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Rae Tattenbaum
Workshop: Coaching Attention, Arousal and Attachment in Optimal Performance
Feb 2-3, 2005 Palm Springs
 Instructor:  Rae Tattenbaum, MSW, BCIA Certified in Neurofeedback
 Rae Tattenbaum is a licensed social worker.  Along with an MSW from the Columbia School of Social Work, she has an undergraduate degree in theater arts and extensive experience in both the theater and business worlds.  Ms. Tattenbaum’s experience in senior executive positions with companies such as Northern Telecom and Nortel enables her to understand the need for business executives to learn how to best manage their energy and resources.  More recently, she has become well known, both as a personal coach for artists and athletes and as one of the leading instructors in peak performance techniques.
Coaching Attention, Arousal and Attachment in Optimal Performance
Rae Tattenbaum, LCSW, BCIA, EEG Fellow
Pre arrival homework and registration:
·        Participants are asked to identify personal core strengths.
Write your story from the point of view of the coach or peak performer. See Attached)
·        Identify one  a current client or elite performer to identify that performer’s drivers, triggers, rituals. (Learning to listen and read the performer’s story to identify triggers, motivators, rituals, cognitive distortions, shifts in status. Select one of the following: Justin Gatlin, Michael Phelps, Laura Wilkerson, Annia Hatch, Kerry Walsh, John McEnroe, Wayne Gretsky,  Charlise Theron, Mariska Hargitay, Michael Jordan, Marilyn Monroe, George Gershin, William Clinton, Gerry Butters and or Jerry Piel.)  
Wednesday, February 2, 2005
9-10:30 am      Framework and Philosophy
      • Introduce stories
      • Reveal personal strengths and personal performance issues
10:30 -10:45am Coffee Break
10:45 am to 12:00 pm
  • Defining Performance
  • Characteristics of Performers
    The role of Biofeedback historically in optimal functioning
    Five Phase Model
(Objectives 3, 5,6,7)
12:00 -12:30
·        Questions and Intentions (Objectives 1-7)
12:30-2:30 Lunch on your own/ Optimal Self Exercise
2:30-3:30 Part Two: The Assessment process
·        Clinical vs. performance
·        Identifying client’s story, goals and attitudes towards performance
·        The autobiography and assessment of flow, obsessiveness, distractions, imagery
·        Clarifying Contract
(Objectives 1, 2, 3, 4, 5, 6, 7, 8)
3:30-5:30  Part Three: The Role of Biofeedback and Neurofeedback
·        Traditional utilization of Biofeedback in Sports Medicine and Executives
·        QEEG and Imaging Techniques for sports, executives, performers
·        Identifying arousal, attention and instabilities that respond well to  Neurofeedback
·        Translating Assessment into a program
·        Neurophysiology of Activation.
·        Exercise Model towards Performance
·        Golfers, Musicians, Archers
·        Alpha Theta
(Objectives 1-18)
Thursday, February 3, 2005
9:00 to 12:00 Part Four: Phase Two of Process
The Mind/ Body Connection: Achieving Physiological Balance
Regulating Arousal
·        Techniques that facilitates management of energy
·        Techniques that reinforces self-regulation of arousal levels.
·        James Loehr andBarry Sterman’s.
·        Balance energy expenditure with intermittent energy renewal
·        Jacobsen’s progressive relaxation, autogenics, the awakened mind, mindfulness meditation and autohypnosis.
·         Heart Math as a tool for coherence and balance.
·        The Listening program and it’s role.
·        Les Fehmi’s Open Focus
         Objectives 1-11
12-1:45 Lunch and optimal personal exercise
1:45-2:45 Part Five: Phase Three of Process
·        Typical barriers to performance
·        Inner life, attachment and perfectionism
·        Setting limits to interventions
·        The Inner Child, The Shadow, The Future Self, And The Golden Shadow.
·        Safe places.
·        Autohypnosis and confidence building.
·        TFT and its role in dissolving trauma.
·        Somatic experiences during the EEG training
·        Tapas approach
(Objectives 1-13)
2:45-3:15 Break
3:15-4:15   Part Six: Phase Four of Process: Mental Imagery and Sculpting
·        Why imagery is effective.
·        Mental imagery research.
·        Ability to engage in mental imagery.
·        Use imagery i.e. Focuses, confidence, skill acquisition, practice, problem solving, distraction training and cue triggers.
·        Transferring the inner journey work to imagery for performance.
·        Guidelines for constructing imagery.
·        Case examples of the use of imagery.
(Objectives 1-8)
4:15-5:00 Part Seven: Phase Five Coaching:
·        Clinician and coach.
·        Coach’s tasks and the coach’s role
·        Coaching to clinician on an as needed basis.
·        Identifying issues that will indicate that there is transference. Determine the type and response.
·        Developing safeguards to make sure that there are clear boundaries and that a counter transference does not evolve.
(Objectives 1-6)
5:00-5:30 Part Eight: Marketing The Service
·        Identifying populations and arenas in which to market these services.
·        Resources.
·        Maintaining Personal Core Strengths and Supervision.
