TOWN MEETING '76

Inclusive Dynamics

TOWN MEETING '76

Inclusive Dynamics

PRELUDE

The first of the day's five sessions, begins at 9:00 A.M. with coffee and doughnuts, as the participants register, visit together and gather for the welcoming address.

CHALLENGES

A brief presentation on the new world of the Bicentennial Era introduces Session Two the morning workshop at 10:00 A.M. In the workshop the participants meet in small groups, identify the economic, political and cultural issues and analyze the foundational challenges to our nation as we enter the Bicentennial Era.

INTERLUDE

Session three of the Town Meeting is a festive noontime interlude. As the participants enjoy an informal lunch at 12:30 P.M., special guests and community leaders are received, and an array of local entertainment and group singing creates a powerful happening.

PROPOSALS

Session four of the Town Meeting is introduced by a brief presentation at 1:30 P.M. on the new human and the American citizen. At 2:00 P.M. the afternoon work shop engages in participants, meeting in small groups, in writing twelve to twenty practical practical proposals for meeting the challenges indentified in the morning workshop. One group creates a story, song and symbol for America's Bicentennial Era.

PLENARY

Session five, beginning at 4:00 P.M. concludes the day with a plenary in which the workshop groups report on the day's accomplishments. At 5:00 P.M. the Town Meeting adjourns. Each participant receives a document holding the group's proposals for the future, a new story of the community's role in American history, and a renewed sense of the American revolutionary spirit.

THE EVENT

The Town Meeting '76 is the celebration of the 200th anniversary of the American Revolution through a day long community gathering aimed at reforming the local consensus on the future direction of the nation. While the day's activity is structured, the atmosphere is informal. Beginning at 9:00 A.M. with coffee and doughnuts the day includes two brief talks on the Bicentennial and the American citizen, two group workshop sessions, a celebrative lunch, and a closing plenary reporting session. At 5:00 P.M. the community residents return home with a document holding their proposals for the future, a new story, and a renewed sense of the American revolutionary spirit.

THE TALKS

A key dimension of the drama of the Town Meeting is the two brief contextual talks set at the beginning of the morning and the afternoon sessions. The first, on the new world of the Bicentennial Era, articulates the new situation we find ourselves in as we enter the next 200 years. The second on the new human and the American citizen, delineates the issues, responsibilities and possibilities given to us as citizens in this new era.

THE WORKSHOPS

The workshops are the highlights of the Town Meeting. In two sessions of two hours each, the gathered representatives of the community work in four groups, first to discern the underlying challenges facing our nation, and secondly to create practical proposals and a story to give direction to our nation as it enters the Bicentennial Era.

THE PLENARIES

The Town Meeting begins and ends as a celebrative gathering of the community in a plenary session. Opening is informal with coffee and rolls, informal conversation, and visiting. This is followed by community singing, a conversation, and a talk. The closing plenary centers around group reports and a presentation of the work of the day. It is cast in a highly celebrative mood and marks the dramatic close of the day.

THE INTERLUDE

Punctuating the Town Meeting at its center is the lunch time interlude. Around a sumptuous buffet lunch,

coordinated array of local entertainers (professional and amateur, planned, and spontaneous) provides dis-

continuous celebration time for the community. Dancing, music, comedy, and community singing blend into a powerful happening in the middle of the day.

THE TALKS

THE NEW WORLD

I. THE PROFOUND TIMES

A. The Transitional Era

B. The Dynamic Sociality

C. The Unexpected Vista

D. The Global Phenomenon

II. THE NEW SETTLEMENT

A. The Emerging Community

B. The Postmodern Wilderness

C. The Social Pioneers

D. The Reconstructed Earth

III. THE GREAT RESURGENCE

A. The Nation's Rebirth

B. The Practical Vision

C. The Grassroots Awakenment

D. The Local Initiative

IV. THE TOWN MEETING

A. The Historical Reality

B. The Human Dynamic

C. The Interdependence Declaration

D. The Singular Happening


The First Talk establishes a rapport among the Town Meeting participants as they grasp the new social situation emerging in this Bicentennial Era. It demonstrates the presence of this new sociological situation in our everyday lives in local situations as well as pointing to the broad shifts occurring across the globe. Further, it articulates the resurgent posture emerging in people today relative to living in this new world, and affirms the appropriateness of the Bicentennial Era as an opportunity and the Town Meeting as a vehicle for responding to this new world.

