Sparks! Power of Words Preview-September 12th

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September’s Sparks meeting is all about this year’s Power of Words Conference! 

Have you already registered for POW 2018? Or are you considering registering for our annual conference, which will take place October 12-14th at Goddard College in Plainfield, Vermont?

POW 2018 features Transformation, Liberation, & Celebration Through the Spoken, Written, & Sung Word – with workshops, celebrations, open mics, and fierce beauty among 50 presenters — storytellers, writers, performers,
activists, educators, healers, and more.

Want to know more about what participants will experience in this dynamic weekend? We’re thrilled to welcome special guest, POW Keynote, Amy Ostreicher, to be our SPARKS feature, along with other dynamic POW workshop presenters who will share about their Power of Words workshops:

  • Joseph Galata – Papa, Come Dance with Me Again!
  • Beth Turner – Rest x Choice
  • Liz Burke-Cravens – Discovering and Sharing Your Sacred Story for Social Change

Don’t forget to bring an original poem to the online poetry open mic! Everyone who participates in the teleconference is welcome to share an original poem. Whether you’re reading your poetry aloud for the first time, or you’re a seasoned reader, this is a chance to share your writing in the supportive presence of appreciative listeners.

Format of the Gathering

  • Kelly will interview workshop presenters on the call for 30 minutes about their POW workshops.
  • We’ll then have 10-15 minutes to ask questions and discuss TLA, your own practice, goals, or vision.
  • We’ll devote the next 15 or so minutes to the open mic poetry readings.
  • You don’t need to be a member of TLAN to participate!

Joining the Call on Zoom

Upon RSVPing, you will receive the Zoom call-in information in your confirmation email.

The call is from 7 – 8:15 p.m. CENTRAL, 8 – 9:15 p.m. EASTERN. Kelly will arrive on the video conference at 6:30 p.m. CENTRAL so you can connect early & work out any glitches!

Register for the Sparks gathering here

Register for the Power of Words Conference here

About Kelly DuMar

Kelly DuMar is a poet, playwright and expressive arts workshop facilitator whose chapbook “All These Cures,” won the 2014 Lit House Press poetry contest. Kelly’s poems have been published in many literary journals, and her award winning plays have been produced around the US and published by dramatic publishers. She produces the Our Voices Festival of Women Playwrights & Poets, held at Wellesley College, now in its 9th year. Kelly has a Master’s Degree in Education from the Harvard University Graduate School of Education. Her certification in psychodrama and training in Playback Theatre inspire her workshops with transformative energy. Kelly has presented professional workshops at Mass. Poetry Festival, The Boston Book Festival, Playback North America, The New England Theatre Conference, the Transformative Language Arts Conference, ASGPP, The National Association for Poetry Therapy, and The International Women’s Writing Guild. She is a Fellow in the American Society for Group Psychotherapy & Psychodrama, a member of the Advisory Council of The International Women’s Writing Guild, and a Council Member of the Transformative Language Arts Network. Her website it kellydumar.com, and she publishes a bi-monthly essay about the writing life to her subscribers.

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Building Strong Foundations: TLAN Graduates Share Their Experiences

Curated by Joanna Tebbs Young

The very first TLA Foundations Certification applicant was accepted into the program in September 2014. To date, fulfilling the requirements through a combination of classes, Power of Words conference attendance, One City One Prompt facilitation, and publishing or assisting with the editing of Chrysalis, the TLA journal, or writing a series of blog posts, eighteen students have earned their certificate. Here, six graduates, share their experience with the certification process and TLAN in general, and how they have taken TLA into the world.

The next TLA Foundations class, Changing the World with Words, a requisite for certification, begins next week on Wednesday, June 27. There is still time to register (and can be counted towards certification retroactively within one year of taking it). Register here: https://www.tlanetwork.org/event-2758556.

An interview with instructor, Joanna Tebbs Young, about the course can be found here: https://tlablog.org/2018/05/31/changing-the-world-with-words-with-joanna-tebbs-young/

For information on the TLA Foundations Certification, please visit here: https://www.tlanetwork.org/certification

Wendy Thompson (graduated April 2016)

May2015

1.Why did you originally apply for the TLA Foundations certification?

