sunday grace: just be true

"the privilege of a lifetime is to become who you truly are."  -carl jung

i used to have a favorite t-shirt designed by my friend jen lee that read, "just be true."  i really miss that shirt.  i lost it at a yoga festival a few years ago.

but even though i no longer wear the words on my body, i carry them in my soul.

a few weeks ago, i worked through a values exercise with a class i was teaching to clarify our most important personal values.  top of the list for me:  authenticity.

i work really hard at showing up as my genuine self.  i don't pretend to be anything i'm not.  i enjoy being a beginner, living in the learning stages.  i also enjoy developing expertise, but i understand there is no quick road to that.  i'm not a fan of fake or imitation.  i even cringe a bit when people say, "fake it 'til you make it."  (for many valid, spiritual reasons, but that is another post.)

i am very sensitive, as i'm certain most people are, when my ideas, art, work or projects randomly show up, presented and claimed by someone who is not me.

i blogged about this very thing a few years ago:  stealing buddha.  (holy moly, nearly FIVE years ago!)  i reread that blog before i started writing this one.  because the message i keep getting is to just let it go.

but in the years since that post, casually using others' work has become even more commonplace in our culture.  it is often just called inspiration.  i see it as a spectrum of intentions and behavior that we must check in with on a regular basis.  if we operate from a place of replicating someone else's work, we are not using the time to truly discover our own unique thing.

. . . . .

inspiration:  when you are drawn to a piece, practice, project or person and there is an energetic flash of connection and you think, "i want to do something like that."  amazing.  i am endlessly inspired by so many artists and thinkers, i can't imagine what my life and work would be without them.  i honor their influence and the work they have done by connecting with them, learning from them, and publicly recognizing the source.

practicing:  this happens a lot in creative fields, when someone practices the work of another to learn the technique in their own practice, trying it on to see how it moves within and relates to their own style and body of work.

duplication:  when you put out the same work or ideas as another, without doing the foundational work or having a depth of understanding and meaning about the process.  the end result is often accompanied by a sense of secrecy, hollowness and desperation.  there is an overwhelming feeling that it is not connected to who you are.  your intended audience feels that, even if you don't.

race-to-finish-first:  this is the person who sees others working hard and putting in time for a future release of something that looks like it's going to be fantastic.  they quickly throw together what they perceive to be the elements of the work so that they can be the first to release a quick, fake copy.

impostor:  this is a little more involved than copying.  it is when someone takes on characteristics and practices of another and presents as a particular kind of person with specific knowledge, experience and skills, when they haven't developed those things.  this is not to be confused with impostor syndrome. (although sometimes people say they struggle with having impostor syndrome, when they might want to consider that are actually engaging in impostor behavior.)

stealing:  if you use or copy another's idea, art or work to make money or to gain popularity/publicity/attention, it is stealing.  this is doubly true if the person you stole from earns a living from their work.  your stealing cuts into their livelihood.

. . . . .

we are all influenced by the work of others.  but it seems we are losing touch with discerning the range of influence. dabbling anywhere but the inspiration-practicing end of the spectrum prevents us from discovering our own true gifts.

it prevents us from discovering and being our own true selves.

let's be true.

sunday grace: things about summer

"you do not have to be a fire for every mountain blocking you.
you could be a water and soft river your way to freedom too."
                                                                                                                              -nayyirah waheed

sunday grace

i dream a lot about flying, flying like a bird and metaphorically flying (accomplishment).

it's often the steps that are required to take flight that keep me grounded.

this poem reminds me to keep trying, be patient, do the work.

trauma-informed yoga

{ahimsa}

some friends have asked me, "what exactly is trauma-informed yoga?"  this conversation is so important, so i thought i would write about it here.

the answer is complex.  so complex that i had to edit down this post because the original was a mile long and i still hadn't begun to capture the breadth and depth of the topic.  i whittled it down to a few fundamentals that are critical when offering trauma-informed yoga.

trauma occurs when our ability to cope is overwhelmed.  trauma exists across a spectrum and is defined by how events are experienced and internalized, rather than by the event itself.  this means that anything could be experienced as a trauma.  when something overwhelms our ability to cope, our nervous system provides the cues to the physical body to mount a response to the danger--fight, flight, or freeze.  when our system restores to a sense of safety (regulation) after the threat has ended, trauma can be experienced without long-term or debilitating effects.  it is when our nervous system does not return to a sense of safety and we are unable to return to a place of healthy regulation that we remain stuck in survival response even though the actual threat no longer exists.

the practice of yoga is uniquely suited to people who have experienced trauma, allowing them to experience safety and learn and practice very effective self-regulation techniques. yoga brings our awareness to what is happening in the body (over and over again),  this act of focusing on sensation grounds our experience in the here and now, rather than the past.  when we practice regulating the body in this present state using sensation, grounding, orientation, breath and other resources, the door is opened for our brains to step out of the stuckness and construct more hopeful possibilities in the face of perceived threat.  this is the process of cultivating resilience.

ahimsa, the first yama in the yogi's ethical code, means non-violence or do no harm.  first and foremost, we have the obligation to ensure that we are not causing harm, triggering, or in any way re-traumatizing yoga students (to the best of our ability).  with trauma, this can be tricky.  we start by not taking this responsibility lightly.

some things to consider about offering trauma-informed yoga:

• understanding the complexity of trauma is key.  i wholeheartedly support that each and every yoga teacher know the basics of trauma and the many ways it can show up in a class.  however, i worry about oversimplification and that the concept is becoming a bit of a flavor-of-the-month in the yoga world.  we must ensure our behavior remains true to its original intention to be of service.