THE TALKS

THE NEW HUMAN

I. THE HUMAN CRISIS

A. The Awe­filled Challenges

B. The Endless Engagement

C. The Vocational Collapse

D. The Meaninglessness Malaise

II. THE NEW SPIRIT

A. The Emerging Human

B. The Life­giving Engagement

C. The Indicative Care

D. The Human Fulfillment

III. THE FOUNDATIONAL REBIRTH

A. The Infinite Relatedness

B. The Male­Female Dynamic

C. The Four Lifetimes

D. The New Rationality

IV. THE GLOBAL CITIZEN

A. The Effective Citizen

B. The Tactical Citizen

C. The Corporate Citizen

D. The Motivated Citizen



The Second talk engages people in reflecting on the new kind of human being emerging in our world today. It describes the sense of crisis in us all as a sociological rather than psychological reality. It demonstrates that in the heat of engagement in this complex new world of ours a rebirth of human spirit or drive is occurring that is causing us to recover in a profound way the basics of human life. Finally, the lecture probes the practical style of this new human for the next 200 years.

_9_

THE TASKS OF THE GUILDS

The Town Meeting will operate as a single group divided into four guilds. The total group will gather to open ant to close. Lunch will al lo be as a total body. The workshops will be done in the four guilds. In the morning each of the four guilds will work to discern the social challenges facing the nation. In the afternoon Guild A will take the economic challenges from the morning and create a set of proposals for them. Guild B will do the same for the political challenges and Guild C for the cultural. Guild D will create a story, song, slogan and symbol for the Bicentennial Era.

THE WORK8HOPS:

SESSION I ­ THE CHALLENGES

THP WORK FLOW

INCLUSIVE OBJECTIVE

Session I aims to release local citizens to participate authentically, in shaping the American destiny by objectifying their intuitions about society and allowing them to state the sociological challenges which face the nation.

PRACTICAL TASK

The practical task of this workshop session is to organize the complex issues of our time and name them as the economic, political and cultural challenges facing the nation.

THE PROCEDURAL OUTLINE

INTRODUCTION: Reflect on what'a going on in society today.

  1. Brainstorm lists of economic, political and cultural issues.
  1. Plot the key social issues on the social process triangles and identify the five to seven clusters of issues.
  1. Dlacern the various social components of each cluster to analyze the underlying challeoge which is present.
  1. Write ~ecclact etate~cute of the economic, political, and cultural challengee facing the nation.

CONCLUS ION: Reflect on the actions the challenges suggest.



WHERE IS SESSION I - THE CHALLENGES

PAGE 11 IN THE DOCUMENT GOES HERE

THE WORKSHOPS:

SESSION II ­ THE PROPOSALS

THE PROCEDURAL OUTLINE

INTRODUCTION: Reflect on how the people are responding to these challenges.

1. Brainstorm appropriate social responses to the challenges.

2. List key responses to each challenge and organize all the responses into 4 or 5 proposal arenas.

3. State the primary aim, proposed activities, and potential tactics necessary in each arena.

4. Create succinct practical social proposals for each arena.

CONCLUSION: Discuss briefly the inclusive and local implications of your work.

THE WORKSHOPS:

SESSION II-A THE NEW STORY


THE WORK FLOW




INCLUSIVE OBJECTIVE PRACTICAL TASK

The story workshop aims to release The practical task of the workshop

local citizens to experience the session is to create a story, song,

story of this nation as a great slogan and symbol that recaptures

story and one that needs to be the significance of the past and

retold for our time. sets the course into the future.


THE PROCEDURAL OUTLINE

INTRODUCTION: Reflect on the role of stories in the life of great cultures.

1. Brainstorm story components and set a group aside create a new story for the nation.

2. Brainstorm song components and set a group aside to create a new song for the nation.

3. Create a new slogan and a symbol for the nation.

  1. Create a dramatic presentation of the Guild's work for the Plenary.

CONCLUSION: Reflect on the significance of the workshop and send the group to the Plenary.

Workshop Procedures

WORKSHOP I

THE PRESENT CHALLENGES

WORKSHOP I: THE PRESENT CHALLENGES

Movement III: Discerning the Challenge Components

LIST

CLUSTER

ISSUES

(2 min.)