I was a creative writing teacher in the public schools for 10 years, a published poet, and was training to become a spiritual director when I discovered TLA.  l sought professional development that combined writing, healing, and spiritual transformation and found Sharon Bray’s class Writing as a Healing Ministry. She told me about Caryn Mirriam-Goldberg and the Goddard TLA program. Transformative Language Arts called to me. I applied and was accepted at Goddard, quit my day job teaching, sold my house, and ventured out into new terrain. One term at Goddard was enough to realize that I did not want to pursue yet another degree; so I worked independently through Kathleen Adams’ Center for Journal Therapy and shadowed Poetry Therapists in the northwest. Finally, when I learned of the TLAF Certification program, I jumped at the chance, almost 10 years later, to fulfill a goal.

2. What TLA courses did you find most useful? 

I began my term at Goddard with the Power of Words text and ten years later read it again, as if for the first time, in the TLA Foundations class.  As a poet who knows the positive impact of repetition and a dancer who values daily plies, I appreciated the recap. It was like getting a double rainbow of light on this journey – an arching timeline, one decade atop the other, illuminating a future rich with possibility. The last ten years of exploration, introspection, teaching, and facilitation all wove together in the Foundations class. The tapestry that is my TLA work in the world is, of course, unfinished, but the Foundations class strung the warp and weft for me.

3. What was your greatest learning(s) from the process?

My greatest learning in this process is that the learning is never complete. A poem I wrote many years ago, “Jump,” reflects in the third stanza this cyclical nature of learning for me where endings are actually right-of-ways into another beginning:

…I dream of dreaming a dream of falling

lingering in the time between

the between spaces where thoughts turn inside out where behind my eyes is emptiness – clean and pure

where all my endings become an entrance

into another beginning – a deeper recess

leagues beyond knowing…

4. Is there a particular experience at a conference or in a class, etc. that stands out for you? 

I think it was the 2007 POW Conference that held the “Poetic Justice” workshop; that workshop title has become a through-line for my TLA facilitation.  I designed a course called Civil Writes that was originally focused on LGBTQ concerns, but has expanded to address social justice issues in other communities.

I also recall a workshop on nature writing, Eco Expressions, that was a surprising inclusion for me. I hadn’t thought of nature writing as transformative or healing, which was a bit dense on my part. Most of my poetry is nature-based infused with metaphorical messages from the flora and fauna around me. I am grateful to Jan Daniels for correcting my myopic vision and providing tools for future facilitation.

I distinctly remember the presentation in 2007 by Nehassaiu deGannes, poet, playwright and actress, of her one-woman show, “Door of No Return.” Coming from a performing arts background, I was quite taken by her integrated approach and she inspired me to begin developing my own poetic voice through movement and vocal music.

5. What are you doing now (or hoping to do) in TLA and in what way was the certification helpful?

While completing my TLA Certification, I was working as a director of a community arts center that had a focus on arts for healing. I conducted several workshops including: Watercolor, Words & Release: Poems of Surrender, yOUTh ARTS (for LGBTQ youth), Mandala Poetry, and Labyrinth Peace Arts. Last year I wrote an English Language Arts curriculum called the Gay Gothic, which included TLA-style exploration of gothic literature by LGBTQ authors and poets.

Currently, I’m back teaching full time in an elementary school. I am not teaching writing, but I coordinated two Family Write Nights where adults and children had an opportunity to animate family stories with a simple stop-motion animation app. Storytelling has lost its place in families so frequently plugged in to separate devices. This workshop allowed grandparents to co-create a narrative with their grandchild using technology that might have previously alienated them from each other.

Next year I hope to conduct family write nights in conjunction with our school’s new outdoor learning center.  I also volunteer for Write Around Portland, which brings writing workshops to people in homeless shelters, AA groups, Boys & Girls Clubs, treatment centers, and low-income senior centers. I anticipate that I will also continue my work with LGBTQ youth.

6. Would you recommend the certification course to others? 

Absolutely, I would recommend this certification program (and have) as a quality, affordable alternative to higher education.

7. Have you recommended the TLA Network to others? Are there particular populations or groups of people have you worked with you believe would benefit? 

I would recommend the Network – it has been helpful for me to meet like-minded folks doing much needed work in this world.

