Birth Art Training
Session Three Resources
-
Develop of understanding of the difference between solution-focused versus problem-focused.
State at least four solution-focused questions.
Demonstrate a solution-focused dialogue after volunteer makes birth art.
Demonstrate not analyzing the image, but focusing on the learning process from making the art.
State rationale for choosing a particular art assignment
-
-
-
Week Three Objectives
Learning Objectives:
Develop of understanding of the difference between solution-focused versus problem-focused.
State at least four solution-focused questions.
Demonstrate a solution-focused dialogue after volunteer makes birth art.
Demonstrate not analyzing the image, but focusing on the learning process from making the art.
State rationale for choosing a particular art assignment
Experiential Learning and Practice:
Read the modules:
van Gogh's Shoes
The Lively Solution-Focused Dialogue
Lead your second birth art session, a one-hour private birth art session with a volunteer (friend, pregnant or postpartum parent or birth-related professional). Follow the guidelines from Week Two.
After your session, using the self-evaluation prompts, reflect on: what worked, and what didn't seem to; teaching moments you identified; and what parents learned. Please post a brief summary of what you learned this week on the Birth Art Online Forum and ask questions if you have any.
Guiding Principles for the Dialogue After Art Making
You can save the document to your device by going to File > download.
Don’t try to create and analyze at the same time. They’re different processes.
-Corita Kent and Jan Steward
Guiding Principles for the Learning Dialogue After Art-Making
The birth art process and dialogue facilitate self-discovery.
Acknowledging and talking about an insight helps it to take root.
Look at the Artist; refrain from looking at the images or drawings
Remember: You are not talking about the product of the drawing session, so you don’t need to see or analyze their image to guide a meaningful dialogue. Talk to the artist-parent about their process and insights.
1. About show and tell
In general, without making this a hard-and-fast rule, avoid Show and Tell sharing in a group. Both you and the group may get hooked by a drawing and stop seeing and speaking with the artist. You can discourage Show and Tells in several ways:
Don’t look (much) at or compliment the drawings. Instead, look at the artist as they are speaking. If the artist wants to reference and show something in their image, glance at it, but then return your full attention to the artist.
Artists enjoy looking at one another’s images. This is especially true for Opening and Womb With a View. So after having a learning dialogue, invite the group to share their images. Serve tea and perhaps a snack which shifts the energy in the room to group-centered sharing and learning.
2. Containing and Supporting Group Dynamics
Groups can be mature or young; there might be individuals in a group that need to be contained to maintain the integrity and participation of the whole group. If intuition guides you to control show and tell, tell parents they won't be showing their drawings before the talking circle, but they can afterward. Suggest they turn their drawings over. Or, if the room is big enough, they can draw in one part (and leave their drawing there), then form a sharing circle in another part of the room.
3. Refrain from interpreting drawings
Gregg Furth, author of The Secret World of Drawings, observes that when a new student “becomes locked into one aspect of [the drawing], she or he cannot see the whole picture . . .” or the artist. If your attention gets hooked by the drawing, you may not truly connect with the artist. In addition, the questions you ask may not be asked to guide the artist’s self-discovery, but rather to help you interpret the drawing and perhaps the artist.
4. Sure ways to stifle insights and emotions
Offer superficial reassurance, commiseration, or "cheerleading"
Offer a box of Kleenex or soothe the artist when they begin to cry
Focus on "fixing" the problem (e.g., giving advice, sharing your story, asking "why", etc.)
5. Don’t look for pathology. Don’t look for anything.
If you are looking for problems—you will find them.
If you haven’t looked at a drawing, you won’t know about a particular symbol, for example, a "dog," or a "growling dog!" If the artist does not mention the dog during the dialogue, you will not become interested in it. Instead, you will follow the artist and talk about the insights they want to explore. Seeing the drawing first might tempt you to direct your questions to satisfy your curiosity or assumptions about that growling dog, the artist’s history or relationship with dogs, etc.
6. Listen: The Artist May Talk About Symbols Indirectly
An image of a dog might tell a personal story, but dogs and growling are also universal symbols. When you are listening deeply to the artist talk about what was coming up after drawing (without studying the image), you might tune into their feelings of fierce loyalty or a sudden shift within themselves from being docile to being wildly protective. Perhaps they are talking about what the symbol of the dog represented. But if you begin to tell yourself a story about the particular type, size, and color of a dog in the drawing, you might take them somewhere completely irrelevant.
