craftsman but an excellent teacher. I left West Dean 2 days later with 3 lovely spoons and a real passion for carving them.

 The humble wooden spoon is easily taken for granted. My friends all thought it was quite strange that I could dedicate precious time to what, at first glance, seemed to be a somewhat trivial activity. The pile of chippings on my sitting-room floor was certainly a source of amusement (they sweep-up very easily from parquet flooring, whereas with carpet I would think twice). However as the stack of spoons outgrew the chippings (the picture shows only a fraction of what I have made), the comments became more complimentary and requests for spoons started with more and more people interested in having a go themselves.

The fact is, making a spoon from a simple piece of greenwood is a hugely satisfying process, resulting in a rather attractive and useful object. It doesn’t take too long, nor does it require enormous effort. The tools you need are inexpensive to acquire and really quite simple to use, though there are some seriously sharp blades involved so its a good idea make sure you know how to use them safely and keep them sharp.

 What follows is a short description of how I make spoons from greenwood. It is by no means the only way (and very possibly not the best way either) but as the pile of spoons testifies, is one I love. 

The process begins with a log of freshly cut timber. I have reasonable access to hardwoods such as birch, sycamore, ash, willow and hazel. If I am lucky I manage to get my hands on wood from fruit tress such as cherry, apple, pear or plum. I cut the wood to a length about 1½ times the length of the desired spoon. Knots in the wood are much harder to work, so I would try and choose a section where there aren’t too many branches. The piece of wood doesn’t have to be straight as a natural curve can be utilised for the shape of the spoon.

 The wood is split along its length to produce a billet from which the spoon can be carved. I have an old traditional tool called a “froe” which I really like, but an axe will also work fine. The force to split does not come from the froe or the axe but from a wooden or leather mallet. I draw the outline of the spoon bowl onto the billet with a pencil based on looking at the grain I can see in the split log and allowing the wood to suggest a shape. The handle of the spoon can also be drawn but generally I only mark the very top part. With the handle it is really the wood grain which dictates shape so all I am doing is marking where the handle will connect to the bowl.

Initial shaping of the spoon is done with an axe. This may sound dangerous to some but by holding the axe around the neck you actually have very good control and it is an excellent way of removing wood, either by splitting or, as by carving using the weight of the axe head to do the work for you.

 A knife is used to finish off the back of the spoon bowl, giving it its final shape and making sure that tool marks from the axe have been completely removed. With my early attempts I moved on to the knife much too early. It’s a great way of doing detailed work but your fingers will thank you if you are able to get as close to the finished shape as possible with the axe. (Just in case you were worried, the axe work at least was done outside and not in my living room!)

Once the shape of the bowl is finished you can turn the spoon over and think about hollowing the bowl. I mark the thickness of the walls I would like with a pencil and then use a gouge to carve out the bowl. This is one process I really don’t like doing with the spoon held in my hands. It takes two hands to properly control a gouge and the tendency, especially at the beginning when there is no proper hollow, is for the tool to jump. I therefore mount the wood in a vice to save on the need for first aid. Once the hollow is roughly cut, the finish can be improved with a bent gouge or a crook knife. Like with the reverse side of the bowl, the aim is to get a nice smooth finish with no tool marks and to make sure that the wall thickness is even.

The final part of the carving process is to finish off the handle of the spoon. I always do this last as it provides support while carving the bowl and if the handle is too fine it might snap.

The spoon is now “finished” in its “wet” or greenwood state. It may look a bit rustic at this stage but do not fear. Before you can get the final finish the wood needs to dry out as sanding wet wood doesn’t work very well. The sandpaper just gets clogged up and the fibres of the wood sometimes get a bit fluffy, so it’s best to leave it for a few days. I start sanding with 120 grit paper and work down to 600. This gives me the wood a polished satiny finish, although some people prefer a rustic look and feel with knife marks still visible. All you need to do then is oil the spoon to protect the wood and its finished. I wouldn’t put a hand carved spoon in the dishwasher, but if it is protected with linseed oil or food-safe mineral oils, it is an object which not only looks great but can be put to good use too.

