Atlas›Domain X · Body, movement, breath & physical›Guide 113
Guide X-113

Body Weather (Tanaka)

Min Tanaka1977Tokyo
A 26 · L 44 · M 3014 interventions in the Trinity explorer1 described for recognition only
Client cardCompare
[source: …] where a claim comes from[uncertain] not confirmed in a primary source[synthesis] the writer's reconstruction

1. Introduction

Version followed: Body Weather as taught in the lineage of Min Tanaka and the Maijuku company, chiefly as Body Weather Laboratory Amsterdam (Katerina Bakatsaki, Frank van de Ven) teaches it in Joa Hug's practice-based research, with the M/B–Manipulations–Laboratory/groundwork format that De Quincey Co (Sydney), Gretel Taylor and Frank van de Ven (Melbourne) and Zodiak (Helsinki) publish in their class listings. [source: Hug, Research Catalogue, Chapters One and Two; De Quincey Co and Body Weather Naarm listings; Zodiak workshop page]

What it is. Body Weather (Japanese shintai kishō) is a training and performance practice, not a therapy. It grew from the experimental dance of Min Tanaka (born Tokyo, 1945). The term emerged in 1977. The first Body Weather workshop ran in Tokyo in June 1978, and some participants then formed the Body Weather Laboratory. The M/B training was developed in 1981, the year Tanaka founded the Maijuku company. In 1985 the group moved to Hakushu and founded the Body Weather Farm, which combined organic farming, training and performance for over 20 years. Hug reports that Tanaka dissolved the Farm and stopped all Body Weather activities in 2011. Former Maijuku members and their students carry on the practice internationally: Body Weather Laboratory Amsterdam (founded in the 1990s; Hug gives 1996, the Zodiak page says co-founded 1993 [uncertain: dates differ]); De Quincey Co in Australia (Tess de Quincey, who brought Body Weather to Australia in 1989); and teachers such as Victoria Hunt, Linda Luke, Gretel Taylor, Peter Snow and Zack Fuller. [source: Hug Ch. One; Wikipedia, Min Tanaka; Body Weather Naarm listing; RealTime 1999; Fuller 2017 record]

Core idea of change (as the practice describes it). In Body Weather the body is not a fixed, separate thing. Like weather, it is constantly changing and shaped by its surroundings. Wikipedia's summary calls it "omni-centered, anti-hierarchic, and acutely sensitive to external stimuli." Training re-examines habitual bodily and mental patterns so that participants notice shifts in how they perceive their own and others' bodies. Tanaka's guiding idea for site work is: "We do not dance in a place, we dance the place." These are artistic and philosophical claims attributed to the practice. The sources cited make no therapeutic claims, and no independent evidence on clinical outcomes was found. [source: Zodiak; Wikipedia; Hug Ch. One] [uncertain: evidence status — no reviews found]

Scope for the psychotherapist. Body Weather is taught by dancers trained in the Tanaka/Maijuku lineage. The sources cited show no formal teacher-training route, accreditation body, credential or trademark [uncertain: not verified]. Teaching authority rests on lineage and years of practice, so check a teacher's training history directly. It is not dance/movement therapy, which is a registered profession (ADTA in the US, ADMP UK); see Domain VIII. A psychotherapist should not run Body Weather classes or Manipulations as part of therapy unless they have trained in the practice and their own code allows touch. This guide is written for the psychotherapist working alongside a Body Weather teacher: deciding whether a class suits a client, preparing them, and integrating the experience. [synthesis]

2. Framework

Formats as published. [source: Hug Ch. One; Zodiak; De Quincey Co listing; Body Weather Naarm listing; Wikipedia]

  • Weekly classes: open classes of about two hours. De Quincey Co (Sydney) blocks were six Monday evenings; Body Weather Naarm (Melbourne) ran five weekly sessions. Both welcome newcomers, and no prerequisites are listed.
  • Ongoing training (Amsterdam "Thursday Training"): three parts of about 1.5 hours each: M/B, then Manipulations, then Laboratory. There is a short break after M/B and a longer one before the Laboratory. It was open to professionals and amateurs who had first completed an introductory workshop.
  • Workshops and intensives: for example, five days at Zodiak with daily M/B, Manipulations and Laboratory. Manipulations are taught over a one-week intensive, introduced sequence by sequence.
  • Residential/farm training (historical): Body Weather Farm summer sessions of four to five weeks, in Japanese and English, built around agricultural work. These ran from 1986 to 2010.
  • Site/landscape workshops: for example, De Quincey Co at Hamilton Downs near Alice Springs (1999).

