I am delighted to give you an insight into the work of our colleague Anne today. As a coach and trainer, she stands for a special combination of language, body awareness and inner clarity – which is exactly what our holistic approach is all about.
In the interview , she talks about her path, her understanding of good counselling and how she combines different activities in a meaningful way. I would particularly like to recommend her current format “From the head into the body”.
Dear Anne, you move professionally between language and body, between storytelling and bouldering. How did this combination come about – and what connects these seemingly contradictory fields for you?
At first glance, storytelling and bouldering probably seem like two different worlds – but for me they go together quite naturally.
I’ ve been practising the sport for over 8 years now, and have also been a trainer for two years. What fascinates me so much about it: It brings me from my head into my body. After a day full of words, strategies and stories, the wall is my equaliser. All that counts is the moment, the next grip, the breathing and the movement upwards.
Bhen working with storytelling , I realise time and again the power of words and stories. They not only have an effect on our minds, but also on our bodies, which we feel every day – a sentence hits us right in the heart, moves us to tears or hits us on the stomach.
For me , both language and movement are expression and processing. Storytelling moves from the inside, bouldering from the outside. And in my programme ” Bouldering against stress – from the head into the body”, I combine both: mindful climbing with impulses from mindfulness, bodywork and the conscious handling of thoughts and feelings, i.e. the many stories that we tell ourselves about ourselves day in, day out.
Mindfulness – through non-judgemental observation we create a space between stimulus and response
What do you learn about yourself when you write a text – and what do you learn when you stand on a bouldering wall?
When we write , as when we boulder , we encounter ourselves in very different ways.
When we write, we dive deep into our world of thoughts. We organise, name and understand. We bring our innermost thoughts out onto paper. We can look at it there and decide anew, with a certain distance, how we want to deal with what is going on inside us. This is mindfulness – by observing without judgement , we create a space between stimulus and reaction.
On the bouldering wall, on the other hand, it is the body that brings our inner dialogue directly to the outside. For example, when I think that I don’t have enough strength or am holding on for fear of falling, even though letting go would be the way up. If , on the other hand, I keep at it, try again and again, look for a way that works for me, I start to trust my body and its ability to learn. This can be wonderfully transferred to life.
Both situations show how I deal with myself: patient or strict, curious or controlling, courageous or doubting. They are ways of getting to know yourself better. Sometimes with a pen in your hand, sometimes with your body on the wall.
Presence is a central theme in your formats – be it in your own story or in the moment on the wall. What does presence mean to you?
For me,presence means really being there – here and now, with full attention. Not thinking about the next but one sentence or the end of the climbing route.
Mindfulness comes into play here too. If I have already messed up the route in my head, the story is already written, I take the opportunity to have new experiences along the way and learn something about myself.
If I think about my to-do list while bouldering at a height of four metres without a belay, it becomes dangerous. I have to be in the moment and concentrate on the next move. My body demands my full presence. Here I decide directly whether to trust or fear and immediately experience the consequences of this decision.
Presence is also crucial when working with stories. Good storytelling is characterised by the fact that the stories trigger something, that they touch. To find the essence of a good story, I have to listen, be present, track down the emotions beyond words and put them down on paper. This is the only way I can tell stories that are authentic and connect.
How does a story change when you not only think and write it, but also experience it physically or reflect on it through movement?
We can often explain, analyse and categorise things really well in our heads. But it’s our body that brings in the associated emotions. We physically feel when a story touches us – goose bumps, a lump in our throat, tears in our eyes. These are signals that show us: There is something realhere.
A CV , for example, is created in your head, whereas your own story comes from your gut. That’s why I ask my clients to write the first version of their story – whether it’s for the website or an application – from their gut. Movement can help with this because it gets us out of our heads. We move from thinking to experiencing.