My first facilitation was with children of undocumented workers. Given today’s climate with regard to immigration, I feel this is a population that could use our services. I’ve also been surprised at each conference at how few people seemed to be working with LGBTQ communities. I met Jimmy Rose and his Queering Curriculum work at Pendle Hill, and maybe there are more I haven’t met since I haven’t been to a conference in several years.

Masha Harris (graduated October 2016)

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1. Why did you originally apply for the TLA Foundations certification?

I was considering a career change and was interested in teaching writing workshops. I decided to investigate degree programs, and saw Goddard College’s program in TLA. From there I learned about the Foundation’s certificate and thought that would be a good place to start.

2. What TLA courses did you find most useful? 

I took a course on the business of creativity – it covered funding, promoting yourself, things like that. That was definitely the most useful, and it made me see that I could promote myself and do something with my art. The course I enjoyed most, however, was Memoir as Monologue with Kelly DuMar. We had an incredible group of people taking the course, and it was wonderful to see their growth throughout the six weeks. It also helped me in my own career: I created a memoir writing course to offer at my library.

3. What was your greatest learning(s) from the process?

I’m a librarian, and the biggest lesson I’ll take away from the TLA Foundations certification is that I can pursue TLA within my current profession, rather than making a career change. I was able to draw connections between my current work and the concepts I was learning in the TLA courses. I’ve thought about pursuing this further, maybe getting to the point where I could present at a conference about the connection between the two fields.

4. Is there a particular experience at a conference or in a class, etc. that stands out for you?

At the end of “Memoir as Monologue,” we had a professional actor read our monologues while we listened over the phone. Hearing my own writing performed was incredible.

5. What are you doing now (or hoping to do) in TLA and in what way was the certification helpful?

As I said before, I’m interested in investigating ways to draw connections between TLA and librarianship. I would like to see people in both professions made aware of each other and the common goals and skills required. The major question now is, how do I get started?

6. Would you recommend the certification course to others?

I would. It’s a good way to get a feel for TLA and make connections.

7. Have you recommended the TLA Network to others? Are there particular populations or groups of people have you worked with you believe would benefit?

Again, I think librarians, especially those in adult services, could benefit a lot from learning about TLA.

Susan Shepler (graduated May 2017)

1.Why did you originally apply for the TLA Foundations certification?

The kind of work I do involves language and art, and it is also associated with transformation and healing.  “Transformative Language Arts” perfectly describes my area of interest and my offering.

2. What TLA courses did you find most useful? 

The courses that I find most useful are ones designed to produce specific outcomes, such as outlining and creating courses and offerings, including the technology associated with such courses.

3. What was your greatest learning(s) from the process?

I’m always interested in the “how-to” part of course offerings.  Anything that helps structure and demystify the path forward.

4. What are you doing now (or hoping to do) in TLA and in what way was the certification helpful?

It’s a helpful certification for me because, in itself, it offers an explanation of the [TLA] path.

Eila Algood (graduated June 2017)

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1.Why did you originally apply for the TLA Foundations certification?

I was taking classes anyway and liked the structure of certification

2. What TLA courses did you find most useful? 

I don’t remember them all, but the Memoir as Monologue class was a stretch for me and I learned a lot.

3. What was your greatest learning(s) from the process?

That classes help me to write more and write in new ways.

4. Is there a particular experience at a conference or in a class, etc. that stands out for you? 

I really liked the Amplify workshop I facilitated in my community; attendees loved it.

5. What are you doing now (or hoping to do) in TLA and in what way was the certification helpful?

I organize regular public readings at my local library where 6-8 local writers read their work. Certification was helpful because it encouraged that type of community work. The events are well attended and I believe gave me added confidence to continue with them.

6. Would you recommend the certification course to others? 

I would.

7. Have you recommended the TLA Network to others? Are there particular populations or groups of people have you worked with you believe would benefit? 

Yes, to my writers’ groups and the Hawaii Writers Guild, which I am a board member of.