7. Beware of Projecting:
If you “see” (i.e., interpret or imagine) signs of a particular issue or conflict in a parent's art, it is possible that you are seeing in others’ art what is an issue in your own life. This is called "projection." A few years ago there was a childbirth teacher who began using birth art in her sessions, but she didn’t really understand the principles and process; she did not take a training. But, she was preoccupied with sexual abuse, an issue she was exploring in her own life. When talking about parents' drawings, she would describe the image and identify “sure signs” of sexual abuse in the parent-artists. This is NOT what we are doing.
Good News: Parents agree to participate in the Birth Art Process. There is a shared understanding and agreement to explore a particular aspect of birth, birth in our culture, or becoming parents--and nothing else.
Pam England shares, “In three decades of working with countless parents making birth art all over the country and in different countries, it is likely that a fair number have experienced some form of abuse in childhood (emotional, sexual or physical). I have never had an artist-parent suddenly get in touch with repressed memories of childhood abuse from making birth art. Furthermore, I have never “seen” signs of abuse from childhood in birth art. But then, I wasn't looking. (However, you may learn about previous emotional birth trauma in a birth art discussion.)”
So, if you have been concerned that while drawing a birth art assignment, an artist will suddenly remember or draw a “buried secret” (e.g., a repressed trauma that is unrelated to birth) and have a melt-down—don’t worry. If you follow the setup, the guidelines of how to give and dialogue about birth art assignments, you and your client will be focused on specific learning and it is very unlikely anything else will surface.
Vincent Van Gogh's Painting of "Shoes"
While the birth art process may feel "therapeutic" to parents, it is not art therapy. As mentors of the birth art process, do not interpret drawings or sculptures. You do not even need to look at the parents' art to ask a few key questions to guide them to learn from their art or art-making experience through journaling on the back side of the drawing.
Human beings give meaning to everything we see, hear, and do. However, when an observer interprets art, whatever meaning is given to the art means more about the observer than the artist. Nobody is truly qualified to interpret another's art-making process, perhaps not even so-called experts, as is illustrated in the following story about how Heidegger, a renown philosopher misinterpreted the inspiration for Vincent van Gogh's painting of an old pair of shoes!
The following excerpt, found in Eye of Spirit (2001) by Ken Wilber (pages 123-126), expounds on his (mis)interpretation of van Gogh's painting of worn shoes. This excerpt makes the case against interpreting another's art--and believing that you are right!
Shoes, Vincent van Gogh (1888) New York Metropolitan Museum of Art
A PAIR OF OLD SHOES
Ken Wilber writes:
There is nothing surrounding this pair of peasant shoes in or to which they might belong, only an undefined space. There are not even clods from the soil of the field or the path through it sticking to them, which might at least hint at their employment. A pair of peasant shoes and nothing more. And yet. From the dark opening of the worn insides of the shoes, the toilsome tread of the worker stands forth. In the stiffly solid heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field, swept by a raw wind. On the leather there lies the dampness and saturation of the soil. Under the soles there slides the loneliness of the field-path as the evening declines. In the shoes there vibrates the silent call of the earth, its quiet gift to the ripening corn and its enigmatic self-refusal in the fallow desolation of the wintry field. . .This equipment [the shoes] belongs to the earth and is protected in the world of the peasant woman. . .’
This interpretation, beautifully expressed, lodges itself carefully in the details of the painting, which makes it that much sadder that virtually every statement in it is wildly inaccurate. To begin with, these are van Gogh’s old shoes, not some peasant woman’s. He was by then a town and city dweller, not a toiler in the fields. Under their soles, there are no cornfields, no slow trudging through uniform furrows.
Let us go first to the artist’s intent, as van Gogh himself described it to Paul Gauguin, [with whom he] shared a room in Arles, in 1888. . . [Gauguin] noticed that Vincent kept a pair of badly worn shoes which seemed to have a very important meaning for him. Gauguin begins the story:
In the studio was a pair of big hob-nailed shoes, all worn and spotted with mud; he made of it a remarkable still life painting. I do not know why I sensed that there was a story behind this old relic and I ventured one day to ask him if he had some reason for preserving with respect what one ordinarily throws out for the rag-picker’s basket.