Especially when we are stuck or have writer’s block, movement is one of the best tools to counteract this. Through movement, we can let go of our spinning thoughts and create space for new perspectives. And when we go up high – like when bouldering – our view of the world is suddenly completely different;)
Woran merkst du, dass Menschen in deinen Kursen (ob mit Text oder mit Bewegung) Zugang zu etwas Echtem finden – zu einer authentischen Ausdrucksform?
I notice it above all in the emotions that emerge. When I get to the heart of my clients ‘ stories during storytelling consultations , many of them are deeply moved. It is not uncommon for them to cry, and this is not a sign of weakness, but of clarity and relief.It is the moment when they have finally found the right words for what they really want to achieve with their work.
I experience the same thing in my work in the bouldering hall: when someone overcomes their fears on the wall, manages the route and is suddenly beaming from ear to ear. This creates a feeling of self-efficacy and the belief in oneself and one’s own abilities grows visibly from hold to hold.
How does your experience of working with groups influence your approach to text processes and story work – or vice versa?
In both fields, for me as a trainer and consultant, it ‘ s never about imposing a technique on my clients or enforcing a rigid system.
Everyone brings their own story, their own pace, their own mental and physical constitution. Methods and techniques can provide support, orientation and safety – but everyone is allowed to find their own way. Whether on the bouldering wall or when writing: In the end, it’ s the feeling you have that counts.
II feel this particularly clearly in my course groups. I provide tools, technique and structure, but I don’t force anyone into a mould. I accompany, motivate and observe. I remind people that there is no one right story or one way to the top and, above all, that you don’t have to find it straight away.I encourage try and error and point out not to overtax yourself, because both mind and body grow through regeneration – in rest.
What fascinates you about group processes – and how do you create spaces in which people can express themselves, try things out and also fail?
I am particularly fascinated by the dynamics that a group can develop very directly – if you give it the space to do so.
As a trainer, I quickly learnt to trust in the group ‘s ability to regulate itself. The participants motivate each other, inspire each other through their experiences and have each other’s backs emotionally. I have to do or explain much less than I initially thought.
My job is to hold the space – like a safe framework in which everyone can try things out. I observe, sometimes gently adjusting the direction if necessary, but I rarely intervene directly. Because what we experience for ourselves becomes much more deeply rooted than anything explained to us in theory.
FROM THE HEAD INTO THE BODY
When you think about our joint work in the area of professional change: What impulses from your other fields of work could perhaps have an(even) stronger impact there?
I think it’s extremely important to think about both: the head and the body.
Especially when it comes to big steps, such as a career reorientation or the step into self-employment, you spend a lot of time in your head: How do I present myself correctly? Do I come across as professional? This can create enormous pressure that paralyses many people because they don’t want to do anything wrong.
From my work with movement and mindfulness, I know that we need moments in which we move from brooding to sensing. When we just observe our thoughts and don’t let them guide our actions. And in which we focus our attention on our body: Where do I feel fear or pressure? Where is my body tense or relaxed? How does my breathing change when I observe it – does this perhaps also change the way I feel?
Often the clearest impulses do not arise at the desk, but during sport or even during very monotonous activities, such as washing up or gardening. That’s why I recommend not ignoring the body when doing all the mental work that needs to be done.
What advice would you give to someone who not only wants to write down their own story, but also to feel and embody it?
If you don’t just want to write down your own story, but really embody it, then I advise you to let the story develop on two different levels:
The body level: What feeling do you want to trigger in your readers? Do you want to encourage, make them think, shake them awake, etc.? This feeling often gives you the central theme of your story. Now you can trace which part of your story triggers this feeling in you. This is usually the part that wants to be told. This requires a little courage , because sometimes it is the honest, vulnerable moments that are the most moving.
The head level: Test your story and its emotional impact. Don’t just write and publish it silently for yourself , but speak it out loud and show it to other people who fit your target group. Observe how they react – which words make which feelings come alive in them.
In short: a good, authentic story is created where body and mind come together – where words are not only understood, but also directly felt.
Now open for registration:
Registration ” Bouldering against stress”
Thank you, Anne, for the interview!
Julia