Phases within a session (the classic arc). [source: Hug Ch. One; Zodiak]

  1. M/B (mind/body, muscles/bones). Goal: heat up and tire the body, building strength, endurance, coordination, flexibility and grounding. This readies the body for quieter work.
  2. Manipulations. Goal: stretching, breathing, alignment and relaxation through structured partner touch.
  3. Laboratory / groundwork. Goal: open exploration of perception and movement, including segmentation, speed and time, sensory and spatial awareness, and image-to-movement work. Observation and feedback run throughout. Shorter classes may include only some of these. De Quincey Co says a class "can include any of the following." [source: De Quincey Co listing]

Progression and criteria. Published criteria for moving on are informal. In Amsterdam, newcomers first take an introductory workshop. Manipulation sequences are taught in stages (One–Two, then Three–Four, then Five–Seven), with novices paired with experienced partners where possible. Hug describes the long learning period as the main protection: it prepares practitioners for boundary experiences. Teachers have advised some newcomers not to join, or to stop, when training overburdened them. There is no set session count; it is an open-ended training. [source: Hug Ch. One and Two]

Psychotherapy alongside it [synthesis]: (a) assessment and screening before a first class; (b) preparation, including touch consent and a stop plan; (c) attending classes while therapy continues, with brief check-ins; (d) integration sessions after intensives; (e) review: continue, adapt or stop.

3. Guiding principles

The practice's own principles: [source as tagged]

  • The body is changing weather, not a fixed object. Practical meaning: help clients treat sensations and moods in class as passing states to observe, not verdicts about themselves. [source: Zodiak; Wikipedia]
  • Omni-centred, non-hierarchical body. Practical meaning: any part of the body can lead or attend. Clients with a fixed body image may find this freeing or destabilising, so ask which. [source: Wikipedia; Hug Ch. One; Tictac workshop page]
  • The environment as teacher ("dance the place"). Practical meaning: site and farm work treat surroundings as active partners, which raises exposure, weather and terrain risks. [source: Hug Ch. One; Wikipedia]
  • Giving and receiving; "being there for the other". Practical meaning: Manipulations depend on trust, and the giver works gently and does not force. [source: Hug Ch. One and Two]
  • Not pushing past limits without care. Hug writes that limits should be approached "with care" before being pushed, and that the practice "may not be suitable for everyone." Practical meaning: it is legitimate for a client to sit out, stop, or not attend. [source: Hug Ch. Two]
  • Observation and feedback make experience concrete. Practical meaning: integration can build on the noticing the class already trains. [source: Zodiak]
  • Open to non-dancers, but demanding. Practical meaning: no prior dance is needed, but physical readiness matters. One listing says participants "should be prepared to work hard physically." [source: Calgary Arts Development listing; De Quincey Co]

The therapist's principles [synthesis]:

  • Consent before and during all touch, with the right to opt out at any time. This includes opting out of all partner work while still attending. Touch is never sexual or genital, from either partner. Practical meaning: agree a stop signal before class, because Manipulations are done in silence (see 4.2). [synthesis; USABP Code VIII]
  • Separate roles. Do not attend the same classes as your client, and do not partner with them. Discuss any dual relationship in supervision. [synthesis; BACP/UKCP boundary provisions]
  • Stay within competence. Refer for medical clearance and leave teaching to Body Weather teachers. [synthesis]
  • The class is not therapy. Integration happens in the therapy room. [synthesis]

4. Intervention inventory

The inventory has two parts. Part A covers the components of Body Weather training as its teachers publish them. The psychotherapist does not deliver these; the entries describe what the client will meet so you can prepare them and watch for effects. Part B covers what the psychotherapist does. Published class content is described qualitatively. No exercise, intensity, duration or breathing timing here is an instruction.

