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. 

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.



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

Chrysalis is open for submissions!

Screen Shot 2017-11-03 at 11.16.55 AM

Chrysalis is an online, peer-reviewed, international journal that publishes critical, creative, and reflective work on the use of language arts to create personal and community change.

Dedicated to the research and practice of Transformative Language Arts (TLA), it is a foundational resource for those who are currently studying or practicing TLA; for those interested in the power of the spoken, written, and sung word to engender change in both the reader and the writer; and for those who seek to discover that power.

You are invited to submit material to Chrysalis that challenges, inspires, educates, and guides us to grow the community of Transformative Language Artists.

  • Creative writing, audio and video products (poems, short stories, essays, etc.) accompanied by a short reflective paper regarding the process of writing the piece and its relevance to the transformation of the author and/or the author’s community.
  • Narrative accounts of TLA projects in action in communities, or experiences practicing TLA alone and with others.
  • Critical writing related to the power of words, including qualitative and/or quantitative studies, and other related investigations of TLA scholarship.

Submissions are made through Submittable on the Chrysalis website. The open submissions period is November 1, 2017 – February 1, 2018.

Making Music

by Barbara Burt

“Can You Turn a Poem into a Song?” is the title of an article I just ran across. “How hard could it be for a poet and fiction writer to turn a poem into a love song?” asks the article’s author, Desiree Cooper. She concludes that it’s “Pretty hard.”

Some of us in the TLA Network might beg to differ. The fact is, even if you don’t read notes, play scales, know chords or fingerings, you have the capacity to make music. Don’t let anyone tell you otherwise!

We are all born with music in us; whenever we sing or play music, we unleash that expressive engine. A number of ways to make music are represented in workshops offered at this month’s TLA Power of Words Conference. Here’s a sampling:

Songwriting: The Inspiration and Acrobatics of Language — Martin Swinger shares insights and processes that lead to the creation of his quirky, one-of-a-kind songs which gain national recognition and awards for their originality. Part concert, part discussion, part hands-on exploration of language, inspiration, songwriters ‘filters’ and the prosody which makes songs SING! No songwriting experience necessary.

Soul Song for Centering: An Experiment in Creating Sacred Song — Using your name as a foundation for exploration, you will be guided to create your own personal Soul Song to sing or chant whenever you want to connect with and feel the beauty of your Soul. You will create your own meaning and intention for your Soul Song and will be gently guided to find your inner melody. Whether you’re shy or comfortable using your voice to sing, we will create a safe environment for you to find your Soul Song for Centering. No singing or musical experience needed. Bring notebook, ear buds or plugs (if you have them), and an open mind and heart. Led by Tonia Pinheiro.

Sound Puzzles, Rounds, and the Meaning of Life According to the Woodthrush — This interactive presentation showcases the culmination of one woman’s modest experiment in responding to birdsong as a unique portal to re-inhabiting her own singing voice.  Interspersed with narratives from her story, “I Shall Go Singing,” spoken against a recorded backdrop of original vocal sketches, Deb Hensley’s presentation offers listeners live performances of original songs, rounds, and sound puzzles inspired by birdsong. Audience members will be invited to learn a few of these lyrical, whimsical, and sometimes quirky “why” rounds. Deb’s story offers insight into how deep attention to sound and song in the natural world promotes access to one’s own ancestral, spontaneous, innate, and amazing natural voice, as well as a deeper understanding of ecological literacy, place, and identity.

Note that none of these workshops requires previous experience with songwriting or musical training. Yet, by the end of the workshop, some wonderful and unique musical compositions are sure to have been created. I plan to record some examples of this music-making as I attend the conference; watch for videos on upcoming blog posts.

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!


Greetings from Maine, site of the 2017 Power of Words Conference

As one your new editors of the TLA Network blog, I am looking forward to reading your submissions and engaging in the conversation about the importance of Transformative Language Arts to each of us, as well as the importance of our TLA practice to the community around us. I am fairly new to the field, although I have been telling stories through writing for my entire life. As the title of this post says, I write from Maine, which means I’ll be excited to attend the Power of Words Conference in Maine this summer, where I hope I’ll meet many of you in person.

