In Gratitude for Martin Swinger’s Life and Music, by Caryn Mirriam-Goldberg

Martin Swinger, singer-songwriter

Martin Swinger, a virtuoso singer and songwriter, died suddenly in early July, leaving behind his husband (and partner of 35 years) Brian and many broken hearts in his Asbury Park, N.J. home community, and prior to that, central Maine, where he was a mainstay of the music scene for years.

But when I think of Martin, I see him at my kitchen table, serenading the then-coordinator of the TLAN, Deb Hensley, volunteers Nancy Hubble and Laura Ramberg, and me as we stuffed folders for the 2014 Power of Words conference.

He was like this: always bringing joy, humor, and the power of music to wherever he landed. He was gifted at helping in multiple other ways too: for the conference, he coordinator participant transportation, helped Deb with many pieces of the conference coordination, and generally brought a sense of peace and homecoming to all of us.

Martin Swinger keeping the TLA Network volunteers company as they prepared for the 2014 Power of Words Conference.

Then again, Martin knew how vital hospitality and art are to this world. He grew up gay in the South, falling in love with music and books of all kinds. In recent years, he went on to be quite decorated as a songwriter, winning many notable big-time contests and performing across the country, even to the delight of the late Pete Seeger and very-much alive Vance Gilbert and John Waters. His seven CDs won lots of well-deserved awards, including from American Song Competition, SolarFest, Rosegarden Coffeehouse and more. Audiences have adored him for decades for his warm and vibrant voice and eclectic blend of Americana, swing and jazz, traditional music, show tune, Klezmer music, and improvisation. Deb and Martin sang together like angels from an enchanted land.

Deb says of Martin: Martin was a true prince, a friend to me and to so many others who knew and loved him. He had a heart the size of Mars and talent to match. Frost says, “Nothing gold can stay.” But Martin’s songs will stay. Oh yes they will. And so will his love. 

His generosity extended in other ways: when one of our keynote performers for the conference didn’t show up, Martin graciously volunteered to perform on the spot and for free (although we did extend to him a small stipend anyway). When he performed, he lifted a full house of conference goers, who had been waiting a while for the keynote, to their feet with original songs such as “Betty Boop and Buddha,” “Consider the Oyster,” and my favorite, “Little Plastic Part.” That song, about how breaking a tiny part of a vacuum that “makes the whole thing work” speaks to having a little part of our heart broken so that it doesn’t work anymore.

I can’t help thinking about how Martin himself was a little vital part with a big impact himself. 

Find more about Martin here: https://martinswinger.com/

With great gratitude and appreciation for the life of Martin Swinger, singer-songwriter.

Spotlight on the Board: Empowerment Coach Jade Eby

Writing coach, community builder and author Jade Eby is a TLAN Board member, and the chair of the 2021 Power of Words Conference Committee. We were excited to sit down with Jade to talk about her work as a creative empowerment advocate, her creative community, and what she hopes to bring to the TLA Network.

You call yourself a creative empowerment advocate, can you tell us a little more about what that means?

Yes! Ever since I was a little girl, creativity has been an instrumental part of my life. I’ve used creativity as part of my trauma recovery journey, and I’ve used creativity to help hundreds of other individuals find their voices and tell their stories.

I strongly believe that when a person can get in touch with their creative side and then lean into it — they are able to fully step into an empowered state of being. I feel like that’s my life’s purpose, actually. To help others realize the inherent power and creativity they already have inside of them. I empower individuals to become empowered.

This is the main reason I created my digital community.

Can you talk about your community a little more? What role does it play? Who is it for?

I like to say that my Creative Empowerment Community is really a sanctuary for creatives. It’s a small but mighty community that encourages, supports, and empowers creatives to create. But what’s really amazing about it is that we get to come together as our authentic and whole selves. Members come from many walks of life, but we share a common passion of being creative.

There are many wonderful online communities out there to learn how to be creative, but I haven’t found many communities that embrace the actual living as a creative. The trials and tribulations that come with that. There’s more to living a creative life than just creating and that’s really where the benefit of this community comes in.

We come together as a family and work through the highs and lows of this creative life we’re living, as a community. It’s really beautiful! And it fits in with my work at TLA network so well.

Mock-up description of Jade Eby’s Creative Empowerment Community .

How does supporting the TLA Network connect to the work you are doing?

What drew me to the TLA Network to begin with was that same sense of community and connection that I felt was missing from my life. When I understood the mission and goal of the TLA Network, I knew I wanted to be a part of the organization on a deeper level because the work is so important. Connecting creativity to our social justice activism and making change is one of the most beautiful ways to use the gifts we’ve been given.