Want to try it out yourself?

William Torlot and Marcos Frangos are running regular weekend retreats at Hazel Hill Wood, near Salisbury. If you are interested, check out their upcoming events or get in touch to discuss the possibility of organising a workshop with Marcos and William.

If you want to find out more about green woodwork and their unique approach, have a look at the other Spoons and Spirit blog posts.

Why green wood?

Working with greenwood – what is it about freshly cut wood?

One of the most common questions I am asked is, “Why greenwood?” Most people know that, as it dries out, wood naturally shrinks and has a tendency to warp and crack. What sense does it make to put effort into something which will unavoidably be damaged or distorted? 

 The prejudice is well founded. Some objects are, indeed, wholly unsuited to being made in unseasoned greenwood. If elements have to closely and reliably fit against each other, with accurate dimensions of the finished product, making it from a material which will still significantly change in size and shape is quite a challenge (though not impossible). Similarly, where thick sections are involved and drying is uneven, tension is created at the surface where drying occurs faster than in the interior and cracks often result. Better to dry the timber first, for the shrinkage to take place and make dimensioning more predictable and for warping or cracking to have finished. Wood can then be selected defect-free or deformities can be machined away and “proper woodworking” can be started on a material stable in size and quality. But that is a bit one-sided.

 As wood dries out it becomes increasingly strong and resilient. Green wood is softer by nature than seasoned wood. The water content within the fibres lubricates the blade making it easier to cut and the fibres are less tightly bound together so it is easier to split. While a saw or abrasive tool such as a rasp might get clogged, bladed tools such as axes, knives and gouges require much less effort to use. Objects such as spoons or bowls have thinner walls so drying is more even. The resulting tension in the wood is lower and cracks are much less likely to form. Yes, the wood will change shape a bit, but the change does not affect the object’s functioning and may even enhance its aesthetic. So, where there is no clear need to use dry, seasoned wood to make an object, the use of greenwood is an option. But why do I prefer it?

 It is all to do with the softer material and ease of cutting. It is not the efficiency which is appreciated. Let’s be honest, power tools are extremely effective at processing wood as quickly as possible. But greenwood gives you the freedom to work with simple hand tools.  You are not bound to a power supply. There is no accompanying noise and dust, or at least much less. And working with seasoned wood, however beautiful the timber might be, somehow slightly lacks soul with its natural unpredictability removed. Working with green wood on the other hand is truly organic. The tree from which it came is fully apparent. Its shape and structure suggests what is to be made with the hand of the maker influencing rather than imposing an outcome. The grain guides the cuts. Removing material is not simply the excess being cut away, but a form steadily being revealed. It is a mindful process where sharp blades provide a quick reminder should concentration drift. An object emerges, encouraged out gently rather than forcibly.

 That personal and active transformation forms a connection between the maker and the object which endures long after the process is completed. It is a meditative journey - the purposeful application of head, heart and hands intimately bound with the natural world by the wood on which you are focused. The reward from the connection is every bit as strong as any sense of achievement with the finished article.  

Want to try it out yourself?

William Torlot and Marcos Frangos are running regular weekend retreats at Hazel Hill Wood, near Salisbury. If you are interested, check out their upcoming events or get in touch to discuss the possibility of organising a workshop with Marcos and William.

If you want to find out more about green woodwork and their unique approach, have a look at the other Spoons and Spirit blog posts.

My favourite sound in summer – a chainsaw!

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Traditionally, wood has been harvested in winter. Originally, I guess it had something to do with people being pretty busy at other times of the year with farming activities. Concerns are also voiced, that when the sap is in full flow, cutting might damage the tree and make it susceptible to disease.  Whatever the reason, it is noticeable that for a greenwood worker the availability of material diminishes significantly in summer.

I spend my weekdays in a city where perhaps the seasons have less of an impact on people’s lives that in the countryside. Building sites need to be cleared and a tree surgeon’s work is perennial.  The resounding staccato ring of a chainsaw maybe an irritation for many, part of the background city hubbub to others, but to me it is a beckoning call.