13. The intent of this movement is to lead participants in creating individually the basic data for work in groups during Movement IV. Begin by counting off by the number of clusters. Assign all l's to cluster #l, etc. Have individuals relist the challenge arena name and the accompanying issues in their cluster on p. 18 of their workbooks.

WRITE SITUATION PHRASE

(2min.)





STATE UYDERLYING CHALLENGE

(3 min.)


14. Ask the group to individually write a phrase which describes the social situation implied in their assigned cluster of issues. As1o:

­IN WHAT ARENA OF SOCIETY DOES THIS CLUSTER OF ISSUES APPEAR? Have one or two persons give their challenge arena name and social situation phrase

15. Ask the group to individually write a phrase that states the present challenge or social necessity facing the nation that is underlying their cluster of issues. Ask:

­WHAT ARE THE CHALLENGES PRESENTED TO THIS NATION BY THE PARTICULAR ISSUES WITHIN THE CLUSTER ? List.

­WHAT IS THE ONE UNDERLYING CHALLENGE?

.


LIST

LOCAL

MANIFESTATIONS

(3 min)


16. Ask the group to individually write three manifestations of their challenge as it is present in their local community. Ask:

­WHAT ARE THREE LOCAL MANIFESTATIONS OF YOUR CHALLENGE IN TTIIS COMMUNITY?


l0 minutes

­21-


PAGE 21 Movement III DiscerNG THE CHALLENGE COMPONENTS

WORKSHOP I: TME PRESENT CHALLENGES

The Postlude


THE 21. Regather as a guild. Tape challenges or

GATHERING sentences to the wall in the front of the room.

(3 min.) Ask a scribe to copy these challenge titles sentences with the social process arenas indicated on paper and label with the guild's letter.

Take this to production at lunchtime to be typed during the afternoon workshop.

Sing a song #_____________

Spin a hit on the plenary and its role in the construct of the day.

CHALLENGE 22. Call for reports from each group. Have the

REPORTING reporter read the challenge title, social process arena and sentence.

(5 min.) Individuals may record all the guild's challenges in their workbooks on page 19 . Ask for questions of clarity.

CORPORATE 23. Reflect on the work of the morning:

REFLECT10N -WHAT CHALLENGES STRIKE YOU ?

(5 min.) ­WHICH ARE MOST CRITICALLY DEMANDNG OF OUR ATTENTION?

­WHICH CHALLENGES ALREADY SUGGEST TO YOU

CONCRETE ACTIONS OR WAYS OF MEETING THEM?

­WHICH CHALLENGE IS SOCIETY ALREADY MOVING

ON? READY TO MOVE ON?

Reflect on the dynamic of corporateness:

­WHAT DID WE DO THIS MORNING?

­WHAT DID YOU LEARN ABOUT WORKING IN A GROUP?

THE 24. Announce the luncheon interlude

CONCLUSION to follow immediately. Mention that the afternoon session will begin with a talk at 1:30.

Send the guild out to lunch after singing

15 minutes












WORKSHOP II

THE PRACTICAL PROPOSALS

WORKSHOP II: THE PRACTICAL PRO9

The Prelude

THE OPENING (2 min.)

1. Gather as a guild. Spin on the recovery of authentic celebration in the life of a people, i.e. the Bicentennial celebration and the participation of Americans in forgin the next 200 years by articulating the challenges and creating the practical proposals for meeting them­ a new form of celebration recovering the past and planning for the future.

GUILD SINGING (4 min)

2. Spin a short context on singing and sing # . (Ask the group for a suggestion of a second song.)

REFLECTIVE CONVERSATION (2 min.)

3. Reflect for a moment on how people are responding to the world situation by asking the group these questions:

WHAT KIND OF RESPONSES DO YOU REAR OR

SEE PEOPLE TAKING TO THE ISSUES THAT

WE ARTICULATED THIS MORNING?

WHERE DO YOU SEE THEH RESPONDING WITH

"I DONT CARE"?

WHERE DO YOU SEE PEOPLE DEEPLY CARING?

WORKSHOP CONTEXT (2 min.)

4. Briefly review the place of this session in the flow of the day and talk through the task and steps of this particular workshop.



10 minutes



Movement I: Brainstorming the Social Responses


RECORD 5. Context this step as using the method of

CHALLENGE brainstorming to get out as many ways as

TITLES possible of practically and effectively meeting

(2 min.) the challenges which have been named. Have the

group record the challenge titles in the guild's

arena (E­P­C) on page 28 of their workbooks.