When I was asked to chair the conference for the 2021 Power of Words Conference, I was elated because it puts everything I stand for to work!

How amazing to be able to help spearhead a conference where we lift up diverse voices and stories. How amazing to be able to show other creatives that we can build a safe and supportive community that will honor what everyone has to say. Being part of this conference is another form of empowerment to me, and as you know, I’m all about empowerment!

Jade Eby has dedicated her career to empowering others to find their voice. As a creative empowerment advocate, Jade specializes in expressive writing + journaling, writing fiction, and creative writing as a healing modality. She is certified in trauma recovery coaching, group facilitation, and workshops for journaling. She earned her B.A. in English and Creative Writing from the University of Iowa. You can find more information about her and her programs at www.jadeeby.com

Spotlight on the Volunteer: Fiber Artist and Poet Cindy Rinne

As part of our Spotlight series, we have been focusing on some of the transformative artists who make up the TLA Network.

This month, we asked TLAN member and volunteer Cindy Rinne to share some about her work as a poet and an artist, and about her connection to the transformative language arts.

TLA Network: It’s wonderful to get to learn more about your work. Tell us about your process, and how you combine fiber arts, poetry and performance.

CR: I am an ecofeminist artist creating mixed-media fiber works as process art – these are collages layering fabrics from around the world to tell stories. There is not always a plan when I begin.

I work in collaboration with the materials. Sometimes text from my poetry comes alongside the imagery. Nature is the inspiration in both animal, tree, and plant voices. People may appear. I work on several projects at once to allow ideas to percolate.

In my work, textiles hang like tapestries to form a sculpture or are quilted. Sculptures explore dimension on the body and are a narrative from my poems or a play. The wearable fabric sculptures are also meant to come alive in performance art. Body holding space in movement, pattern, and sound.

TLA Network: You are fairly new to this community – how did you happen to find the TLA Network?

CR: I like to check out the residencies and conferences in writing magazines. The TLA Network’s 2019 Power of Word conference, in Scottsdale, AZ caught my eye. Not too far away and at a retreat center sounded great. Annually, I attend a huge writers conference and liked the idea of a more intimate, creative event – no huge book fairs or thousands of people.

The POW conference…was a place for talks, experiential workshops, storytelling, ecological and social justice, and spirituality to expand my practice. ~ Cindy Rinne

The POW conference description was a mix of who I am as a fiber artist, poet, and performance artist. Here was a place for talks, experiential workshops, storytelling, ecological and social justice, and spirituality to expand my practice. While attending, I was able to have early morning discussions and meals with the workshop leaders and some presenters. I could walk the labyrinth. This was a safe place to try new, creative things with other attendees.

TLA Network: You’ve written two chapbooks of poetry while participating in the TLAN conference and a Caits Meissner class for the Network – what in particular inspired you to create these works?

CR: My latest chapbook, Knife Me Split Memories (Cholla Needles Press), contains poems about my amazing Power of Words conference roommate, actor and playwright Valerie David – I describe her as a “three-time cancer survivor [who] has pelican bones and feathers of broken glass who sings a water spirit song.”

During the pandemic, I decided to take the TLAN workshop “& They Call Us Crazy” by Caits Meissner. The concept of the outsider appealed to me. A class combining art, writing, and social justice was a unique offering. I also liked that she creates ‘zines and thinks outside the box with her own work. Caits brought enthusiasm and great energy to the class as she presented us with artists and writers both known and unknown to me. She gave several prompts to choose from. The online class was easy to navigate, allowing me to see the richness in what other students created from the same prompts. I tried various poetic forms including erasure, canto, and collage.

I wrote silence between drumbeats (Four Feathers Press & Written by Veterans), as part of Caits’ class. In the process of writing, sometimes I combined art and poetry. The social justice poems and cover fiber art for this book were birthed in that class. “I alone / tread the red circle.” 

Cover artwork from silence between drumbeats, by Cindy Rinne.

Both the in-person POW conference and the online TLAN class expanded who I am and how I impact the world for social / ecological justice. I am now volunteering as part of the Power of Words conference committee team.

TLA Network: What are your hopes for the 2021 Power of Words conference?

CR: As we tread the new world of a virtual conference, my goal is to create a container where others stretch their wings. The presenters are all boundary pushers who will help me see the world through a new lens as I take my creative practice to new heights as a part of community.