Tiffany Vakilian (graduated October 2017)

Tiffany Vakilian

1. Why did you originally apply for the TLA Foundations certification?

I believe in TLA. It has so many amazing facets, while still honoring the individual experience and expression of the world’s need for growth and change. TLA is more than just an intellectual experience. It’s dynamic in the ability to change both the mind and the marketplace of the individual’s world. Artistic output that can provoke a response in the local community, city, state, and even national level. Who says writing a song won’t change the world. Let us consider Francis Scott Key. He wrote a poem, set it to a bar song melody, and created our  national anthem, “The Star-Spangled Banner.” Key’s experience of watching the flag from a boat, the morning after battle, caused art. That art unified our country. Even though the flag has changed since 1814, the TLA-ness of Key’s experience  is timeless.

2. What TLA courses did you find most useful?

Each course brought its magic to the process. But I have to say, it’s a tie between Saturated Selfies and Leverage Your TLA Expertise: Selfies for the hands-on TLA way Angie River taught it; and Leverage for the pragmatism of walking-out Transformative Language Arts as an individual. And, for the record, I didn’t find either course to be lacking in art or pragmatism.

3. What was your greatest learning(s) from the process?

I learned that TLA is a way of being in the world, almost more than a way to do things in the world. By pushing myself to find TLA in everything I do for my living, I’ve found my tribe in so many facets of life: grant writing, IT, marketing, collaborative art, etc. The best part is when it shows up from behind a corner I didn’t expect.

4. Is there a particular experience at a conference or in a class, etc. that stands out for you?

Having multiple courses with Eila Algood gave rise to some awesome online conversations about her life, Hawaii, and the complications of breaking off the chains in the journey toward “freedom to be.”

5. What are you doing now (or hoping to do) in TLA and in what way was the certification helpful?

I am a freelance editor and publishing analyst in San Diego. I walk-out my TLA whenever I get the opportunity, including writing articles about it as a guest blogger. But more than anything, I create my livelihood in a way that honors my nature. That is HUGE to me.

6. Would you recommend the certification course to others?

Yes. And have, on several occasions.

7. Have you recommended the TLA Network to others? Are there particular populations or groups of people have you worked with you believe would benefit?

Because I work with authors and publishers, I feel I’m where I need to be to spread the word about TLA. Indie publishers is a great group of people to work with. I wish the Power of Words Conference would be held in San Diego one year. I think getting it over to the West Coast would grow the buzz.

Diane Glass (graduated January 2018)

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1. Why did you originally apply for the TLA Foundations certification?

One of TLA’s excellent online courses introduced me to this organization. Once I experienced the interchange between the teacher and participants, I knew I had found my mentors, collaborators, and friends. It felt like coming home.

2. What TLA courses did you find most useful?

The Foundations course enlarged my perspective about the diverse ways TLA practitioners use the written word, images, storytelling and other dramatic forms to create community, address social justice issues, facilitate spiritual growth and bring about healing. It also challenged me to think about the ethical dimensions of my work.

The class “Memoir as Monologue” opened my eyes to the potential of the spoken word to inspire audiences. That was a totally new venue for me to consider.

3.  What was your greatest learning(s) from the process?

I learned to place my own work as a spiritual director and teacher in a larger context. That work was no longer defined by a title or role. Yes, I served as a spiritual director and, yes, I offered workshops on storytelling as a transformational experience. But after studying TLA, I saw myself as mission driven—bringing about compassion and peace on an individual and societal level. Spiritual direction and storytelling became two of my tools, among others, for doing that. That was an important shift in perspective.

4. Is there are particular experience at a conference or in a class, etc., that stands out for you?

In “Memoir as Monologue,” Kelly DuMar arranged for an actress to perform our finished monologues. The power and insight that actress brought to the words I wrote amazed and intrigued me. “I want to do that,” I said to myself. “Write for performance by others and potentially myself.” I had a pretty fixed way of defining my skills up until then. This experience caused me to question that definition and to open up to new ways of expressing myself.

5. What are you doing now (or hoping to do) in TLA and in what way was the certification helpful?

Currently, I am capturing the stories of adults with spina bifida, publishing them as part of an ongoing series on my website, and facilitating performances of those stories for the benefit of others. When an adult with spina bifida recently told her story of believing she would never marry and have children, and then marrying and having children, a mother in the audience with a young girl with spina bifida spoke up. “Would you talk with my daughter? She believes no one will ever want her.” It was then that I knew I was a TLA practitioner. Through this performance, I saw the power of using words and images to connect people in ways that energize, educate, and create hope.