READ 6. Review the challenges by reading aloud both

CHALLENGE the challenge titles and accompanying sentences.

STATEMENTS

(2 min.)


LIST 7. Have the guild individually list one

SOCIAL practical social response for each challenge on

RESPONSES page 28 of their workbook.

(3 min.)


SELECT 8. Have the guild individually star their key

KEY response.

RESPONSES

(3 min.)




WORKSHOP II: THE PRACTICAL PROPOSALS

Movement 2: Cross­Gestalting the Social Responses


RECORD 9. Have a scribe come to the front of the room and

GROUP record individuals' starred responses on wall sheets,

RESPONSES one for each challenge. Corporately get up a list by

(12 min.) asking individuals to call out their starred responses

for the first challenge.

COMPLETE 10. Ask for other critical responses which have been

CROSS­ omitted. Complete the chart on page 29 so that

GESTALT there are a total of 16­25 responses.

CHART

(3 min.)

CREATL 11. Context the cross­gestalting method and begin.

RESPONSE

SETS

(10 min.) A. Marking key responses, look across the

lists of responses as a group and mark

one key response with a symbol such as

*,#, etc.

B. Mark related responses. Discern other

responses which relate to the marked key

response and give same symbol.

C. Relate other responses. Select another

key response and mark those related to it

with a common symbol.

D. Include all responses. Continue Step C

until all responses are marked, checking

that there are only 4 to 5 symbols used.

Do this both on wall chart and workbook page29.

NAME 12. Draw lines connecting similarly marked responses.

PROPOSAL Review the responses within each of these proposal

ARENAS arenas and give each arena a 3­5 word title. Relist

( 5 min.) the responses under the appropriate arena title.


30 minutes

_














WORKSHOP II: THE PRACTICAL PROPOSALS

Movement 3: Creating the Proposal Components


LIST 13. The intent of this step is to lead the

ARENAS participants in individually creating the

RESPONSES basic data for work in groups during move-

(2 min.) ment #4. Begin by counting off by numbers

of proposal arenas. Assign all #1s to pro-

posal #1, #2s to proposal #2 and so on.

Re-list the responses under the appropriate

cross­gestalt arena title on the wall chart

and on page It 30 of workbook.

WRITE 14. Have the group state individually in

INTENT 3­5 words the one primary intent or aim of

PHRASE the data listed within their proposal arena.

(2 min.) Ask one or two people to read their arens

and phrase.

STATE 15. Individually state, in 3­5 words, the

PRACTICAL one practical social activity which is called

ACTIVITY for within this proposal arena.

(3 min.)

LIST 16. Individually list, in 3­5 words, several

LOCAL tactics which this community could do to begin

IMPLEMENTATIONS to implement the proposal.

(3 min.)










WORKSHOP II: THE PRACTICAL PROPOSALS

Movement 4: Writing, the Proposal Statements


COLLECT 17. Context this movement as doing tile final

GROUP pulling together, writing and refinin,: of the

DATA proposals which will effectively meet and deal

(5 min.) with the challenges confronting our n.rtion.

Each group will write one proposal for its

arena. Talk through the procedures as found

on page # 3() of the workbook. Assign ~,rouns t~

to meeting spaces and indicate time allotment

of 20 minutes. Move to groups. Read aloud

and record all individual statements of the

proposal elements, intent, local tactics, and

practical activity.

DECIDE 18. Select the best statement of primary

APPROPRIATE intent, incorporating the p,roup's data and

COMPONENTS refining as needed. Do the same for the

(15 min.) intent and local tactics, determining, the

practical activity and the 4 most exciting

and practical tactics.


WRITE 19. Using the prescribed format, write the

INITIAL proposal statement. As a group, give the

DRAFT total proposal a 3­word title.

(5 min.)



POLISH 20. Edit and refine the proposal statement

FINAL and copy both the title and statement on a

STATEMENT wall chart for the Ouild Plenary. Assip,n

(5 min.) a reporter








WORKSHOP II: THE PRACTICAL PROPOSAS

The Postlude

THE 21. As the guild gathers, post proposals in

GATHERING the front of the room. Assign a scribe to

(3 min.) copy down all the proposal titles and sentences. Send to Production immediately

for typing.

Sing an appropriate song. _____________#_____.

PROPOSAL 22. Call for reports from each of the groups.