Cindy is a San Bernardino artist and poet who has created fine art for over 40 years. She participated in “Lydia Takeshita Legacy Exhibit Series: 3” at LA Artcore, and has been in several online group exhibitions through LAAA/825. Cindy had tapestries in “Woven Stories” at MOAH (Lancaster Museum of Art and History) and at RAFFMA at Cal State San Bernardino for “Voices of Ancient Palmyra Resounded.” She participated in “50/50, FIFTY/FIFTY, The Creative Magic of Collaboration” at the Progress Gallery, Pomona, CA. In 2020, Cindy was selected for “Hobson’s Choice” at the Torrance Art Museum. She has exhibited at the Beatnik Lounge and La Matadora Gallery in Joshua Tree and is represented by Desert Peach Gallery in Yucca Valley, CA. You can see more of her work at www.fiberverse.com

Spotlight on the Board: Jennifer Minotti

Jennifer Minotti is The Network’s newest Board member. We were excited to sit down with Jen to talk about her new Journal of Expressive Writing, her Women’s Writing Circles, and what she hopes to bring to the TLA Network.

You created the Journal of Expressive Writing amid a global pandemic. Tell us about the journal and why you felt called to create it in this moment. 

Long before the pandemic, I spent hours conceptualizing this journal. The idea first came to me while facilitating my Women’s Writing Circles, which I have been teaching since 2015 as a Writer-in-Residence at Suffolk University’s Center for Women’s Health and Human Rights in Boston. For years, I have had the privilege of listening to hundreds of women’s stories. These stories are so amazing! I am always astounded at what women produce in just 5 or 10 minutes from a single writing prompt.

My goal is to provide a sacred writing space that supports the personal and collective wellness, self-expression, and health of my participants. For most women, this meets their needs. But for others, there is a strong desire to also have their voices heard more widely. Many women have asked me for publishing advice over the years. As you know, the publishing industry is not an easy one to navigate, especially for new writers. In addition, facing rejection can be counterproductive to women who were just supported, many for whom this is not a regular occurrence. I wanted to facilitate a publishing process for my participants, as well as others, that would be more uplifting and gratifying and that would move their voices out of the circle and into the world where they could be heard more widely! 

Amidst COVID-19, I realized that there was no better time to create this journal than right now. Many of us not on the front lines were asking ourselves how we could best be in service to others. Many felt helpless and didn’t know how to help. I’m not a seamstress, as an example, so making masks was totally out of the question! One day last Spring I realized that creating this online journal was the best way I could use my strengths and passion to make a difference in the world. I immediately started working on the website. I put out a Call for Submissions. I told myself that if I didn’t receive any submissions, it wasn’t meant to be. I’m not on social media, so that made things more difficult. But by the time I launched the Journal of Expressive Writing on May 15, 2021, I had received expressive writing from 31 people. I was shocked! It could have been a non-starter, but fortunately, I think people understood what I was trying to achieve, or at least I hoped they did. I then realized that I had to write a piece introducing the journal to the world as Editor-in-Chief. That was scary, but I figured if others could put themselves out there, so could I. If you’re interested in reading more, it’s called Belly Flopping in my Evening Gown.

 You said that you thought people understood what you were trying to achieve with the new journal. What was that?  

For as long as I can remember, I have always felt that many of our most basic social and emotional needs have been replaced by desires that accompany the dominant cultural norms that permeate our technology-driven, capitalistic, and boisterous modern-day world. Before the pandemic, many people were already anxious, scared, lonely, and unsure of their place in the world. For the millions of people who were struggling with recent losses—lost jobs, deaths, illness, stay at home orders, children learning remotely, lack of stability—those feelings of loneliness, separateness, and fear were intensified.

But I knew how much expressive writing could help. Expressing our emotions through writing can help ground us. It can help us manage our emotions. It can help us make sense of our lives. The more we free write and journal, the more empathy, gratitude, forgiveness, and joy show up in our lives. I know this through personal experience and also through years of research and studying this. Expressive writing helps support healing processes and illuminates un-awakened parts of ourselves. It opens us to new perspectives and narratives. It’s so easy to do and totally free, and yet it can shift our mindset, help us feel more connected to others, and is essentially a total game changer! Expressive writing is something we can do anywhere, at anytime, even during a global pandemic and lock-down.  

In addition, I’m an activist at my core. At a fundamental level, I have this very strong belief that sharing our stories is a radical act of self-love and love for others. I couldn’t stop thinking that if we could just share our stories—in a raw, truthful and very real way—at this moment in time when we needed connection more than ever, it just might be one of the most valuable gifts we gave to ourselves and others. It just might help bridge the political, class, and racial divides that were simultaneously exploding and perhaps help in some small way. 