6. Would you recommend the certification course to others?

Yes, pursue this TLA certification! You will meet people who share your passion for bringing about peace, community, social justice, and healing using words and images. You will be amazed by the diverse, creative ways they do that. Hopefully, you will feel like you’ve come home to the friends, collaborators, mentors, and teachers you’ve been looking for. I do. I love this sense of belonging.

7.  Have you recommended the TLA Network to others? Are there particular populations or groups of people you believe would benefit?

I have recommended the TLA Network to my colleagues and friends in the field of spiritual direction and social ministry. For those spiritual directors called to group work, the TLA tools and practices can be useful ways to engage people in reflecting on their lives and finding commonalities with others.

I wonder too about nurses and other healthcare professionals open to storytelling as a way to understand their patients more deeply. Narrative medicine is gaining acceptance. Our organization could play a significant role in that field.

Submissions

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The TLA Blog is seeking new submissions!

Whether you are a TLA practitioner or someone who uses TLA in your personal self care practice, we are interested in getting a “window” into your experience. This will assist all of us in the TLA network and give new insight to the possibilities of TLA in our communities and our own paths of transformation.

If you are a TLA practitioner who can offer some perspective to how you have used TLA in your work with others, we want to hear about it!

If you have your own personal TLA practice and have used spoken, sung or written word to transform yourself and your experiences, we are interested in hearing your story.

If you have taken, attended or facilitated a TLA class or workshop and can tell us how that has inspired you, or a give others an insight to how that class or workshop has benefited or ignited your own TLA practice, we are excited to hear about your experience.

No matter the circumstance, we are very interested in what you are doing with your TLA practice. How your work has affected you and/or your community and how it has empowered you to transform your life.

Please send us your submissions here  or email tlablog (dot) submissions (at) gmail (dot) com

Deeper Understanding Through Shared Stories: PBS’s “The Vietnam War”

On Sunday night, PBS will begin airing a ten-part, 18-hour series called The Vietnam War. I’m looking forward to watching it, and I’m dreading watching it.

For those of us old enough to have lived through that time, memories of the war are still painfully raw. As a country, we still argue about its lessons. In fact, there is so much controversy, we haven’t done a very good job of telling its history to younger generations.

Perhaps this television series will help correct that. No doubt, creating the documentary was a daunting task. How do you provide a window into so many conflicting perspectives? How do you bring to life so many different experiences?

PBS and the filmmakers wisely decided to open up the dialogue. They are soliciting and publishing personal narratives about the Vietnam experience from anyone with a story to tell (go to http://www.pbs.org/kenburns/the-vietnam-war/vietnam-stories/ to join in). The stories have one thing in common: their diversity, in both the tellers and their experiences. There are stories of soldiers, of children who lost their fathers, of protestors, of conscientious objectors, stories of sorrow, of triumph, of loss, of courage, and more.

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I’m sure the 18-hours of documentary will be instructive and often riveting. But these personal stories on the website bring an added dimension and deeper understanding of the effect the war had on us as a people. Together—the artfully crafted film by professionals and the informal heartfelt outpourings of self-appointed witnesses—paint a complicated and more complete portrait of a cataclysmic event.

Creating Space

by Melissa Rose

The writing process can be ritualistic, so setting the space is important.

Keep it consistent. Keep it holy.

I set the timer. Write the prompts on the white board while pictures of Frida Khalo gaze down at a table I have covered in stray paper, pens and composition notebooks.

Every week I lead a writing workshop with female trauma survivors. The format is simple: One hour of writing. Your time. Your space. I provide prompts that encourage introspection and self-care, but the direction the participants choose to take those prompts are unique as they are.

What began as a simple routine has quickly transitioned into a life line. Women who have curiously come one week now come every week. Diving deeper into themselves, discovering more with each session and unearthing more possibilities with every word they write.

Giving oneself permission to do something healthy, even for one hour, has slowly become a reason to give oneself permission to do something healthy for another hour. A reason to speak up in situations where they wouldn’t have before. A reason to forgive. A reason to tell their story. A reason to love themselves more.