Part A — Components of Body Weather training (delivered by Body Weather teachers)

4.1 M/B (mind/body, muscles/bones)

  • Purpose and when used: A vigorous, rhythmic group workout that opens a session. It develops strength, endurance, flexibility, coordination, grounding and kinaesthetic sensitivity, and "heats up and exhausts" the body before the quieter work. [source: Hug Ch. One; Zodiak; De Quincey Co listing]
  • What happens (as described): Participants travel across the studio in parallel lines, repeating movement patterns led by the teacher. They observe changes in their own alignment and muscle tension while keeping the whole group's movement in view. Hug notes it is meant to take bodies to their physical limits and, depending on how it is led, can resemble aerobics. [source: Hug Ch. One] The detailed movement vocabulary and counts were not found in the sources cited [uncertain: not verified].
  • Example therapist language (illustrative): "The opening part is physically hard on purpose. You're allowed to work at your own level, slow down or step out, and that still counts as taking part."
  • Watch for: Exertional symptoms such as chest pain, faintness, unusual breathlessness or palpitations; these mean stop and seek medical advice [synthesis]. Joint or back pain afterwards. Exhaustion used to punish or control the body, especially with eating-disorder or compulsive-exercise histories [synthesis]. Shame about not keeping up with the group [synthesis]. Working: the client describes being tired but more present, and pacing themselves rather than "pushing through." [synthesis]

4.2 Manipulations (structured partner work)

  • Purpose and when used: Partner work for stretching, breathing, alignment and relaxation, usually after M/B. [source: Zodiak; De Quincey Co listing; Hug Ch. One]
  • What happens (as described): Hug describes about 90 touch-based operations in numbered sequences One to Seven. Partners take turns giving and receiving, swapping roles at set points. The work draws on yoga, acupuncture and shiatsu meridian systems, physical therapy and sports medicine; the meridian concepts belong to those traditions and are not established anatomy. The receiver relaxes, makes themselves available to be moved, and breathes out with an audible hiss. The giver times each touch to the receiver's exhalation, directs weight through the hands, adapts to each body, and works "gently and carefully", never forcing. Some operations move or isolate body parts, such as the head. Teachers demonstrate each touch on an experienced practitioner and explain it, and novices are paired with experienced partners where possible. Talking is suspended during the practice. Partners keep asking themselves questions such as "Is this painful?" and "Are we at the limit?" but communicate without words. Speech is allowed in cases of immediate danger, such as an existing injury or real risk of injury. [source: Hug Ch. One and Two]
  • Touch consent (therapist's framing): The silence norm can make it harder to withdraw consent during touch. Before the client's first Manipulations class, help them (a) tell the teacher about injuries, surgery, pain conditions, pregnancy, and areas they do not want touched; (b) ask the teacher how a receiver signals "stop" or "less" without words, and agree one if none is taught; (c) know they may speak to stop at any time, and may sit out, observe, or take only the giving role. Touch is never sexual or genital, from either partner. Any touch of that kind, or touch continued after a stop signal, is a boundary violation to report to the teacher or organiser, and to police if it is an assault. [synthesis; USABP Code VIII on informed consent, the right to refuse or end touch at any time, and that genital or sexual touch is always inappropriate]
  • Example therapist language (illustrative): "In this part people work in silence, so let's plan how you'd say no without words, and remember you can always break the silence to stop. Being able to stop matters more than any rule about quiet."
  • Watch for: Freezing, going limp, or "going along" with touch the client did not want, which may signal fawn or freeze responses in people with trauma histories [synthesis]. Dissociation during passive, silent receiving [synthesis]. Strong emotion or memories arising afterwards [synthesis]. Pain during stretches, especially with hypermobility, osteoporosis, recent injury or surgery, or anticoagulation (bruising) [synthesis]. Neck discomfort from head work [synthesis]. Working: the client can describe both giving and receiving, reports being able to stop or adjust, and notices relaxation without numbing. [synthesis]

4.3 Breathing Through and Imaginary Breathing Through (duo, then solo)

  • Purpose and when used: A quieter breath-and-attention practice reported from the Amsterdam training. [source: Hug Ch. Two]
  • What happens (as described): The lying partner breathes out with a hiss. The giver rests a hand on the torso without adding weight, and the lying partner sends the breath "through" the place of touch. The touch moves to new places and later uses both hands. The lying partner then continues alone, imagining the touch (Imaginary Breathing Through). Afterwards the partners talk about what they noticed. There is no breath-holding element in the description. [source: Hug Ch. Two]
  • Example therapist language (illustrative): "If focusing on breathing makes you dizzy or anxious, let your breath go back to normal. You don't have to make it bigger."
  • Watch for: Light-headedness, tingling or panic, which may mean over-breathing. Return to ordinary breathing and stop if these continue [synthesis]. Hand-on-torso contact as a trauma trigger [synthesis]. Working: the client reports calm, interested attention to sensation. [synthesis]