And so Vincent begins to recount, to Gauguin, the tale of these worn-out shoes. Vincent said:
"‘My father was a pastor and at his urging, I pursued theological studies in order to prepare for my future vocation. As a young pastor, I left for Belgium... Preaching to the miners in the Borinage, I undertook to nurse a victim of a fire in the mine. The man was so badly burned and mutilated that the doctor had no hope for his recovery. Only a miracle he thought, could save him. I tended him forty days with loving care and saved the miner’s life."
Vincent kept the shoes he wore while he nursed the burned miner back to life, and later he painted them. Vincent believed in a Jesus who loved the poor. Vincent gave his meager earnings as a pastor to help feed and minister to the poor miners. Years later, people at the mine still referred to Vincent, with affection, as "St. Vincent. "Wilber goes on: “It must have been an extraordinary forty days, deeply etched on van Gogh’s soul. A man so badly burned, so horribly in pain, that the doctor had abandoned him to certain and gruesome death. For more than a month, Vincent at his side. And then a vision came upon Vincent, a vision that he disclosed to his friend Gauguin. . ."
"Vincent was already mad" -- Gauguin repeats this several times. "Vincent believed in miracles, in maternal care. . . Stubbornly he kept the air from getting into his wounds and paid for the medicines.”
The patient recovered. The scars on the man's face looked to Vincent exactly like the scars from a crown of thorns.
“'I had," Vincent says, “in the presence of this man who bore on his brow a series of scars, a vision of the crown of thorns, a vision of the resurrected Christ.’"
At this point in telling Gauguin the story of the miner and the shoes he subsequently painted, Vincent picked up his paintbrush loaded with yellow paint and wrote, referring to the resurrected Christ:
I am whole in Spirit. I am the Holy Spirit.
It's a beautiful story, an interesting one.
How is it relevant to your work in leading birth story process?
Answer in our online group if you would like.
Making Art Without Attachment to Outcomes
Living, birthing, and making art with passion, without attachment to a particular outcome.
When parents make a drawing from an assignment, naturally they begin their drawing with an idea in mind. Unless someone is a skilled artist, their drawing probably will not look like the image they had in mind. Parents may struggle to make the drawing look like what they see in their mind. This is very common, and one reason why making art scares so many people.
When a parent does succeed at creating a beautifully colorful or realistic drawing, they may feel satisfied, even proud, and stop there — before ruining their masterpiece! On the other hand, when a parent can’t quite make the drawing look on paper the way they saw it in their mind, they might feel frustrated and want to keep trying to make it look “right,” or quit drawing altogether. Either way, when this happens, the artist has become focused on the product, and they are no longer learning from the process.
Striving to make art beautiful begins as early as elementary school when most of us learned that making "pretty pictures" earned approval from parents, teachers, and our peers. We were rewarded for sacrificing freedom and creativity for conformity. It was just another way we learned to ignore our feelings when making art, and in life too.
If someone’s drawing looks exactly as the artist had imagined it, there may be no learning, no new discovery. The artist-parent just makes an image of what they know, or what they know will get approval from others.
Remember, making art is about the process, not the product. The process takes time; it takes time to make the drawing. Drawing becomes a meditation, a time to reflect, and unwind. No need to rush. We rush all day, multi-tasking, doing, accomplishing, checking things off our lists. We pack so much into a class, into an hour, a day, trying to be efficient. We have forgotten how to watch the clouds and get lost in making sand castles and pastel drawings. Slowing down the mind and our nervous system: this is what makes birth art a teacher, and not just an arts-and-crafts project.
Some people who have taken up making birth art in classes have turned it into "doing crafts" with glitter and ribbon, making it pretty art. They encourage parents to make art of “positive” images, of people as birthing goddesses, of birth as it should be. This is not what we are doing.
BfW’s Birth Art Process allows a clear starting point -- an assignment-- out of which may spring a limitless number of images, symbols, forms, meanings, and ideas. Where parents go with the assignment is as varied and individual as can be.
What is Solution-Focused Dialogue?
Solution-Focused Dialogue and Birth Art
In order to find a solution to a problem, you must first identify the problem. You can't just ask questions from a list of solution-focused questions in the middle of the interview and expect the magic to happen!
Our culture (conversation, media, education, medicine, even therapy!) is problem-focused. It is so familiar to your thinking, you have to study the difference between what is a problem-focused mindset or question, and what is solution-focused.