Writing may be the medium we use here, but what we are creating is sacred space. Collectively, through sharing the space we have conjured, we are tapping into something magical. The strength of creative energy. The spell of communal healing.

Creating space, for me, is such an integral part of TLA. It is the equivalent to turning the soil, preparing it for the seeds. I now find myself just as excited to lead the workshop every week and contribute to that space. To understand that it is not only the participants who benefit from this experience, but I as a practitioner.

Together, we have learned that we cannot heal alone.

Healing

is the little ghost

hiding under your tongue.

A miracle you mutter under

your breath

Afraid you will jinx its magic

Mind over matter

Whole life preparing you for this

You will now show your cells

Life is worth living.

Healing

is the the voice that reminds you to rest.

The whisper that challenges you

to take a step back.

The gently falling rain on the roof

above your head.

The sound of growth.

The promise of a million new lives.

Healing is what happens when you finally put yourself first.

It is the wound that knows exactly what to do

when you give it the chance.

The burn that saves you

from infection.

The silent pulse

only you can feel within yourself.

Here

in your empty

there is still space to put your hope.

The seed that is sheltered by will

and soil.

The dirt beneath you

you are not ready to die in.

Swallow this spring.

Let it fill you like a sunrise.

You are only just beginning. 

 

 

 

melpromo4Melissa Rose is a spoken word poet and playwright. She has hosted community spoken word events since 2003 and has been a member of 5 National Poetry Slam teams. She has performed her work across the United States and Germany and was a featured poet at the German National Poetry Slam in 2010. She currently lives in Eugene, Oregon.

 

“Girl Talk”

by Melissa Rose

I began performing spoken word poetry when I was 15 years old. At the time, I was the girltalk5youngest person who participated in poetry slams and open mics in my local area. While this was sometimes an advantage, I often found myself surrounded by adults at least a decade older than me, knee-deep in life experiences well outside my youthful worldliness. I felt awkward in my natural place in life, and as I shared my feelings and thoughts on stage, I never felt quite like I fit in due to never having other young people to write and connect with. I felt like my stories were unimportant. That what I was experiencing–all of the confusion, self-loathing, and insecurity–was strange and unnatural. For years I wrote about what the adults around me wanted me to write about, instead of the things I wanted to express.
 
In 2015 I created Siren, a nonprofit organization founded to uplift the voices of girls who, like me, wanted their stories to be heard. For the last two years we have worked with other organizations that serve the girls in our community, providing spoken word summer camps, weekly after school improv workshops, and writing clubs. During this time I have had the opportunity to witness several young women share their stories and experiences on stage, developing self confidence and personal empowerment as a result.
 
In early April I was invited to collaborate with Cari Ingrassia, an amazing local visual artist, on an installation that would showcase the voices of girls from our community. The installation would be featured in an event called Platform Festival–a multi-disciplined art experience that featured dance, music, performance, and other forms of expression. Cari and I discussed that the project would focus on the “secrets” of girlhood and the messages girls receive. The stories told peer to peer about what it is to be female in our society. We decided on a blanket fort to be our setting for the installation; an impenetrable fortress of girlhood, reminiscent of slumber parties, and chose on three archetypal images to guide us: a doll, a mirror and a telephone.
 
girltalk2The girls who participated in the project wrote powerful pieces of poetry that addressed the issues of body perception, menstruation, virginity, broken hearts, catcalling, and “letting go” of the little girl inside of them in order to become women. We had each girl record her poems and then record some of the most powerful lines from their pieces in a whisper. Cari then installed the poems into each of the archetypes, allowing participants to interact with the poems by listening to the girl’s voices inside of the items. From the outside, the installation resembled something beautiful, frilly, and sweet, but like with the reality for girls around the world, what lingered just below the surface was filled with trauma, pain, and confusion.
 