4.4 Tension check and "stand-by" awareness (inside Manipulations)

  • Purpose and when used: Receivers keep checking whether their muscle tension has dropped to zero, where they are holding, and which areas are "in stand-by". When attention gets stuck on one sensation, such as pain, a step back to reflect widens it to the whole field of sensation. [source: Hug Ch. Two]
  • Steps (therapist's part) [synthesis]: before the client attends, explain that the tension check happens inside partner Manipulations; agree that pain is a signal to stop, not something to widen attention away from; afterwards, ask what the client noticed about holding and release.
  • Example therapist language (illustrative): "When one sensation takes over, try widening your attention: what else is here at the same time?"
  • Watch for: Pain being reframed as something to "widen away from" rather than a signal to stop. Pain that is sharp, rising or joint-related means stop, whatever the practice ideal [synthesis]. Working: the client can tell discomfort from pain. [synthesis]

4.5 Laboratory / groundwork (exploratory and improvisational work)

  • Purpose and when used: The third part of a session. It is open-ended work on movement and perception in relation to oneself, others, time and speed, space, images and touch. De Quincey Co describes groundwork as exercises for sensory focus, sensitivity, awareness, imagination and bodily response. Body Weather Naarm describes imagery-led individual and group improvisation. A 1999 account says groundwork gives "insight into the different speeds of the body and the function of time." [source: Hug Ch. One; Zodiak; De Quincey Co listing; Body Weather Naarm listing; RealTime 1999]
  • What happens (as described): Named elements include:
    • segmentation: feeling body parts separately, such as a palm or the head, while knowing they stay connected;
    • leading attention with a single body part, such as facing the horizon with the spine;
    • "installing many switches on the whole body": some parts work while others rest;
    • varying speeds and time;
    • sensory and spatial mapping;
    • turning images into movement. [source: Hug Ch. One; Zodiak; RealTime 1999] Further specific groundwork exercises were not found in the sources cited [uncertain: not verified].
  • Example therapist language (illustrative): "Notice which parts of you felt easy to 'switch on' separately and which felt numb or off-limits. We can be curious about both."
  • Watch for: Body-image distress when attention goes to disliked areas; depersonalisation when the body is broken into parts; and, in group improvisation, closeness or contact the client did not choose. Working: the client reports more differentiated sensation and can move in and out of focused attention. [synthesis]

4.6 Image work (omni-central imaging, total body images, image flows)

  • Purpose and when used: Images were a key choreographic method for Maijuku. Workshops pass on that legacy and ask participants to develop their own images. [source: Tictac workshop page; Archa Theatre Prague 2019 workshop page]
  • What happens (as described): The teacher offers images for the whole body or many centres at once, and participants let the image shape their movement and sensation. The image content itself is not given in the sources cited [uncertain: not verified].
  • Example therapist language (illustrative): "Images can stir strong feelings. If one becomes too vivid or starts to feel real rather than imagined, it's fine to open your eyes, ground yourself and step out."
  • Watch for: Images losing their "as if" quality in clients with psychosis risk, mania, or dissociative disorders; intrusive trauma imagery; and lingering altered states after class. Working: the client can enter and leave an image at will. [synthesis]

4.7 Observation and feedback

  • Purpose and when used: Used throughout the training to make experience more concrete and sharpen perception. Partners may share observations after a duo practice. [source: Zodiak; Hug Ch. Two]
  • Steps (therapist's part) [synthesis]: prepare the client for partners sharing observations after duo work; agree that they may decline to give or hear feedback; in session, separate description from judgement and explore how hearing it felt.
  • Example therapist language (illustrative): "What did you notice, and what did others notice in you? How was that to hear?"
  • Watch for: Feedback about the body heard as judgement, especially with body-image or shame issues. Working: the client can take in observations as information. [synthesis]

4.8 Site / landscape work ("dancing the place")

  • Purpose and when used: Movement and perception outdoors or in non-theatre sites. Examples include early workshops in France, De Quincey Co at Hamilton Downs in central Australia and earlier at Lake Mungo, and the SHTINT project (2005–2009) in markets, streets, care homes, shelters and private apartments. [source: Hug Ch. One; RealTime 1999; Ausdance/Brolga summary]
  • Steps (therapist's part) [synthesis]: before outdoor or site work, review heat, cold, terrain, water, distance from medical care and public visibility; check that the organiser has a safety plan; agree that the client can step out at any time.
  • Example therapist language (illustrative): "Before an outdoor workshop, let's think through heat, cold, terrain and water, and how you'll look after yourself if the group pushes on."
  • Watch for: Heat illness, dehydration, sunburn, cold exposure, falls on uneven ground, and remote sites far from medical care. Public performance can bring visibility and shame. Working: the client stays physically safe and comes back with a richer sense of place. [synthesis]