(Objectives 1-3)
 Course Content.  Whether their area of excellence is business, sports or the performing arts, peak performers share an important characteristic.  They are able to enter a state where they are totally focused on what they do.  They have learned to bring themselves to a place that combines mental clarity and sustained energy with a sense of inner calm and active engagement.  Virtually everyone experiences these “moments of flow” at some point in their lives.  Peak performers learn how to access them when they need to, whether they are performing before a live audience, closing an important deal, helping a troubled patient or merely playing a game of golf with a friend.
 Participants in this two-day workshop will learn the techniques necessary for achieving optimum personal performance, both for themselves and for those they counsel or coach.  Among the topics to be covered are: the characteristics of flow and the performance state; personal impediments to performance; the clinical role versus the coaching role; achieving physiological balance through relaxation techniques, biofeedback, meditation and open focus; the use of neurofeedback; cognitive approaches; the “inner journey”; mental imagery and the role of the coach.
 This workshop is of particular value to coaches and personal trainers, as well as to neurofeedback practitioners and therapists who wish to see their clients move to the “next level” of functioning.
more details:

In Optimal Performance  

Part One: Frame Work and Philosophy
1.       Identify each participant’s experiences with the role of attention, arousal and attachment issues to peak performance in their own work, daily activities and hobbies.
2.      Historically, review the attitudes towards performance in the biofeedback community i.e. enhancing alpha and creativity. Identify the distinctions between historical frame of reference moving to the research into performance and the significance in flow of attention and arousal.
3.      Establish that flow is an achievable state. Establish the two basic characteristics are attention and regulation of arousal. Explore the sports and performance studies on the state of flow and optimal performance in various settings.
4.      Identify a five-phase model that includes balancing the mind and body, biofeedback including traditional and Neurofeedback, inner journey, mental imagery and coaching.
5.      Establish a frame of reference of performance versus practice for the degrees of performance: Peak, Optimal, and Power.
6.      Define 12 characteristics that are usually associated with optimal functioning.
7.      Introduce the concept of attention as a competency
A competency composed of a different set of skills   
·        Types of Attention
·        Sustaining Attention
·        Mental Pliancy
8.      Describe the Neurophysiological components of attention and how the brain “decides” to attend to some stimuli and ignore others.
9.      Illustrate the demands of performance in academics, the worksite, sports and the performing arts require different points of focus.
10.   Define arousal in performance
11.    The Importance of mastering physiological activation
12.   Identify the stress literature i.e. flight/fight, role of cortisol
13.    Develop a list of the affective and cognitive barriers to performance.
14.   Introducing the role of the amygdala and it’s responsibility for emotional influences on perception, Tracking the performer’s attaching the emotional significance influences perceptual experience
15.   Introduce the framework of mental toughness and full engagement i.e. physically energized, emotionally connected, mentally focused and spiritually aligned
1.       Frame and teach an assessment process that takes into account the clinical issues versus performance issues.
2.      Frame and teach different methods of learning about the client’s goals.
3.      Establishing processes to understand the ability and the client’s relationship to the skill.
4.      Identifying or creating instruments that measures feelings of self-consciousness, anxiety, energy management and attention.
5.      Select questions that assess the client’s ability to enter flow, mange distractions and use of imagery.
6.      Introduce Progroff’s journalizing concepts specifically life history, an autobiography of the ability and dialogues with the body and the ability.
7.      Clarify the questions that are relevant for assessing the family’s support of the ability and the relationship to other key individuals. I.e. coaches, mentors, teachers
8.      Clarify contract and role issues with client.
The Mind/ Body Connection: Achieving Balance
1.       This segment focuses on learning to self-regulate one’s arousal and attention and the importance of these two tasks.
2.      To identify a series of techniques that facilitates the client’s management of their energy and ability that become ritualized into the daily habits of the client. Mobilize four key sources of energy
3.      To revisit techniques that reinforces self-regulation of arousal levels.
4.      The goal of this programmatic element is to assist the client in managing their inner energy
5.      To introduce the concepts pioneer by James Loehr re mental toughness training as well as Barry Sterman’s work with pilots.
6.      Helping clients design processes that permit Balance energy expenditure with intermittent energy renewal
7.      Identifying resources for nutrition, exercising and breath work for optimal functioning.
8.      Refresh the participants in the principles and uses Jacobsen’s progressive relaxation, autogenics, the awakened mind, mindfulness meditation and autohypnosis.
9.      Identify Heart Math as a tool for coherence and balance.
10.   Introduce The Listening program and it’s role.
11.    Teach Les Fehmi’s Open Focus philosophy that attention is the underpinning of physiological balance.
12.   Lead the group through a process of customization of open focus.
Biofeedback and Neurofeedback
1.       Survey role of Biofeedback and peak performance
2.      Discuss guidelines for the use of temp, muscle and respiration.
3.      Discuss the role of EEG Neurofeedback as a tool for improving arousal regulation, improved attention and the ability to shift focus.
4.      Facilitate and lead a discussion regarding translating the assessment process into protocols.
5.      Framing the role of EEG Neurofeedback into rewarding the client’s brain to be more stable, more still and less stuck.
6.      Identify the different points of view re the role and need for a QEEG.
7.      Demonstrate the role of the coach during the EEG session.
8.      Demonstrate the role of auto hypnosis or post hypnotic suggestions during the feedback session.
9.      Identify how to use somatic experiences during the EEG training
10.   Introduce the sports psychology research about golfers and other elite athletes.
11.    Lead a discussion regarding the frequency of training and home trainers.
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