That’s really interesting, Jen. Tell me more about the journal’s connection to social justice for you. 

The easiest way to explain the connection for me is to borrow from what I have learned from Thich Nhat Hanh, who most of us know. He has this great way of explaining how, when groups listen deeply to one another—and this is similar to how women listen to other women within my Women’s Writing Circles—they start to recognize that the other group’s suffering is similar to their own, even when their specific situations may differ. I’ve studied mindfulness and mindful communications quite a bit and I love this concept of deep listening. But it’s not just about our voices. Our energies and actions spread energetically as well. I have witnessed first hand how generous commitment to sharing our stories can be a deeply healing and transformational process, and how pausing to write (and read) can yield reverence for other people and the moment we’re living in together. I can actually feel it energetically in my body.

So I guess you could say that the Journal of Expressive Writing calls on all of us to share what matters most as a form of individual and collective activism. It’s a platform to express who you are in a particular moment and to read who others are. I think too often, we hold ourselves back when we feel our writing has to be “finished” or “perfect” or any of the conditioned belief systems we carry with us.  When we can write (and operate) from our authentic selves, when we no longer feel the need to hide from our feelings or the feelings of others, tenderness starts to take shape. People’s inclination to judge softens. It’s amazing to watch and experience. Clinging and attachment to any preconception or assumption about others starts to diminish. Love emerges and so does healing, not only for the writer, but for the readers, too! Eventually, it’s a ripple effect. This is ultimately what I hope to achieve with the journal.

Do you have other goals for the journal and your Women’s Writing Circles?

Yes, I do have a vision that I have been manifesting for a while. I view the Journal of Expressive Writing and the Women’s Writing Circles working in tandem. They both serve as spaces to share, honor and bear witness to personal stories. My goal is to have Women’s Writing Circle outposts around the world, where any women wanting to facilitate these circles can replicate its design. In doing this, not only do I hope to expand the field of expressive writing and its many benefits, it’s also my goal to support marginalized women who may be able to earn a salary for the first time by bringing the Women’s Writing Circle model to their community. In this way, women can experience being both a participant, as well as a global organizer of empowerment, peace and individual independence. This “train the trainer” model is something I’d like to teach within the TLA Network, as well as elsewhere. 

The Journal of Expressive Writing then becomes the place where, as Women’s Writing Circles expand, so too does the journal. Next week, I will be celebrating the one-year anniversary of the journal (I can hardly believe it!) and the publishing of over 150 pieces of unbelievably beautiful writing from around the world! What would happen if, one day thousands of pieces of writing were published? How many voices would we hear? That’s exciting to think about!

That is exciting! And we’re excited that you will be joining the Network’s Board. Can you tell us how you view your work supporting the TLA Network?

As a writer, educator, and social justice activist, I’ve come to see myself as someone who is continually trying to uncover the truth. As women, we worry and care. As human beings, we scrutinize and explain. But when we arrive in spaces like the Network— which brings together writers and artists who share a willingness to be open, honest, trusting, attentive, caring, and receptive to others’ words and experiences—we are transformed as individuals and we are elevated as a group. I am so honored and humbled to be joining the Board. The work TLAN practitioners are engaged in continues to inspire me every day. It is my sincere hope that my background, as well as my experience advancing DEIJ (diversity, equity, inclusion, and justice) efforts within organizations can help support the TLA Network’s mission and goals.    

Jennifer A. Minotti
Founder & Editor-in-Chief
Journal of Expressive Writing
journalofexpressivewriting.com

Facilitating For Change & Community

Facilitation21Do you want to learn more about facilitating workshops, meetings, collaborations, or coaching sessions? Come join Caryn Mirriam-Goldberg and Joy Roulier Sawyer for “The Art of Facilitation: Facilitating for Community and Change,” June 2 – July 13. This online class also includes video-conferencing and lots of resources to give participants a rich experience of and education in effective and soulful facilitation.

As Joy and Caryn write in the class description: “We’ll explore how creating intentional communal spaces, taking an inward look, and working across vast definitions of “difference” (including race, religion, gender, class, living with ability or health challenges, and more) can help foster greater cohesion and expression in a fragmented culture. We’ll also learn how to navigate difficult situations and people more smoothly and compassionately, as well as how to joyfully sustain ourselves in our own individual TLA callings.”