The fact that beautiful trees are cut down in the name of human expansionist tendencies is sad enough. What is worse is that, in this day and age, time seems to be the only resource we really value. Tree surgeons here tell me of a time when they would cut and store timber. The market for firewood and supplying craftspeople brought in a handy supplementary income. Still today, they are not immune to the beauty of the trees they are cutting, especially mature ones or less common species. However, today it seems that there is no time or storage space to spare. More often than not, their “waste material” is shredded or sent off for incineration.

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And so, following the chainsaw’s call, I track down the source and make a polite enquiry - if I may be allowed to have or buy some wood. A short explanation of what I want to make is usually enough. It has been known for a spoon or a small bowl (which just happens to be in the car) to be shown and even offered in exchange. Interest is nearly always triggered and generosity follows more often than not. Trees have always been (and will continue to be) cut down or cut back by mankind to make space, but it seems that the desire to honour them and appreciate the beautiful material they provide runs deep.

Want to try it out yourself?

William Torlot and Marcos Frangos are running regular weekend retreats at Hazel Hill Wood, near Salisbury. If you are interested, check out their upcoming events or get in touch to discuss the possibility of organising a workshop with Marcos and William.

If you want to find out more about green woodwork and their unique approach, have a look at the other Spoons and Spirit blog posts.

What's Mine is Yours

What's mine is yours, and what’s yours is also mine - like icebergs we connect and meet in the unconscious depths beneath the waterline. There is a beautiful word in South Africa “Ubuntu” that means: 'I am what I am because of who we all are.”

Often the first time people experience representing in a constellation, they are moved and amazed by how so much specific and detailed information about the client is available to us; something secret that was buried in a family comes to the surface; a long-lost grandparent holds information that seems relevant to the here and now world of the client’s.

Time and time again it's been my experience that the human condition is not as personal and unique as we might think. Like the iceberg that appears like a lone island floating in the sea but is in fact connected deep under the sea to its neighbour, or the shaman who stands in front of the village and says “I am river”, and she speaks on behalf of the spirit of river. We often witness a representative standing in the space of someone's family member and their body language, voice and phraseology mirror exactly that person.

For me one of the huge benefits of working with whole-systems with constellations is that whilst it allows the client to glimpse deeply into their personal and family systems, at the same time it allows representatives to resonate with issues that touch their own lives.

I am not going to attempt to explain how this phenomenon happens, except to say that it is my belief that we are energetic as well as physical beings. In the realms of our energetic relationships we have the capacity to feel into the human condition and into each other's worlds. I like Rupert Sheldrake’s explanation of Morphic Resonance, and there are many other explanations, for example the role of archetypes in the human psyche.

I was taught facilitation of constellations at one point by Albrecht Marr who said to our group with a loving smile: “don't think you're so special, there are only so many ways to suffer as a human being!”.

Ultimately what touches me in this work is that in stepping into another's world in a constellation, we too are touched by the human condition: what is mine is also yours. And what is wonderful is that this doesn't detract from the incredible diversity and uniqueness of each individual story, which I honour. For me it re-balances a predominantly Western perspective that over-emphasises the individual over the collective.

So if you're feeling a little shy about trying out constellations in a group workshop setting, I encourage you to reflect on the possibility that your personal story at some level will be likely to resonate for the people that will ‘represent’ for you. Somewhere in the unconscious depths of our humanity, like icebergs floating in the sea, we commune and understand.

Want to find out more…?

If you’re interested in coming to a workshop check out the upcoming ‘Landscapes of Change’ - Retreat Series, or if you’re new to constellations, take a look at my previous blog explaining the background to constellations, and how I work with clients in workshops.

If you want to discuss the possibility of organising a workshop with Marcos or if you’d just like to have an informal chat, please feel free to get in touch.

Constellations retreats at Hazel Hill Wood

1.       Constellations at Hazel Hill Wood

It's early Spring, the bluebells and anemones are out at Hazel Hill Wood.