The night of the event, two of the girls who had worked on the project performed their girltalk10poems live outside of our blanket fort as participants funneled through the installation. Women and men of all ages enjoyed interacting with the various elements of the project, some even moved to tears from the rawness of the experience and the poignancy of the struggles girls encounter that we were trying to convey.
Working on this project also evoked powerful feelings within myself, reconnecting me
with my past and those first few years of performing poetry. The inner turmoil and self-hatred I felt. The confusion and trauma I too experienced growing up as a girl. Witnessing these young women and hearing their own stories, their own self awareness and strength, was a healing experience for that little girl, still living within me. The one I tried to silence all those years ago.
melpromo4
Melissa Rose is a spoken word poet and playwright. She has hosted community spoken word events since 2003 and has been a member of 5 National Poetry Slam teams. She has performed her work across the United States and Germany and was a featured poet at the German National Poetry Slam in 2010. She currently lives in Eugene, Oregon.

The Telling Room: Proving the Power of Words

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Tonight, a story about Maine on National Public Radio’s “All Things Considered” began by claiming that Maine is the oldest and whitest state in the nation. But what may be true for the state as a whole is not true for its biggest city, Portland, home to recent immigrants and refugees from impoverished and war-torn places around the world. The children among them come with amazing stories.

Since 2005, as many as 3,500 students a year have had the opportunity to use poetry and prose to build their writing and storytelling skills at a special place called The Telling Room. Founded by three writers who believed that the power of story could change a community for the better, The Telling Room today reaches students and teachers in more than 30 Maine towns. Their paid staff of eleven, Teaching Artist in Residence, nine interns, and more than 200 volunteers provide individualized support to the young writers, some of whom are English language learners.

“The Telling Room is a nonprofit writing center in Portland, Maine, dedicated to the idea that children and young adults are natural storytellers. Focused on young writers ages 6 to 18, we seek to build confidence, strengthen literacy skills, and provide real audiences for our students. We believe that the power of creative expression can change our communities and prepare our youth for future success.”

Both a physical place and a wide-ranging program, The Telling Room has been recognized with grants and awards, including a prestigious National Arts and Humanities Youth Program Award as one of the top twelve youth arts and humanities programs in the nation.

Every year since the beginning, The Telling Room has published an anthology of writings from that year’s group of students. Titles such as “Swimming to Safety,” “A Day in Three Worlds,” and “The Faithful Doves of My Father” illustrate the variety of experiences and perspectives found in these poems, plays, essays, and stories. As shown in the image above, this year’s anthology is entitled A Season for Building Houses.

Joyful Inquiry: Broadening Perspectives on TLA Theory and Practices with Ruth Farmer

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Ruth Farmer will be teaching an online class for the TLA Network called Joyful Inquiry: Broadening Perspectives on TLA Theory and Practices starting April 19th. Here’s a short interview with Ruth about her class:

Q: Who would benefit most from taking this class?

RF: Teachers, consultants, coaches, community organizers, managers, and more. People who see themselves as passionate about helping others will not only get a lot out of the course, but will contribute as well. I hope a group of like-hearted people convene in this course, to expand upon the ways that we approach transformation and social change. I am hoping to build a community of people who can acknowledge that there are strengths, positive attributes upon which to build, as we move toward transforming those issues, attitudes, etc., that we are interested in shifting.

Q: What is unique about this class?

RF: I start with what is working. As someone who has been a community organizer, teacher, director, workshop facilitator, conference coordinator, … I have immersed myself into anticipating what can go wrong, what is not working, and how something (or someone) can change. In the past several years, I have begun to take a different view when I lead workshops or teach courses: I try to help folks see their strengths, what is working, what is right. Doing this has helped me to become a better teacher, since I know what it is I want to see more of. By starting with strengths, what is going well, and focusing on what we want more of, we (and the people with whom we work) can gain confidence and insight that will help us to approach problems with greater creativity.

Q: What is your favorite part about Transformational Language Arts?

RF: If you mean the field, then its breadth: songs, prose, plays, conversations, etc. can all fall within this category. And the philosophical center of TLA helps to make these creative expressions more meaningful.


“I am hoping to build a community of people who can acknowledge that there are strengths, positive attributes upon which to build, as we move toward transforming those issues, attitudes, etc., that we are interested in shifting.”


Q: What can students in this class expect?

RF: Students can expect to engage in dialogue with each other, apply their learning to their work in the world, and encounter a variety of source materials. Our discussions will emerge primarily from the anthology Transformative Language Arts in Action. We will also gain perspectives on strengths-based approaches through watching videos, reading short articles, and engaging with each other on the discussion forum about our insights. We will try, as we are able, to apply some of what we have learned to our current or proposed work.