Joy and Caryn also share this video about what happens in the class and who comes. Continue reading

An Invitation from The TLA Network

Dear TLA Community,

As part of our effort to grow the TLA Network, we are always on the lookout for new instructors to teach classes for our community. Over time, we have developed a strong reputation for offering classes that speak to deep and meaningful human experiences, and, we are always eager to encourage fresh voices to join in the mix. 

We invite you to consider teaching for the Network. If you are that person who has often thought, I would love to teach what I know to this community, consider joining us in learning the fine art of teaching a well-crafted, strong online class.

Curious about what it would take? Interested in learning how to market a good class? This month we launch a new series, Tools for Teachers, geared towards training people to teach for the Network – we hope you will join us in honing your craft.

We encourage you to be bold: speak your truth, share your vision, and join us in creating a learning environment that builds connection, provides replenishment, and supports our community to go out to do the important work of healing our world.

To the power of words, 
Hanne Weedon, Managing Director

Hanne Weedon comes to TLAN with 20 years of leadership and program development experience in not-for-profit and government-funded organizations. A longtime community, arts and social justice advocate, she resonates with the goals and values of the TLA Network. Hanne’s appreciation for, understanding of and dedication to building representative, inclusive and diverse communities is a core aspect in all her work. 

My Journey With The Transformative Language Arts, by Wendy Thompson

Writing poems, journaling, storytelling, monologues, singing along with Janis Ian – I have been a TLA “practitioner” since I was a teen. The written, spoken, and sung word brought me through many a dark night into transformative light. 

Officially, my journey with Transformative Language Arts began in 2006. I was teaching creative writing at a public arts school in Vancouver, WA; students often submitted highly emotive, personal narratives to which I did not feel equipped to respond. I needed professional development. 

Although I personally understood the therapeutic value of journaling and poetry, I had not heard of poetry/biblio-therapy. My introduction to the field was “Writing as a Healing Ministry” with Sharon Bry. She told me about the TLA program at Goddard. I applied, was accepted and met Caryn Mirriam-Goldberg. Although I only attended one semester at Goddard, I was clear that this was the professional development I was looking for. 

I continued to study independently with Alma Rolfs in Seattle, WA and Kay Adams at The Center for Journal Therapy in Denver, CO. I attended several TLA Network Power of Words conferences, Miriam-Goldberg’s Brave Voice songwriting workshop in Kansas, and the National Association for Poetry Therapy Conference in Portland, OR. In 2015, I experienced a period of unemployment that afforded me the time to pursue the TLAN Certification program, which I completed in 2017.

I am certain that the pandemic is already affecting deep systemic change in public education – beyond reform to transformation.

Wendy Thompson, elementary school teacher & TLA Practitioner

My first foray into TLA facilitation was with a group of 5th graders, 40% of whom were directly affected by an immigration ICE raid in Portland, OR. The six sessions resulted in an anthology of student poetry From Here, There & Everywhere: Poems of Origin & Hope (available at lulu.com). This project motivated me to integrate my TLA theory and practice into standard Language Arts curriculum. I designed a unit titled Civil Writes, through which students had an opportunity to explore social justice issues through poetry and prose as well as respond with their own writing.

I have been an arts educator in multiple settings and content areas for over 30 years. This past year has been the most challenging ever. With the social and emotional health of students my first priority, I am relying on TLA experiences, methods, and processes (like Hynes & Hynes Berry 4-step method of recognition, examination, juxtaposition, and application) to guide me. I am certain that the pandemic is already affecting deep systemic change in public education – beyond reform to transformation.

Grateful for all I have gained in my journey with Transformative Language Arts, I am glad for the opportunity to give back in service to the TLAN Board. I am curious to see what we all will co-create, where this seachange will carry us!

TLA Network board member Wendy Thompson holds an MFA from the University of Utah in Modern Dance. She is an Movement & Integrated Arts Specialist at Lake Shore Elementary, in Vancouver, WA. Currently, Wendy serves as Co-chair of the TLAN Education Team, and is a Certified TLA Facilitator. She has been a member of TLAN since 2015

TLA in Action Series–A Virtual Greenhouse Roundtable: an interview with poets Diane Glass, Liz Burke, and Rachel Gabriel.

Note: In an effort to encourage online creative communities and friendships within our TLAN membership, we will continue to examine models of creative small groups as we develop new ways for TLAN practitioners to keep in touch. We hope this article is the first of many to feature how members support one another. 

Do you have an idea for how TLAN could grow small groups for creative nourishment and support? Please share! Contact Hanne Weedon, TLAN managing director.