This blog is to give you a feel for the workshops that I regularly run at the wood. I want to also share a little about the name: “Wellspring of Wellbeing”, and how that relates to my constellation work and approach. I’m hoping to provide some useful background to constellations, especially if you’re new to this, and I’ll also share the broad format for the workshops so you’ll know what to expect when you come along.

A mini biog for Marcos Frangos: At work I have two main roles: I manage the charity that owns the magical 70-acre educational woodland called Hazel Hill Wood with eco-buildings where we run a variety of workshops. I also run my own company called Wellspring Change that provides consultancy to individuals and organisations around wellbeing and organisational change. I frequently weave constellations as a tool into all my work.

Some personal information: I’m of Greek heritage, and I am a UK citizen. Both my parents are Greek, from the Aegean island of Chios. I was born and educated in the UK, and have lived in Winchester (South of England) for over 15 years. I started off my professional life as a trainee architect, I then studied and worked as a person-centred counsellor and subsequently enjoyed a career in inclusion of disabled people into buildings. I have a long-held interest in people and organisations and what makes them tick, how we make meaning out of the challenges and opportunities before us. A few years ago I did a formal two-year training course to become a facilitator of constellations in Oxford, with ‘Core Constellations, Theory & Practice’. This provided exposure to many different approaches to constellations. I have been privileged to learn from very experienced and gifted facilitators: Albrecht Marr, Vivian Broughton, Barbara Morgan, Jan Jacob Stam and many others. I continue to do my regular personal and professional supervision work with a constellations peer group in Oxford, and I am also in 1-1 psychotherapy.

So, why “Wellspring of Wellbeing?” The name “Wellspring of wellbeing” is what I use for my constellation workshops and is inspired by the Greek “Zoothoxou Pigi”. It literally means the Wellspring of Life. Interestingly this name is often synonymous with the Virgin Mary in the Greek Orthodox tradition. I resonate with this name because I believe each of us can access our own wellspring of wellbeing. It’s that part of us that deeply knows, that deeply understands what we seek, that recognises what we need to learn through our experience to become more fully present, more fully expressed and more vital as a human being. My personal image when I think of a wellspring of wellbeing is an ever-present flow of water that springs forth directly out of the earth - like a bubbling brook through our inner landscape - always in flux and flow.

The concept of ‘flow’ is central to me in life and in constellations. When you’re in flow, you probably recognise that experience of things falling into place with ease, of serendipity and meeting just the right person at the right time. In this state, we’re open to experience and to learning and life feels exciting, limitless and creative. Conversely when we’re out of flow, or feel stuck, there are often inner reasons why we’ve closed our connection to our inner wellspring – out of fear, self-limiting beliefs, past traumas etc.  All of these can lead us to create ‘stories’ that we tell ourselves. In one sense, these stories are helpful, they help us to survive, often through very challenging life circumstances – perhaps they even kept us alive. I tread with deepest respect for these stories – they have a purpose. But, they can limit us too. In a future blog I’ll share a story about how wild elephants are tamed that relates to this theme. 

So what are family constellations and how can they help? This approach is borne out of the work of Bert Hellinger and is often referred to as “Family Constellations”. Bert developed this approach over 30 years ago working with families by looking ‘systemically’ at the whole family system to understand the challenges facing the individual. Within his work as a family therapist he also integrated many years of being a missionary priest in Africa working with indigenous tribes who taught him about shamanic traditions that consciously include working with the ancestors. 

No person is an island. We are all part of multiple systems to which we belong, to our birth family, our national heritage, our ancestors, our organisational systems at work, the professions we belong to, our religion, our belief systems and so on. The systems that we belong to can be complex: consciously or at a sub-conscious level we are in a continual dance between ‘belonging’ to the system, which is a very fundamental need, and the impulse to ‘individuate’ and be a fully expressed human being. The tension arises because if we are fully ourselves, the chances are that we will at some point challenge the systems we belong to and their norms. Systems have a life and organising mind of their own, they too like individuals, are in continual flux trying to reach as balanced a position as possible given continually changing circumstances. Systems too will try and organise themselves to achieve as broad an integration of all the aspects within them, but they also exclude that which threatens their coherence.