When someone is problem-focused, they tend to talk about what they don't want, about how to avoid or prevent certain things from happening or may loop ‘round and ‘round with details about a situation or person that is not working for them.
Examples of being problem-focused:
A birth art assignment that asks the artist to draw, "what they are most afraid of happening in labor," then have a dialogue to explore what they are afraid of, and even strategize how to make a birth plan to avoid it.
Birth plans are actually problem-focused because the process requires the parent(s) to think of everything they hope won't happen (to the birthing parent or baby), and put it in writing.
In a problem-focused consultation, the mentor and client focus on defending their assessment of a problem, or decision to manage it, with research and protocol. This is done without having a vision for actually solving the problem.
The medical model is famously problem- or pathology-focused. When a fetus is growing slowly, they think of the exotic pathological reasons and focus on diagnosis, rather than think either preventively or logically that the solution might be nutritional counseling.
After the client presents a concern or desire to change something, the therapist's primary or exclusive strategy is to go back through history to ferret out the origin of the problem; with the intention to change the present by exploring the past.
A solution-focused mindset, on the other hand, shows up when the person is focusing on what they do want and strategies to move toward that desired outcome.
Examples of being solution-focused:
A mentor might say, "What are you discovering through birth art that you hadn't thought of before? As a result, what is the first small thing you might do differently this week?"
In dialogue, they might say, "How do I increase my chances of birthing without medications?"
"I want to learn pain-coping practices to help me focus my attention in labor."
"I want to learn about how my partner and I can work with an epidural if I need one."
Suggestions to Create a Solution-Focused Dialogue about the Birth Art Process
If a problem comes up, i.e., something the artist is hoping to avoid or is dreading if it should happen, ask the artist,
"How is this [undesired situation or outcome] a problem for you?"
In order to practice not-knowing, don't assume that how it might be a problem for you is universal or shared. By asking this clarifying question, the problem becomes smaller and it's easier to find a solution.
Acknowledge how it makes sense for them to want to avoid the problems having a certain intervention, situation, or outcome will cause for them (based on their life, belief, and support systems, etc.)
This is a menu of solution-focused questions to choose from, not in a particular order, but as part of a conversation. Here are just a few examples:
How do you know to avoid ___?
What have you already tried to remedy this, or solve this problem? What was helpful? Not so helpful?
What advice have you gotten? Did it serve you? What happened next?
Tell me, if you could do one small thing differently to _ [e.g., feel calmer, to ask for help), what would you do?”
If this problem were no longer a problem for you, what would be the first small thing you would do differently? What is the first thing you might notice has changed in your body (sleep/appetite/energy level)?
Whenever possible, offer validation and acknowledgement toward any positive action or positive intention that is motivating them. You can validate that they are:
Searching for answers
Trying to care for themselves, for others or for their baby
Trying their best to be a good parent or partner
Feeling confused or conflicted
Having anxiety or excitement about making a decision or choice
Wanting to "get it right" so they can feel good about themselves or please others
Examples of validation:
“Even while coping with all these problems (emotions, obstacles), you are looking for a better way.”
“You don’t know exactly what you will do about ___, but you are thinking deeply about what each option feels like to you.”
Be mindful not to validate the problem.
Be disciplined to avoid saying, "I hear you saying ____" and repeat back to them what they said.
You are a skilled, empathic mentor, not a parrot!
Enjoy observing your client's focus gently shift towards a solution that they proposed themselves!
Build a Solution-focused mindset in yourself, and soon, you will be hearing everything differently, and how you interact with clients will completely shift. You may find yourself being more present, compassionate, effective and efficient in your prenatal appointments, classes, birth art session, and even during births!
This information is inspired by the work of Insoo Kim Berg and her team of Solution-Focused Brief Therapists.
Solution-Focused Questions for Birth Art
Solution Focused Questions for Birth Art
Note: All of these questions can be asked without looking at the drawing or sculpture. These questions are not in any particular interview order.
What did you see that you didn’t “see” before?
What surprised you?
Was there anything you wanted to include in your birth art, but you either discounted or censored it? How did you know to leave it out?
How did you know you were finished with the drawing? If you kept working after you thought you were finished, how did it feel different from stopping when you didn't know what to do? How is this like your life? How might this be relevant in labor?
Is there some object, character or symbol that you don’t understand, or that you are particularly drawn to? Give it a voice, and let it speak to you.