Well before the pandemic began, three friends from the Transformative Language Arts Network community created a literary friendship using virtual technology. They shared a passion for poetry and a desire to support one another’s writing. Through monthly meetings, they cultivated, nurtured, and sustained a welcoming environment for producing and revising their poetry. 

“A Virtual Greenhouse–Cultivating, Nurturing, and Sustaining Creative Growth through Literary Friendship” was one of several opportunities offered in the winter of 2020 by TLAN as part of our TLA in Action Series. What follows is a summary of the conversation between Liz Burke, Rachel Gabriel, and Diane Glass, as moderated by longtime TLAN teacher and community member, Kelly DuMar. The conversation has been edited for clarity and length. 

Kelly DuMar: Tell us about your passion for poetry.

Liz Burke: My love of poetry began with a love of language, the musicality of it, and its potential for creating worlds.

Diane Glass: Yes, with poetry, you’re able to go to the essence of something and really get at the heart of things. 

Rachel Gabriel: Humanity has always expressed its thoughts and dreams through poetry. When I write a poem, I am making one small observation yet joining a community of voices. Poetry is also a wonderful way for me to connect words with images and words with music. 

Kelly: How did your literary friendship develop?

Liz: We met through TLAN, but we really got to know one another during the Right Livelihood Professional Training. That first weekend together, we went through an intimate process of inner discovery. And we also considered how we want to live in this world. 

Diane: I came to the group with an intention: I wanted to write a book, something beautiful for family and friends. Along the way, the primary focus of our group became learning how to write poetry. This is a safe place to bring our work. We focus on the poem, not on our feelings.

Rachel: I studied so much literature in college that I couldn’t write for a long time, but I’ve done a lot of journeying as a writer and as a teacher of writing. In TLAN, you know that if you fall on your face, no one will mock you. They will pull you up and say try again. I [feel comfortable] bringing a little silliness and playfulness to this group. 

Kelly: How does the group work? 

Liz: We meet once a month for an hour, and everyone has about twenty minutes to share their work. We have clear guidelines, but we are always responsive to one another’s needs.

Rachel: We consider whether the poet’s intention is there on the page. Instead of saying whether or not we like a poem, we discuss whether or not the poem is working. It’s energizing to engage with your colleague’s work.

Diane: We share poems through a Google folder so people can see the poem while we talk about it. We listen and receive feedback, but know the poet must make the final decision.

Liz: I like to practice experimentation with form and play. I start with a poem as a nugget and then breathe air into it to inform the poem. In our group, we investigate every word—it’s an exciting process.

Kelly: How have you grown individually and as a group?

Diane: I brought a poem about my stepson’s suicide to the group. I didn’t want to talk with anyone who was emotionally involved. Liz and Rachel opened a door for me to write more. They showed me the possibilities of something bigger.

Rachel: Intimacy develops in a small circle of friends. It’s always amazing what you learn. Diane wanted us to talk with her as a poet. We have made an investment in one another. That allowed this door to open.

Diane: Zoom didn’t get in the way of intimacy for us.

Liz: My poems have become more courageous because of this group. I bring writing about an experience that is very vulnerable, knowing this vulnerability will be held tenderly. It can be tricky [to hold this space for vulnerability] while commenting on what works and what doesn’t.

Rachel: If it hadn’t been for this “greenhouse,” if they [Liz and Diane] hadn’t been nurturing me along, I wouldn’t have been able to write this song [“Hymn for America” in response to George Floyd’s murder]. My whole city [Minneapolis], the whole country was unravelling. I could go to my poetry as a way of conversing with it all, which felt like a gift in the midst of everything. 

-Compiled by Rachel Gabriel.

Diane Glass loves reading poetry, and during a Right Livelihood Professional Training offered by TLAN founder Caryn Mirriam-Goldberg and Laura Packer, she discovered how much she loves writing it. RLPT’s encouragement and that of her two poetry partners, Liz and Rachel, has resulted in a poetry book released this month, The Heart Hungers for Wildness, available on Amazon and Barnes & Noble. Diane published a memoir as well, This Need to Dance, her story of growing up with spina bifida. Diane completed the TLA certificate and considers this organization her tribe. http://www.dianeeglass.com. 

Liz Burke is a poet, interdisciplinary educator, and writing coach passionate about narrative and arts-based approaches to personal and social transformation. She works with adult students, working-class identified groups, university faculty, LGBTQIA+ communities, women living with the aftermath of sexual assault and harassment, feminist activists, and poets/writers of all kinds. She serves as the TLA Network’s Board Chair. 

