Background / RationaleMany musicians lack training in performance-related wellbeing and risk of health problems associated with the physical and psychological occupational demands. Musicians also strive for optimal performance incorporating appropriate technical and artistic competencies. Literature demonstrates that somatic learning approaches, such as Body Mapping for Musicians (BMg), may enhance musical performance and prevent playing-related injury by educating musicians about optimal posture and movement. Musicians develop more biomechanically efficient ways of using their bodies through integrating enhanced kinaesthetic skills and anatomical understanding, with their expressive and technical goals. Yet, evidence-based research on musicians’ injury prevention and optimal performance is often aimed at academics and not accessible to teachers. There is a need for resources for music teachers that include practical strategies on posture and movement for application in teaching settings. AimA qualitative research study was undertaken in which cello teachers’ lived experiences of learning and teaching BMg were explored. Interpretative Phenomenological Analysis formed the conceptual and analytic framework for the semi-structured interviews. The aim of this workshop is to present and interactively demonstrate an embodiment “toolkit” for musicians, a prominent theme derived from the study results.ResultsThe research investigated how cellists incorporated BMg in their playing and teaching, including aspects such as technique, musicianship, movement, posture, pedagogy, as well as the cellists’ self-maps as cellist-artist-performer-teacher. Findings illustrated that the cellists experienced enhanced performance and teaching capacities. Fundamental BMg principles were effective in increasing kinaesthetic abilities, enabling appropriate awareness of movement during performance, as well as improving technical aspects and playing posture. BMg provided cellists with an embodiment “toolkit” to address physical and psychological challenges, as well as artistic needs. BMg also gave the participants agency for change, intrinsic motivation, self-acceptance, and access to physical and artistic freedom.ApproachThe first part of the workshop will consist of highlights of the research results targeted to music teachers interested in embodied approaches to music teaching and learning. The second part will comprise applied demonstrations of the embodiment “toolkit”, utilising practical activities with the cello, as well as movement activities without the instrument, incorporating audience participation. Conclusions / ImplicationsThe workshop will provide participants with fundamental BMg principles to support improved artistry and musicianship in their students, as well as address injury prevention, through better movement and posture. Facilitated through experiential learning activities, the embodiment “toolkit” will be a practical resource for teachers to incorporate into their studio lessons and classrooms.