When drawing, you may have come to a place where you didn’t know where you were, or where to go next. . . . what did you do then? . . . What did you do next?
What new questions did this process bring up for you?
Was a question you’d been asking yourself answered in the drawing process?
What do you know now that you didn’t know before making the drawing?
Questions that take the artist and image into their future:
What might you begin to do, or say differently this week, as a result of this art and dialogue process?
What needs to be done or learned next?
What is one small thing you might do differently this week?
What might your partner/child/co-workers (etc.) notice is different about you this week?
(Remember: your question has to make sense -- to fit -- with whatever the parent was expressing)
Ineffective or problem-focused questions or comments:
Complimenting art talent: "That's a beautiful picture. I love the colors. You're really a great artist."
Analyze or interpret color: "You used a lot of black in the operating room. What does the color black mean to you?"
Analyze or interpret what's missing: "Why don't you have any hands in this drawing?"
Correct the drawing: "Is there anything you want to change about this drawing?"
Being logical and making artists defend their image: "I see you drew yourself birthing normally under a tree. But you are giving birth at the University Hospital where you know it'll be hard to just birth normally. Why did you draw this natural picture?"Be wary of ANY QUESTION beginning with "Why did you....?" (Try "How did you know to...?" instead!)
Memorizing versus Understanding the List of Questions
You might be tempted to memorize the list of questions or to read questions from a written list. This approach leads to a "wooden," irrelevant question-and-answer period rather than a meaningful dialogue. Also, be aware that when random questions are asked from a list in your head without relevance to what the parent is saying (verbally and non-verbally), the artist will give short, shallow answers. There is no spark, no depth; in short, nothing interesting happens.
Trust and allow your questions and comments to be in response to the artist. When you are being authentic and genuinely interested, the conversation evolves in a meaningful, organic way.
When the dialogue phase seems to go nowhere it may be because (1) the way you posed questions invoked the artist to explain or defend their drawing or painting, or (2) because you randomly asked one or two questions from the "list”—versus asking a question in response to what the parent is saying! When a question is plucked from "the list" it often creates a huge disconnect and confusion in parents.
For example, read the following transcript:
Artist: I like my drawing. It turned out better than I expected it to. It was easy to imagine "opening" as this shape.
Mentor: How are you feeling about your drawing?
Artist: Uhmmm. I like it. I feel happy it turned out better than I thought it would.
Mentor: Where do you feel it in your body?
Artist: Uhmmm. . . . do you mean . . . where do I imagine opening in labor in my body? I guess my cervix? I don't know what. you are asking.
During your dialogue, be in-relationship with the artist. Observe the artist's’ reactions to your questions or comments; don’t just listen for their verbal answer and go to the next question. Notice if the artist seems to close, retreat, give a superficial answer, or pause to reflect and say something as if for the first time. If the artist does not seem to have any insights, instead of “blaming” them, consider whether the question or comment you made was confusing or invoked a rational thinking.
Five Words for Mentoring
Five Words for Mentoring:
Validate, Motivate, Educate, Initiate, Celebrate
These five words offer a step-by-step guide to connecting with parents and helping them to engage with the processes in ways that will lead to discovery and wisdom.
Validate
• Validation is KEY—if you skip or rush it, none of the other pieces that follow will fit or be effective.
• When planning a class or a session, it is helpful to step inside parents’ minds and hearts a bit. Return to “beginner’s mind.” Jot down a list of your best guesses about parents’ existing knowledge, concerns, feelings, actions, beliefs, assumptions, questions, inner conflicts and ambivalence on this topic. THIS is what you will be validating in class.
• Your verbal and nonverbal responses can convey acceptance, understanding, and compassion for their current beliefs.
• Validation takes many forms: anecdotes, stories, questions, body language/facial expression, and statements.
• By validating parents and meeting them where they are NOW, you set aside judgment, bias or expectations that they should change or do something different.
• When you are able to begin in a solution focused mindset, without attachment to outcome, you are modeling and speaking from the Love Warrior.
Motivate
• Validation and Motivation are often intertwined rather than appearing as two separate steps. As a new CBE/Doula, you will discern (either in advance, or in the moment during class dialogue) what is already motivating parents to learn this material (or what would motivate them to avoid or disengage from it). What internal or external motivation or pressures might parents already have that you can tap into use as a way to help them engage with the information, module, or process you are presenting?