Rachel Gabriel is a multi-disciplinary artist in word, image, and song. Her work as a writer and teaching artist have been honored by The Loft Literary Center where she’s shared a passion for creative writing and literature with youth and adults since 2007. She was awarded a residency at The Ragdale Foundation for her novel in-progress, and has published prose and poetry in several anthologies. In her creative work, Rachel explores topics such as spirituality, gender equality, and phenology. Her outreach and consulting work includes facilitating creative process and development workshops for intergenerational groups or private clients. She is an apprentice in book arts and bibliotherapy, and continues to develop curricula which weaves together creative expression with spiritual wellness. She lives in Minneapolis, Minnesota with her husband, son, and daughter. In her opinion, a perfect day includes a walk in Paris, painting by Lake Superior, and dancing in the kitchen.

Kelly DuMar is a poet, playwright, and engaging workshop leader who guides new and experienced writers to aim for astonishment, reclaim their imaginations, and generate enlivening writing experiences. Her Aim for Astonishing photo-inspired process elicits profound personal awakenings, deepens connection with others, and fosters beautifully crafted writing in poetry and prose. Author of three poetry collections, Kelly is also author ofBefore You Forget— The Wisdom of Writing Diaries for Your Children. She produces the Our Voices Festival of Boston Area Women Playwrights, held at Wellesley College, now in its 13th year, and she produces the annual Boston Writing Retreat and the weeklong summer Play Lab for the International Women’s Writing Guild, where she serves on the board. Kelly founded the Farm Pond Writers Collective to guide women writers to write from their personal photos, develop their artistic voices and connect deeply with their creative lives. Kelly inspires readers of #NewThisDay – her daily photo-inspired blog – with her mindful reflections on a writing life. www.kellydumar.com

Meet the teacher: Yvette Angelique Hyater-Adams

Who is Yvette Angelique? Yes, you have niceties in the bio, but who I am is a more profound question.

I am first an artist. I always have been since a little girl playing the organ, then guitar, songwriting, letter writing, poetry, and essay. As I grew professionally in and out of my artwork, I became a strong facilitator of groups and a trainer. This path led me toward all sorts of incredible corporate and community work.

… I always wanted … to live an interdisciplinary life at the intersection of art, activism, and teaching.

Yvette Angelique Hyater-Adams

But what I always wanted was to live an interdisciplinary life at the intersection of art, activism, and teaching. I’ve achieved that sweet spot and wish to share my path with others who are thinking about who they are as an artist, how they engage in uplifting their communities, and how they pass on their skill and talent so that others can grow and thrive. 

What is your passion? I have a few! One of my passions is to disrupt the starving artist narrative. As a TLA practitioner, I work on my art, activism, and educate/coach others in a one-on-one capacity, as a facilitator of teams, and as a teaching artist with womxn and girls.

There is enough work in the world for all of us.

YVETTE ANGELIQUE HYATER-ADAMS

I am clear what I run as a business is a social arts practice where my time creating new art and engaging with others on social justice issues is healing, creative, and transformational. There is enough work in the world for all of us. 

What are your most recent projects? For many of us, this year has been a source of disruption and anxiety-making time. And when space and time wrinkles in this way, it pushes us (and me) into expanding creativity to see what else is possible. Right before the pandemic began to peak in March, I had completed an EP digital chapbook, Something Old, New, Borrowed, and The Blues. It was a fantastic creative project where I blended old and new poems and invested in professional recording time to deliver the product. I was invited by the University of North Florida’s Creative Writing Program to be a guest artist for 2020 on their Eat Poems platform www.eatwords.net. The EP is available for listening on the Eat Poems site and can be purchased via iTunes, Amazon, and Spotify.

Last fall, I enjoyed an art residency with Joy Harjo, our U.S. Poet Laureate, as an associate artist. I learned SO much in the small community of poets and the broader community of musicians, theater, dance, and visual artists. The time was freeing and intense. I came back home mid-November and started to work on the digital EP.

Another goodie I started last year and picked up again this year is facilitating girls in the juvenile justice system to write and tell their stories. After writing their stories, they perform them as monologues or like “Ted Talks.” They perform their stories for an audience of leaders in the community who touch their lives: law enforcement, state’s attorney, detention center personnel, social workers, advocates, etc. Through their storytelling, they have been able to make an impact by expanding the mindset of the realities of their experiences and influencing changes in policies and practices. Last year, several state attorney office rules changed to reduce harm due to the girls’ work. 