REPORTING Reporters should read their proposal titles

(5 min.) and sentences.

At the conclusion of all reports affirm the wisdom and work of the groups.

CORPORATE 23. Corporately reflect on the work of the

REFLECTION guild:

(5 min.)

"WHAT DID YOU NOTICE ABOUT THESE PROPOSALS?"

"WHAT CAUGHT YOUR ATTENTION?"

"WHAT DO YOU SEE AS THE IMPLICATIONS FOR THE

NATION OF IMPLEMENTING THESE PROPOSALS FOR

THE GLOBE?"

"WHAT WOULD BE THE PRACTICAL EFFECT OF DOING

THE LOCAL IMPLEMENTATIONS IN YOUR COMMUNITY?"

Briefly reflect an the dynamics of corporateness operating today:

"WHAT DID YOU LEARN TODAY ABOUT THE PROCESS

OF DECISION­MAKING?"

THE 4. Assign a reporter for the closing, plenary

CONCLUSION and announce the move immediately to the plenary.

(2 min.)

Close by singing ____________________#____

WORKSHOP

THE NEW STORY

WORKSHOP: THE NEW STORY

The Prelude

THE 1. Gather as a guild. Spin on the recovery of celebration

OPENING in the life of a people ­ i.e., the Bicentennial celebration

(5 min.) as a time when Americans can recall the time of the creation

of the country and participate in creating the vision of the

next 200 years. Celebration takes on real significance when

it is in the midst of a people's sense of the challenges con

Sing __________________ on page ______.

STORY 2. Begin by reading a story. (excerpt from John Brown's

READING Body.) Briefly reflect on the reading:

(5 MIN.)

"WHAT WERE THESE PEOLE (THE ONES FROM WHOM THIS STORY

HAD ITS SOURCE) SAYING ABOUT THEIR ORIGIN?" (PAST)

"WHAT WERE THEY SAING ABOUT THEIR DESTINY?" (FUTURE)

WHAT WAS BEING SAID ABOUT THEIR STUGGLE OVER-AGAINST

THEIR PAST AND FUTURE?" (PRESENT)

WORKSHOP 3. Review the place of this workshop in the day's time design.

CONTEXT

(2 min.)

BRIEF 4. Spin about the latent creativity in all of us. EACH OF

SPIN US, I SUSPECT, HAS AT LEAST THREE GREAT ARTISTS LURKING IN-

(3 min.) SIDE US. EACH OF US IS A STORYTELLER, EACH A MUSICIAN, AND EACH AN ARTIST. (GROUND IN THINGS LIKE WHISTLING OR HUMMING, DOODLING, TRYING TO WRITE A LOVE LETER AND SO FORTH. SOMETIMES THAT GETS STIFLED BY TEACHERS, AND OTHERS, BUT IT'S THERE. WE'RE GOING TO EXPERIMENT WITH RECOVERING THAT, BUT AS A PEOPLE RATHER THAN AS INDIVIDUALS. OUR TASK, IN THIS AFTERNOON'S SESSION, IS TO WRITE A STORY AND A SONG AND CREATE A SYMBOL AND SLOGAN WHICH HOLD IN GREAT ARTISTIC FORM OUR TIMES, OUR HERITAGE AND OUR FUTURE. WE'LL CREATE A GREAT STORY OF A GREAT PEOPLE, A GREAT SONG OF A GREAT PEOPLE, A GREAT SYMBOL AND SLOGAN OF A GREAT PEOPLE.

ANY QUESTIONS? LET'S SING ONE MORE SONG BEFORE WE START.

LETS SING ______ ON PAGE ______.

14 MINUTES

WORKSHOP: THE NEW STORY

Movement I: Telling the New Story

CREATE 5. Ask the guild to turn to page 39 in their

STORY workbook and individually list 2­3 images that hold our

ELEMENTS wisdom about America in each of the three categories,

(20 min.) past, present, future.

Past ­ WHAT ARE SOME IMAGES THAT SPEAK OF WHERE WE ARE AS A NATION? COME FROM?

Present ­WHAT IMAGES HOLD THE CHALLENGES CONFRONTING US TODAY?

Future ­ WHAT PRASES POINT US TOWARD THE FUTURE? WHAT PHRASES SPEAK OF WHERE WE, AS A NATION, ARE GOING?

