When the arts found us again, we were in the midst of certifying as a FWB practitioner (Focusing with the Whole Body). A dream depicted that we were taking the wrong direction train. The call of hour was immediate change of direction

We enrolled in the 2017 FOAT® training program with Dr. Laury Rappaport (FOAT®: Focusing Oriented Expressive Arts), took additional trainings in trauma-informed Expressive Arts and Person-centred Creative Arts, and suscribed to practical art couses. This training bundle turned out to set us on the right track

In 2011 we had been visiting the Saintbury Center (art gallery and museum) at the campus of University of East Anglia UEA/UK during the UEA Focusing and Philosophy Conference

The center's art shop layed out a picture depicting a full circle next to four circle parts placed around like puzzle pieces waiting to be put together. Finding this picture we knew that our efforts to bring our professional Focusing journey to completion were still in a puzzle state

A PhD at UEA on models of intermodal experiential learning looked the perfect match to make our contribution

We had witnessed how intermodal teaching of Focusing was fading away in our Focusing community. Experimenting with intermodal didactics had been natural to our Focusing teachers of the pioneer generation. A new generation of Focusing teachers wanted to teach in more standardized ways, and intermodal experimenting was left behind

We were unwilling to follow this trend as the Felt Sense is intermodal by nature (Eugene Gendlin) and the body a living laboratory for finding new truths

We prepared to study with Judy Moore and Campbell Purton as UEA supervisors. Life turned into other direction than expected, and a PhD at UEA came out of reach

We could not find the missing piece of our professional puzzle in a doctorate program in Germany (Johannes Gutenberg University Mainz 2014-2016), and left the German program with unfinished PhD work

The missing piece seemed to be found outside of our own culture only

To our surprize, the art training bundle we compiled years later was revealing that the outside culture place was to be found in the aesthetics

We could identify the missing piece. It was experimenting practically with intermodal felt sensing along circular loops of experiential slow art (art making containing the one move of creating and re-experiencing what we were creating)

We found that experiential artmaking calls on all the senses to serve the body's next right step, and studied the theory of polyaesthetics

We discovered that artmaking in itself is not a safe place (the setting of arts fascilitation is the safe place)

We did not expect artmaking being risky (but it was) and were surprized by its energizing power once risks were taken

We realized that arts are using a language of deconstruction and reconstruction that leads to no right nor wrong

We learned that art is culture-bound and found out that artmaking can bypass cultural structure-boundness the moment we get connected to our creative instincts

What we found in felt arts experimenting as essence were new grounds for living a creative Focusing life to the full