4.9 Farm and everyday-task training (historical Hakushu model)

  • Purpose and when used: At the Body Weather Farm, students worked on everyday tasks, mainly agricultural. Tanaka taught that doing these tasks in their environment was itself the teacher. [source: Wikipedia, Min Tanaka; Hug Ch. One] Residential farm training at Hakushu ended with the Farm's dissolution in 2011 [source: Hug Ch. One]. Some programmes still run long residential trainings, and one asks applicants about training history, health and intentions [source: inkBoat winter training page].
  • Steps (therapist's part) [synthesis]: before a residential intensive, review sleep, workload, health conditions and support; plan contact and an exit route; afterwards, debrief for fatigue, mood change and group pressure.
  • Example therapist language (illustrative): "A residential intensive means long days, shared living and few breaks from the group. What support will you have, and how will you leave if you need to?"
  • Watch for: Fatigue, sleep loss and group pressure in residential settings, which can heighten vulnerability to mood episodes [synthesis]. Hierarchy and devotion to a charismatic teacher [synthesis]. Working: the client keeps their own judgement and limits. [synthesis]

Part B — What the psychotherapist does

4.10 Screening and medical clearance before a first class [synthesis]

  • Purpose: Decide whether this demanding, touch-based practice is suitable now. No Body Weather source gives a screening protocol. Teachers advise some newcomers not to join, and one programme asks about health on its application form. [source: Hug Ch. Two; inkBoat]
  • Steps:
    1. Ask about cardiovascular or respiratory disease; musculoskeletal injury, hypermobility or osteoporosis; recent surgery; pregnancy; epilepsy; anticoagulant use; and heat intolerance. Advise a GP or physician check where any apply, before vigorous exercise and before others stretch or move the client's body.
    2. Ask about trauma history, especially touch-related or sexual trauma; dissociation; eating disorders or compulsive exercise; psychosis or bipolar history and current stability; and current suicidality.
    3. Agree whether a first step should be a class without Manipulations, observing only, or not now.
  • Example therapist language (illustrative): "This is a serious physical training with partner touch. Before you go, I'd like us to check your body is ready and think about what touch might stir up."
  • Watch for: Minimising symptoms in order to take part. Working: the client goes in with a clear medical go-ahead and an exit plan.

4.11 Touch-consent preparation [synthesis]

  • Purpose: Prepare the client to give, keep and withdraw consent in silent partner work.
  • Steps:
    1. Map areas and kinds of touch that are acceptable, conditional or off-limits.
    2. Rehearse telling the teacher before class.
    3. Rehearse a non-verbal stop signal and saying "stop" aloud.
    4. Confirm that they may opt out of all touch and still attend, and may choose to give only.
    5. Make clear that sexual or genital touch is never part of the practice, and plan whom to tell if it happens.
  • Example therapist language (illustrative): "Your consent counts at the start and every moment after. You can change your mind halfway through a sequence."
  • Watch for: The client deciding in advance never to stop "so as not to spoil it for the partner". Treat this as a theme to explore. Working: the client reports having used, or felt able to use, the stop plan.

4.12 Choosing a teacher and setting [synthesis]

  • Purpose: Match the client to a suitable class. Formats range from two-hour open classes to week-long intensives and residential trainings. [source: De Quincey Co; Body Weather Naarm; Zodiak; inkBoat]
  • Steps:
    1. Ask the teacher about their lineage and years of training, for example with Tanaka/Maijuku or Body Weather Amsterdam.
    2. Ask whether Manipulations are included, how newcomers are paired, how stop signals work, and how injuries and health conditions are handled.
    3. Prefer an open class before an intensive.
    4. Check practical points: venue, refund terms and travel to outdoor sites.
  • Example therapist language (illustrative): "It's reasonable to email the teacher first. A good teacher will welcome questions about touch and injuries."
  • Watch for: Teachers who discourage questions, dismiss pain, or insist on touch. Working: the client has clear answers before booking.