­Ask three scribes (again to save time) to come to the front and record individually listed items by calling for past, present, and future images consecutively. Get as many images (10 or more) in each category as possible.

­Ask for any additional images that need to be included

­Ask for someone to suggest a master image which roughly holds the data in each category. Record on a wall chart and workbook page 39 .

6. Now count off by threes and by spinning a hrief context outlining the task, prepare to send off 1/3 of the guild, the ones, to write the story. Context this story­writing group as having the task of creating a three paragraph story which powerfully and imaginally retells the journey of this nation and its people in terms of their heginnings, present challenges and destiny.

Send out the story group, telling them they will have 50 minutes to complete their work.

20 minutes

WORKSHOP: THE NEW STORY

Movement I: Telling the New Story

WRITE DRAFT PARAGRAPH (15 min.)

6. cont. Gather in new space and rearticulate the task.

Divide into 3 6ub­groups. One sub­group will write a paragraph which pulls together and holds the guild's

wisdom and images on the past. Another will do the same for the present and the third sub­group will write a paragraph on the future.

Begin by having each person in the sub­group write a holding sentence on their category.

­Read these aloud, and record on a wall chart in your sub­group. Then corporately reflect on them hy asking: What struck you? What phrases did you hear that seemed Just right? Which sentence seemed best to hold the wisdom of the guild's brainstorm? Decide on or create together one sentence as your central or topic sentence for the paragraph.

­Feed in parts of other sentences and corporate insights, working together to create a paragraph which powerfully holds the past/present/future of this nation.

CRITIQUE DRAFT PARAGRAPH (20 Min.)

7. Gather as a total group to revise draft paragraphs.

­Read the three rough paragraphs.

­Reflect and take notes.

­What is needed so that one story is created? Suggest ways of unifying the whole story.

­Decide on a title for the whole story.

POLISH NEW STORY (15 min.)

8. Return to the subgroups

­Note reflections and suggestions.

-Corporately refine each sentence.

­Read aloud for flow and meaning. Write and polish form.

­Copy onto wall chart for presentation to the guild.

Assign someone to read the story to the guild or have a choral reading.

50 minutes


WORKSHOP: THE NEW STORY

Movement II: Singing the New Song

WRITE DRAFT VERSES (10 min.)

10. Outline the procedure:

­Divide into groups ­ one for each verse and one for each chorus.

­Each member of the group writes a verse to the selected tune or its part, using the allocated qualities. Attention should be given to rhyming and the correspondence of syllables to notes and musical phrases to lines of verse.

­As a sub­group, read and sing individual verses. Reflect:

WHAT PHRASES CAUGHT HOLD OF YOU? WHICH ONE SEEMS TO BEST HOLD OUR WISDOM AND EMBODY THE SPIRIT OF THE AMF RICAN PEOPLE? Select one verse to use as a basis.

­Using images, rhymes and phrases from the individual drafts, create a group verse.

CRITIQUE DRAFT VERSES (8 min

11. Begin now the critique of the draft verses.

­Gather as a group and sing the verses in order.

­Suggest and note refinements for the individual verses.

­Make suggestions for improving the whole by checking for flow from verse to verse and unity of the entire song.

­Give the song a name.

POLISH NEW SONG (7 min.)

12. This is the time for doing the final production of the song.

­Return to sub­groups.

­Refine each line and phrase of the verse.

­Sing the verse, checking for rhyme and meaning.

­Copy the verse on a wall chart, making sure to note the

title and tune of the song.

As a group assign someone to introduce the song to the guild.

Send someone to production with a clearly written copy of the song, its title and tune. Send out the song group, tellIng them they wil1 have 2S minutes to complete their task.

25 minutes

WORKSHOP THE NEW STORY

Movement III: Designing the New Symbol

CREATE SYMBOL ELEMENTS (10 min.)

13. With the remaining 1/3 of the guild, begin the creation of a slogan and symbol.

­Rather quickly create a slogan which will capture the spirit of the times and motivate this community and nation toward building the future. Have people individually write a slogan in their workbooks on page 40. Then have individuals call their slogans out. Write them on a wall chart. Corporately star individual choices of the best slogan from the group's list. Try them out as a group Imagine various situations in which the slogan might be used and places where it might be written. Decide on the one slogan.

­Begin the creation of a symbol. Spin on the task as the creation of a fine art form of the times in which we live ­ one which will, perhaps, be a permanent symbol of the American people and this community. Brainstorm possible components of the symbol, as implied by the slogan. Ask:

WHAT WOULD BE THE ELEMENTS OF A SYMBOL WE WOULD CREATE?