What is essential to know is that the work of healing and transformation is real work where TLAers can earn a living.

YVETTE ANGELIQUE HYATER-ADAMS

What excites you about teaching this class? I am excited to work with folx who are artists, facilitators, community organizers, and cultural workers interested in using their art to engage in community healing and transformation. What is essential to know is that the work of healing and transformation is real work where TLAers can earn a living. I refer to this work as a social arts practice. Use the time spent in this class to take a more in-depth look at what you offer and ways to strengthen your practice earning potential. Unpacking your skills, focusing on who you serve, understanding needs and what you offer—these are the key components to developing your social arts practice into a viable business. 

Yvette Angelique Hyater-Adams’ latest class for the TLA Network, “Leverage Your Expertise as a Social Arts Practice, for Community Engagement, & Radical Livelihood,” begins November 4.

Yvette Angelique Hyater-Adams, MA-TLA, is the Principal and Chief Storytelling Officer at Narratives for Change. Yvette Angelique is a poet, teaching artist, and proven culture change strategist. Yvette’s recent artistic work includes: a digital poetry chapbook book, Something Old, New, Borrowed, and The Blues; a poetry chapbook, Shut Eyes See; and storytelling performances–See the Girl Monologues, and Europa: Zora Neale Hurston, Carlos Santana, and Me. Her poems appear in journals and anthologies, and her essays and book chapters contribute to the discourse on transformative language arts for personal and social change. Yvette teaches creative writing and storytelling to heal, create literary art, for consciousness-raising and advocacy. She is on the editorial board for the international publication Practising Social Change. She is Chair of the Board of Directors for Alternate Roots, a longtime organization for Southern artists and cultural workers.

MAKE ART, by Carol Pranschke

“Sometimes life is hard. Things go wrong… and when things get tough… make good art.” ~Neil Gaiman, author, during his Commencement Speech to the 2012 graduating class of the University of the Arts in Philadelphia.

What is simpler than “Make Good Art?”

Make Art.

Let go of judgment. Stop creating under the cloud of perfection. Lose the long coat of the imposter.

As a community of TLA’ers, we make art.

Let’s do it, and then make more.

Has the current pandemic transformed your spare time? After you watch 13th, talk to your plants, walk the ferret, and search the cupboard for chocolate morsels, you’re wondering what to do next. Make your art. 

You may find yourself sharing unexpectedly. Recently on Facebook, a group of people with diverse spiritual beliefs (some Christian, some not), who believe in the power of praying the rosary, was having a “Black Lives Matter. No, All Lives Matter,” exchange. (Disclosure: I am a member of this group, and am not a Christian). I hesitated to jump in, not having made a public statement about the phrase Black Lives Matter before, and then I responded: 

Black Lives Matter. It is not that black lives matter more than anyone else’s, it is that we need to affirm that their lives matter so the killing will stop. So that black men and women can walk outside without fearing for their lives, so that their mamas (and papas) do not have to grieve for dead children, and do not have to fear every time their child steps outside. Black Lives Matter. As a white person, I am affirmed by my culture that my life matters, and I now affirm the lives of people of color. 

I’m glad I jumped in. I want to do better. Here’s my rewrite, where I’m striving for something more visionary: 

Black Lives Matter. It is time to affirm that Black Lives Matter so that the killings stop. It is time to affirm that people of color deserve to live long and healthy lives, with dignity, safely, and with opportunity to participate fully in solving the complex challenges of our time. As a white woman, I have much to learn from people of color – for starters, how to live with resilience and joy in times of great grief. I affirm that George Floyd’s life mattered. Black Lives Matter. 

As writer and activist Rosa Luxemburg wrote, “The most revolutionary thing … proclaim loudly what is happening.” You may consider this blog post to be a small step in making art, but I am calling it a proclamation.  

I leave you with words from my friend and leadership advisor, Mark Bernstein, who listened to me wonder if I was ready to go public with writing, and said, “Make your damn art.”

Thanks Mark, I will. 

@2020 Carol Pranschke with gratitude to Diane Glass and Laurie Fickle.

A long-time creative since she was little, Carol Pranschke’s first true love was story. Stories saved her life (along with meditation, long talks with sisters, and blowing big bubbles). She sees a storyteller in you, and would like to dialogue about transformative language. See more at Carol’s website,or contact her at carolpranschke@gmail.com.

Disclaimer: The TLA Network supports and encourages our members to share ideas and perspectives via our blog. The views and opinions expressed in this article are those of the author and do not necessarily reflect the official policy or position of the TLA Network.