Constellations are a wonderful tool to help reveal sometimes hidden dynamics and forces that are influencing the individual in the dance with the system(s) in which they’re operating.

How is a constellation set up in a workshop?

A constellation is usually focused around an individual that I normally call the ‘client’. Let’s imagine you’re the client. We’d start by sitting side by side in the initial part of the process and my role is to help you clarify your inner question. For example it might be a question about next steps in your career, or perhaps a more existential question like: ‘I want to feel more alive’ or ‘I don’t understand why I am so unhappy’. Through a process of deep listening and enquiry, I try and help you get as clear as you can about what you’re seeking, so you can formulate your inner question into a succinct sentence that resonates deeply for you. This is an important part of the exploration. Sometimes we find that your first presenting question actually has its roots in deeper sub-questions, which Bert Hellinger called ‘movement of the soul’.

Once your intention is clear, we establish who are the key players or the key aspects in your question. It’s not only people that are represented in a constellation, you can represent anything in a constellation, for example someone might represent a country or a nation. Imagine we’re co-creating a movie, and you’re the Director and it is you who decides which parts are needed to be represented in the first scene to place your inner question in the right context. Other parts or characters might of course come in as representatives in later scenes, but I like to start a constellation keeping things simple.

Representatives in constellations

Once we’ve agreed who needs to be in the constellation, I’ll invite you to choose fellow participants to ‘represent’ the different aspects of your inner question. One by one you choose and then physically place each individual representative somewhere in the room where we are working. We then stand back from the constellation and observe the movements that follow for the representatives. It’s like a 3 dimensional sculpture of your question, with human beings representing the different forces and dynamics. The role of each representative is to embody the representation as fully and authentically as they can.

As a representative you’re not following a script like you would as an actor. You’re invited to express and embody what shows up in you. I often say to representatives ‘use ALL your ways of knowing’ and follow your inner movements and promptings as honestly as you can – it’s not about winning the Oscars for best dramatic performance. There is no special training required to be a representative, I believe we all have the capacity to step into another person’s life situation and feel into what’s happening.

Sometimes there is dialogue between representatives, and other times constellations can be expressed powerfully simply through the physical movements and body language of representatives.

Often in the initial set-up of the constellation, I’ll also invite you to choose someone to represent yourself, so that you can witness the movements a little from the outside like an observer. More often than not, and at some point during the constellation, I’ll invite you to physically step into the constellation yourself and experience it first-hand.

Sometimes simply witnessing the dynamics within your inner question is a powerful first step. My role is to keep returning to your inner question and to what would be of service to you. I try to be sensitive to the system so that it can reveal its own wisdom about what’s required to reach a better and healthier flow. Sometimes I might offer a healing sentence between representatives, sometimes suggesting an action, or I’ll invite representatives to truly see things ‘as they are’, rather than ‘how we’d like them to be’.

The workshop format: all workshops are residential and start at 6.00pm and finish at 4.30pm the following day.

Costs: £135 for a working place (i.e. you have your own constellation), £105 for a representative place, £75 concessions (limited number available). Prices include delicious vegetarian meals and accommodation in shared sleeping lofts in Hazel Hill’s beautiful off-grid eco-buildings. If you prefer a private room, an additional £20-£30 applies.

Generally speaking in a residential workshop we typically have time for 4-5 constellations. Not all participants will therefore have their own constellation, in other words to be the client. However it’s likely that most people will have the opportunity of being a representative in someone else’s constellation if they’d like to do so. The experience of being a representative is often very profound and can have a really positive impact on your life. I’m often fascinated by who or what I’m chosen to represent, and the feelings that emerge in and through me are often just what I need to help my own life’s questions. It’s a mysterious process!

What do to if you’d like to come on a workshop?
Check out the upcoming ‘Landscapes of Change’ - Retreat Series at Hazel Hill Wood, that I co-facilitate with Kirstin Irving from ChangeTools.

or…

simply get in touch to discuss the possibility of organising a workshop with Marcos.