• there is a difference between a yoga teacher being informed about trauma and taking measures to promote emotional safety in a general studio class and a yoga class or program that is held specifically for a known traumatized or marginalized population.  a good rule is that the teacher's experience with and knowledge of trauma is congruent with the known level of trauma in the room.

• when working with trauma, a high level of self-awareness is critical.  we have to know our own privilege, tendencies, blindspots and triggers.  a behavior, personality trait, words or teaching approach we have and use could unintentionally cause harm to someone with trauma.   unfortunately, so many people are operating from a place of unconsciousness and have no idea how they harm or trigger.  yes, even yogis.

• we must know and manage our own trauma histories.  there are not that many humans in the world (if any) who are have not experienced trauma to one degree or another.  if you are operating from a place of unaddressed trauma, you are unlikely to adequately gauge when you are doing harm. 

• when a student has experienced trauma, they are also not likely to adequately gauge when harm is being done to them or when things are dangerous.  this is one of the explanations for re-victimization. this makes the ethical obligation of the trauma-informed yoga teacher even more imperative.

• consider your preparation to be trauma-informed.  there is an abundance of fantastic information about trauma-informed yoga.  self-study and online courses with reliable professionals are appropriate for trauma-informed teachers of general studio classes, however, due to its complexity, trauma isn't really a topic you can unpack and understand in a few sessions.

• there are more in-depth, lengthy and in-person programs for those who teach classes and programs intentionally designed for students with trauma.  other professional experience working with trauma (i.e. as a therapist, social worker, first responder, etc.) is sensible here too.  

• we must check our motivation to teach trauma-informed yoga.  we are motivated to be of service, to create and maintain emotional safety for others, to offer effective tools for self-regulation and embodiment.  we don't teach trauma-informed yoga to be heroes or because it feels important or we're working out our own shit or because all the popular yoga teachers are doing it.  

teaching trauma-informed yoga or being a part of a class or program intended to teach yoga as a resource for cultivating resilience is a tremendous gift and a huge responsibility.  it is not for everyone.  each of us has our own unique gifts and areas where we can best be of service.   

trauma-informed yoga is a never-ending journey of study, reflection, self-awareness, empathy, presence and selflessness.  it feels so big to me and i worry when i see or hear about others treating it so casually.  titration is intentionally used in the practice of trauma-informed yoga and the same cautious, deliberate and gradual exploration approach should be mirrored in the preparation to teach it.  

follow along as i continue to grow soul studio in an intentional, meaningful way.  we will be providing trauma-informed yoga and trauma-informed expressive arts and writing programs soon.  

sunday grace: grounded and oriented

orient.  10"x10" acrylic, ink, paper, pencil on wood.

i'm studying how to teach trauma-informed yoga and the material is rocking me to the core.

so many times here, i start to write that i can't wait to begin teaching yoga and art to teenage girls, but that is not true.  i can wait.  because the material is complex and important.  the girls are complex and important.  it's going to take some time to process and integrate and practice.  i want to offer something authentic and meaningful.

for so many people, feeling safe in the body doesn't come naturally.  it requires consciously becoming grounded, orienting to the space, and cultivating resources for emotional safety.  one of the many cues i learned for orienting that really resonated with me is, "look around the room and find four blue things."  i practice this myself when i am overwhelmed or frustrated or feel sad and to start my yoga practice.  it's simple and effective.

i woke up this morning wanting to create a piece inspired by four blue things.  because, you know, i process in color. i love that the abstract shape in the center unintentionally formed into a compass.  it also resembles my favorite yoga posture, ardha chandrasana, balancing fear, strength, lightness and beauty.

these things are my grace today:  learning, orienting, seeing the path more clearly, patience.

four things that just might be blue.

sunday grace: these four unlikely friends

{clockwise from top left:  the artist, frida kahlo; the mystic, anandamayi ma; the activist, angela davis,

and the believer, anne frank.  acrylic paint and image transfer on wood.}

yesterday i completed the fourth piece in an ongoing series of mixed-media work dedicated to my own personal archetypes.  i began a month ago just wanting to pay homage to frida kahlo after i daydreamed about us being friends and the kinds of things we would do together and talk about.  how would she listen to me?  what wisdom would she impart?  how could i make her proud?  i realized pretty quickly that i was actually exploring my archetypes, those women who hold particular resonance for me and who are the ideal personifications of qualities i wish to cultivate and maintain in my self and life.

i allowed the selection of the friends and the creative process to be informed by a current mood, need or memory.  i love the unlikely and powerful gang of heroes that emerged and who comprise the first four. even though they lived in different times and are of different cultures and have such a diverse treasure box of gifts, they all share a courageous and dreamy spirit with which i deeply connect.

. . . . .

i met my husband ken while we were both acting in the play the diary of anne frank.  the play was being produced in my hometown in california and the proceeds were dedicated to the agency i worked for at the time, to create a secure and confidential park where children in foster care could visit outdoors with their biological parents.  as both an actor in the play and a social worker at the agency, i was asked to give a speech at the ribbon-cutting ceremony.

i remember writing and speaking about the commonalities among children, the things that both the foster children and anne frank shared:  resilience, a connection to their parents no matter what, and a deep love of the freedom and light of the outdoors.  anne wrote in her diary, "the best remedy for those who are afraid, lonely or unhappy is to go outside."  it moved me deeply that we were building this space where children and their families could share time outside when that was the very thing that anne longed for while she was hidden in the annex.

i intentionally let her sit and write and smile in the open glorious outdoors in this piece.

friends, i am loving doing this series.  the physical time spent with the paint, photographs, scissors and glue gives space and time for me to ponder my own embodiment of the qualities of these extraordinary women.  i encourage you to spend time thinking about the remarkable humans who inform your life.