• This is NOT about motivating parents to choose what you think is right, or scaring them into avoiding certain things, or achieving particular outcomes—in class, or at their birth, or in their lives.
• Through validation and deep listening in class, you will hear and affirm their “positive intention,” i.e., their motivation. When preparing your module, take some time to think about what motivates parents to choose or avoid certain things related to this topic.
• When parents’ beliefs, fears, or feelings are heard and validated, their potential resistance melts away. You will know you are “on the right track” when parents’ non verbal cues show that they are ready to listen to what you are saying next.
• Think in advance about how you might inspire all different kinds of people to want to learn about this topic. How might gender, sexual orientation, race, culture, or traits such as introversion or extroversion affect their motivations and goals? Consider, as well, learned behaviors such as acting from an internal or an external locus of control, or learned attitudes towards authority. Be curious about where these parents are as they prepare to step over the threshold into birth. Close observation of their approaches and identities will offer clues about how best to meet them where they are right NOW.
Educate
• Mentors work from four perspectives (the perspective of the birthing parent, the partner, the baby, and the culture), using conscious and unconscious learning, and stimulating both left-brain and right-brain learning. The material must be both timely and relevant. Because class time is limited, it is crucial that parents walk away from class with a good grasp of just a few key points, rather than feeling bogged down by details that may not, ultimately, be helpful in their birth journeys.
• Learning objectives are the key points that you want parents to remember. Learning objectives have “measurable outcomes” -- things that the parents should become able to do over the course of the activity.
• Learning objectives are not specific points you make or pieces of information that you share. They are not promises or ammunition for your own agenda; they are not based on what you want parents to choose or avoid, or on what parents are hoping to hear.
• Here is an example of what NOT to write: “Upon completion of this class, parents will be able to practice breath awareness to achieve deep relaxation and a pain-free labor. A parent can learn and demonstrate breath awareness; however, they may not necessarily achieve or demonstrate deep relaxation, and certainly can’t demonstrate a pain-free labor over the course of the process.
• Remember, the key to this process is to hone in on the most relevant and helpful skills and understandings. You will be continuously refining your learning objectives, so don’t worry about getting them exactly right immediately, and don’t think of them as fixed agendas. When writing objectives, finish this sentence: “Upon completion of this module, parents will be able to: [fill in the blank].”
Initiate
Initiation: Activating the Love Warrior
• “Initiation” means: taking action or starting something new. This is what the Warrior archetype does. Whenever parents act, practice, or DO, they are in their Warrior (not their Child, who waits, hopes, or freezes).
• Initiation is when parents put what they have learned into action and use their own experience (often multi-sensory) to integrate and embody the “teachings.”
Examples of Initiation:
• holding ice during pain-coping practice
• making birth art
• observing or participating in a role play, group dialogue,journaling
• sharing their responses to a story or anecdote
Celebrate
• Honoring and validating parents’ learning, insights and new knowing are key parts of bringing your module full circle. Be sure to allow moments of reflection on how they have grown, completed tasks of preparation, made new connections, or shifted archetypes.
• A small ceremony or ritual, especially in the last class, may be just what is needed. Explore and research ways to honor parents’ rites of passage. Celebrations need not be fancy, lengthy or flowery. Often, a few resonant, heart-felt words will do.
Examples of Celebration:
• Singing a lullaby
• Reading a poem
• Telling a story
• A footbath ritual
Week Three Homework: Second Birth Art Session
This week, write up your second birth art session and post it to our online Community Group.
Introduce your volunteer artist, i.e., age, friend/client, how many weeks pregnant or postpartum, and anything relevant to the session. (Maintain confidentiality by using initials.)
Did you lead a private or group session?
If it was a group, describe the group (i.e., how many members? Were they pregnant parents? Postpartum parents? or a personal growth group).
Which birth art assignment(s) did you give, and why?
Did you try something new this time?
What was the first question you asked after the artist finished drawing? What did they say?
What new connections, insights, or questions did the artist have?
Was there a teaching moment you noticed and followed?
Was your dialogue problem-focused or solution-focused?
What did you learn about leading birth art sessions?
Any challenges or questions?
Post your session summary at least 24 hours before our next live call so you can receive feedback and perhaps a live-follow up on the call. You may include the drawing but are not required to do so.