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Four Hands on Clay Resources A c.20cm x 20cm x 20cm block of clay for each two participants. The cloy should be soft enough for moulding but not too wet. A table and two chairs for each two participants arranged so that participants face each other across the table; the tables so arranged that individuals can be led, eyes shut, between them. Blindfolds (optional). Soothing or relaxing music (optional).
Procedure Students stand around the walls of the room. lt is explained that the activity involves working ' 'n pairs and modelling something out of clay; also, that ¡t can be a very profound experience for those who keep to two basic rules, ¡e. eyes should be kept shut throughout and no one should reveal their identity by laughing or talking. It is particularly important with this activity to indicate that participation is optional; students opting not to model can play a most useful part as observes and rapporteurs. Those intending to take part should be advised to remove watches, bracelets and rings and to roll up their sleeves. With eyes shut and avoiding talk and laughter, participants are led carefully and protective ly to chairs. Once in place, they are asked to fold their arms and wait silently until everybody is seated. During this period - and throughout the activity - soothing music can be played. The facilitator may wish to bear a variety of factors in mind in creating pairings. The problem of uneven numbers can be handled by putting three students together in one group. With everyone in position, the facilitator goes to each pair in turn, brings their hands together on the clay and says: With your four hands working together on the clay, make one model -' The pairs will usually be finished in 75-20 minutes at which point they can be asked to open their eyes. An excited and spontaneous sharing of experiences and feelings normally follows. Allow 5 or so minutes for this before attempting plenary discussion.
Potential Students are also usually keen to shore their experiences and feelings with the class as a whole. How did they feel being led with eyes shut? Did they trust the facilitator? What feelings did they have during the decision period about what to model, during the modelling and when things seemed to be going well or badly? Mat pleasures or frustrations did they encounter in reaction to their unknown partner, from not talking or seeing, from the music that was being played? Out of this sharing, a number of key areas for further discussion will probably emerge:
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