4.13 Integration sessions [synthesis]

  • Purpose: Turn class experiences into therapeutic material without treating the class as therapy.
  • Steps:
    1. Track the client's body state now: arousal, pain, fatigue.
    2. Name a moment from M/B, Manipulations or the Laboratory.
    3. Explore what it meant: limits, trust, being moved, being seen.
    4. Link it to treatment goals.
    5. Decide on next steps: continue, change format, or pause.
  • Example therapist language (illustrative): "When your partner moved your head and you let go, what was that like? Is there anywhere else in your life you'd like to let go like that, or not?"
  • Watch for: Flooding when recalling class, and idealising the teacher or group. Working: the client links bodily experience with meaning and agency.

4.14 Monitoring and passing on harms [synthesis]

  • Purpose: Notice and respond to injury, psychological destabilisation, or boundary violations.
  • Steps:
    1. Ask routinely after each class or intensive about pain, injuries, sleep, mood and unwanted touch.
    2. Refer physical injuries to a GP or physiotherapist.
    3. Arrange psychiatric review for emerging psychosis or mania.
    4. For misconduct, support the client to report to the teacher or organiser, the venue, and police where a crime may have occurred.
    5. Record, and consult your supervisor.
  • Example therapist language (illustrative): "Was there anything in class, including any touch, that didn't sit right? You won't be judged for staying or for leaving."
  • Watch for: Silence or reluctance after a previously enthusiastic report. Working: problems surface early and are acted on.

5. Handling problems

Body Weather sources say little about problems. Hug states that limits should be approached with care, that the practice may not suit everyone, and that teachers have advised some newcomers to stay away or stop when training overburdened them [source: Hug Ch. Two]. Everything else below is [synthesis].

  • Overwhelm or dissociation during or after class: Ground the client in the session through orienting to the room and contact with feet and seat. Reduce exposure: no Manipulations, observe only, or open classes rather than intensives. Return to stabilisation work. Pause attendance if symptoms persist. [synthesis]
  • Unwanted or sexual touch: Believe and support the client. Touch that is sexual or genital, or that continues after a stop signal, is never part of practice. Help them decide whether to report to the teacher, organiser, venue or police. Do not pressure them to return. Record it and consult your supervisor. [synthesis; USABP Code VIII]
  • Cannot stop or say no in silent partner work (fawn/freeze): Treat this as core therapeutic material. Rehearse stop signals in session, possibly with imagined scenarios rather than touch. Choose giving-only or no-partner participation until the client can stop reliably. [synthesis]
  • Injury or pain: Stop the triggering element and refer to a GP or physiotherapist. Encourage the client to tell the teacher about the injury, since Hug notes speech is allowed when injury is at stake. Explore any belief that pain proves commitment. [source: Hug Ch. Two for the speech exception; otherwise synthesis]
  • Over-exertion, compulsive exercise or eating-disorder activation: Watch for M/B exhaustion used to compensate for eating, or a felt need to "earn" rest. Involve the eating-disorder team and consider pausing. [synthesis]
  • Psychosis or mania risk: Image work, altered speeds, sleep loss and intense group settings can destabilise vulnerable clients. Prefer stability first, short classes rather than residential intensives, and early-warning plans. [synthesis]
  • Idealising a teacher, group pressure, or "killing the body ego" language: Hug reports the training "has been likened to the killing of your body ego" and rejects that framing [source: Hug Ch. Two]. Help clients keep their own judgement, notice hierarchy, and keep the freedom to leave. [synthesis]
  • Non-attendance or loss of interest: Body Weather is an artistic training, not a treatment. Stopping is legitimate. Explore whether avoidance relates to touch, shame or fatigue, and offer alternatives such as trauma-informed movement or referral to a registered dance/movement therapist. [synthesis]
  • Rupture with the therapist (for example, the client feels you are "against" the practice): Acknowledge what the practice gives them. Restate that your concern is safety and choice, and repair collaboratively. [synthesis]
  • Dual relationships: If you practise Body Weather yourself, do not attend the client's classes, partner with them, or teach them. Discuss any overlap in supervision. [synthesis; BACP/UKCP boundary provisions]
  • Touch within your own therapy: Most talk-therapy codes contain no explicit touch provision but prohibit sexual contact and require working within competence. Body-psychotherapy codes (USABP, EABP) require assessment, informed consent and the right to refuse touch. Do not bring Manipulations into psychotherapy unless your own code allows touch and you hold the relevant training. [source: USABP Code of Ethics VIII; APA Ethics Code 10.05; synthesis]

Sources

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