­Brainstorm other symbol components implied in the themes decided for the song and the images used in the story.

­As a group select and mark the key components.

DRAW INITIAL SKETCH (5 min.)

14. Begin the preliminary drawings of the symbol.

­Have each individual sketch several symbols.

­Suggest that they check each one for inclusiveness, clarity and power.

­Ask them to select their best.

­Have each draw his best symbol on a wall chart for the group to see.


WORKSHOP: THE NEW STORY

Movement III: Designing the New Symbol

CRITIQUE 15. Begin to evaluate and reflect upon the sketches.

INITIAL

SKETCH ­As a group, reflect on the individual symbols:

(5 min.) WHICH ONES STRIKE YOU?

Have several tell a story about a symbol other than their own.

WHAT DOES IT SYMBOLIZE FOR YOU?

IF YOU SAW SOMEONE WEARING THIS ON HIS LAPEL, WHAT WOULD IT TELL YOU ABOUT THAT PERSON?

WHICH ONE SEEMS TO BE MOST IN THE DIRECTION OF WHAT IS NEEDED?

­Select one of the individual symbols to be the basis for polishing.

­Make suggestions for feeding in insights and images from the other symbols.

­Revise the slogan at this point, if that seems necessary upon reflection and work on the symbol.

REDRAW 16. Move now to the final drawing of the symbol.

NEW

SYMBOL ­Decide the color scheme for the symbol.

(5 min.)

­Redraw the symbol on a wall chart. Assign someone to

present the symbol and slogan to the guild.

­Ask several people to spin the story this symbol tells.

­Have the group name practical uses for the symbol

25 minutes

WORKSHOP: THE NEW STORY

Movement IV: Producing the New Story

NAME NEW DRAMA (5 min.)

17. This movement needs to be orchestrated so as to allow The group's creativity to emerge and focus into A fine dramatic presentation for the final Town Meeting Plenary. The key is not to be found in mechanically following procedures, but in allowing the guild to focus its time and effort on whatever steps seem most helping.

­Regather as a total guild and sing on page ________.

Call for presentation of:

1) Symbol and slogan

2) Song

3) Story

­Reflect briefly on each at the completion of the third report.

WHAT WAS THE STRIKING OR SURPRISING GIFT OF EACH?

WHAT IMAGE? SYMBOLS SPOKE MOST POWERFULLY?

WHAT STORY WOULD YOU TELL THAT HOLDS ALL THESE TOGETHER?

­Individually write an imaginative title for the drama.

­Share the individual work and decide on the final title for the drama.

DESIGN NEW DRAMA (5 min.)

18. As a guild design the new drama.

­Arrange the components of the symbol and slogan and the song and story into acts.

­Share individual arrangements, discuss and decide the final acts, name each act.

­Invent an imaginal way of getting on and off stage.

­Build an imaginal chart of the drama.

STAGE NEW DRAMA (5 min.)

19. Stage the new drama

­Assign all the guild participants to roles in the drama.

­resign the practical movement of people around the staging area.

­Create any appropriate costumes.

­Build any necessary props or scenery.

REHEARSE NEW

20. Rehearse the drama.

-Perform the entire drama

-Rehearse again any parts or the total drama as necessary.

-Make any final change.

-Do a dress rehearsal.

20 minutes

WORKSHOP: THE NEW STORY

The Postlude

THE 21. Move now into reflection by singing,

OPENING on #

(1 min.)

DRAMA 22. Check to see that everyone is ready for the presentation.

CHECK

(1 min.)

CORPORATE 23. Reflect on the work of the session.

REFLECTION HOW WOULD YOU TALK ABOUT WHAT WR HAVE DONE?

(2 min.) WHAT IS THE FUNCTION IN SOCIETY OF THIS SORT OF F.XF.RCISE?

WHAT IS THE SIGNIFICANCE OF IT? (WHY DO IT AT ALL?)

WHAT HAS HAPPENED TO THIS GROUP AS A RESULT OF DOING

THIS EXERCISE?

THE 24. Sing on #

CONCLUSION Dismiss to the closing plenary, making sure everyone is ready

(1 min.) for the drama. Check to be sure the story, song, symbol and

slogan have all been turned into production.




5 minutes