Q: Why might this class be important at this time in the world?

RF: There are so many reasons to examine what is wrong with the world today. Focusing on this can be exhausting. More importantly, it keeps us stuck in the problems. This course asks participants to shift their gaze. That doesn’t mean to turn away, but to view things from different perspectives so that the problem (issue, however you want to describe it) is seen with fresh eyes.

Recently, I have seen people move from anger to frustration to hopelessness back to anger and even to despair. It’s difficult to hold that narrow range of perspective without at some point sinking into apathy. Let’s try looking at the shifts in people’s thinking – and that is definitely happening. I don’t know about you, but I have talked with so many people who were oblivious before and who are now realizing that they/we have the power and the energy to do something about issues and problems. They know this because they are focusing on what they can offer, rather than what is wrong.

Q: Is there anything else you would like to tell us?

RF: I am looking forward to facilitating dynamic dialogues among people who have lots of ideas and energy.

Sparks! Join in for conversation and poetry

Sparks! Poetry, Stories, & Songs is your chance to go deeper into the world of Transformative Language Arts practice, as well as contribute your own poetry to the TLA community via open mic.

Formally known as Let’s Talk TLA, Sparks! Poetry, Stories, & Songs is a free bi-monthly teleconference moderated by Kelly DuMar, TLAN Membership Chair. At each session, Kelly interviews notable Transformative Language Artists on their work, followed by a poetry open mic. The online gathering open to everyone.

The next session of Sparks! is April 25th from 7:00 – 8:15 PM (CDT) with special guests from the True Story Theater. The June Sparks! session is scheduled for June 15th from 7:00-8:15 PM (CDT) and will feature guest presenters from the upcoming August TLA Conference, The Power of Words.

You can register for Sparks! online gatherings here. (You can also find recordings of previous gatherings.) They take place via Zoom, are free, and open to all. Bring a poem and join in!

sparks

Poetry and response: Staying vertical in the TLA world

Janet Toone, a participant in Caryn Mirriam-Goldberg’s Winter 2017 TLA class, “Your Calling, Your Livelihood, Your Life,” wrote this poem during the second week of the course, which focused on The New Story of Your Life: Examining Myths & Messages about Who You Should Be.

Snow, ice, cold, threaten to shut me in, but I battle through.
Fear freezes my heart and mind, far more limiting than the weather
I shuffle, slipping and sliding on the invisible surface unsure
Exactly what the elusive enemies are binding and tearing at
My resolve. My myths I know well. The clouds begin to part.

Battles have been fought before. Often times I was very bloody,
And bowed before I thrived in spite of my perceived deficiencies.
Keeping my mind clear, my heart open, the target in my eye
My spirit willing, I move forward, seeking knowledge and skills ,
Winning those internal battles, I find purpose and build resilience.

Janet describes her approach this way:

“As I participated in Caryn’s class,  I came up against the chilling reality that selling myself was going to be the most difficult aspect of actually building and sustaining a TLA livelihood. I wrote this poem while I was battling that internal war of how and what it would take for me to feel like I could legitimately market my skills and my knowledge, while I was also fighting a battle to stay vertical in the snow and ice outside. I was working on pushing through my fear and setting my resolve to continue the work, to stay vertical in the TLA world, to not give up.”

Janet’s classmates reacted:

  • Your writing is very courageous.  And inspiring.
  • The alliteration you use in “Battles,” “bloody,” “bowed,” “Building,” and then “battles” again, really strengthens the flow of the second stanza.  Very cool. 
  • The second stanza, begun by speaking of battles and ending with the recognition that these are internal battles, is thought-provoking and evokes a feeling of warmth in contrast to the chill of the first stanza.
  • Powerful.  And amen!  For me, the way you took the descriptions of how winter weather shows up and connected those to the impacts of fear made the experience tangible. Real.

For Janet, “Your Calling, Your Livelihood, Your Life” was a comfortable and supportive space in which to explore uncomfortable questions. Through the expressive art of her poetry, she was able to connect with others in the class experiencing the same challenges.