The conference, officially called the 14th Power of Words Conference: Transformation, Liberation, and Celebration Through the Spoken, Written, and Sung Word, takes place from August 18 – 20th at Ferry Beach in Saco. As a Mainer, let me assure you that this is prime summertime on our beautiful southern coast. I can’t imagine a better place to feed the imagination and create a sense of community. Here’s a photo from the Ferry Beach website:


Picture yourself in one of the chairs on the porch surrounded by fellow conference attendees. You’re all sharing stories, ideas, and reactions to the great workshops/lectures/performances you just attended, while the porch flags flutter in the sea breeze. (Learn more about the Ferry Beach Retreat and Conference Center here.)

Keynoters at the conference include Joseph Bruchac, True Story Theater, Mahogany L. Brown, Susan Bennett-Armistead, and Kelley Hunt. The list of workshops is varied and extensive. To find out more about the conference, visit the conference webpage:

Speaking of the conference, if you are planning to attend, you can save $20 by registering before April 25th.  After that date, the registration fee becomes $230 for TLA members and $250 for non-members.

I have to say, just thinking about a wonderful seaside conference in August is an effective spirit-raiser in gray late February. And, this year, it seems more important than ever.

–Barb Burt

Taina Asili Pens a Black Lives Matter Anthem

meTaina Asili, a long-time Transformative Language Artist and activist singer-songwriter, just wrote and recorded a powerful anthem for the Black Lives Matter movement. Featured in the online news source, Taina shares a video of her song “Freedom.” She writes from experience, as the article states:

As the daughter and sister of two formerly incarcerated Afro-Puerto Rican men, musician Taina Asili has also been an activist involved in the prisoner justice movement for years. In attempt to proliferate the messages of equality and justice, Asili recently released a powerful new song and accompanying music video, “Freedom,” which features Black Lives Matter and prisoner justice activists in an attempt to invigorate and support their work.

She wrote the song in response to the Black Lives Matters movement after being inspired by Michelle Alexander’s book The New Jim Crow: Mass Incarceration in the Age of Colorblindness. “Freedom” builds on the musical legacy left to her from her parents, and was filmed in her home community of Albany, New York, an important stop on the Underground Railroad. It also features Michael Reyes.

See the video here:

Taina graduated from Goddard College with a MA in Transformation Language Arts. A longtime touring artist with her band, Y La Banda Rebelde, Taina is “carrying on the tradition of her ancestors, fusing past and present struggles into one soulful and defiant voice” (from Learn more about her tips for activists keeping healthy and engaged in this post, and more about Taina’s study and work while at Goddard here. Taina has been a featured performer at several of the TLA Network’s Power of Words conferences over the years, bringing big crowds to their feet and onto the dance floor. Learn more about Taina, listen to her music, and watch her videos here.

“Music Allowed Me to Be Myself”: Interview with Kelley Hunt

Kelley Hunt OM6_edited_2[8]Kelley Hunt is a rhythm and blues singer who has six critically-acclaimed CDs to her credit, including the recent award-winning The Beautiful Bones. Her previous CDs include Gravity Loves You, Mercy, New Shade of Blue, Kelley Hunt, and Inspiration. She regularly tours the U.S. and Canada with her band, performing at blues and jazz festivals, on television and radio shows, in movies, and at concerts in a variety of venues, including currently on the Blues Cruise. She has been featured many times on National Public Radio’s “Prairie Home Companion” as well as at the Austin City Limits Music Festival. She also regularly leads workshops on blues piano, songwriting, and singing, and she collaborates regularly with other writers and artists, including Caryn Mirriam-Goldberg, with whom she offers Brave Voice writing and singing workshops and performances.. She also composes for film and various projects. The TLA Network is thrilled that Kelley will be teaching an online class, “Soulful Songwriting: How to Begin, Collaborate, and Finish Your Song” Feb. 14 – Mar. 13. Here is an interview excerpted from The Power of Words: A Transformative Language Arts Reader.

Caryn Mirriam-Goldberg: Have you always known that you needed to make music?

Kelley Hunt: I can’t remember a time when I didn’t know that. My first memories of myself as a child involved music, either hearing my mother or my father, or hearing music in the house when I was just a tiny little kid. I never questioned it and the people in my family never questioned it.

CMG: More than anyone I know, you play in many genres at once. What gives?

KH: I think a common thread runs through all of them that has to do with my development as a person. It also has to do with what I was exposed to as a child and what I chose to surround myself with that gave me comfort when I was growing up. So instead of trying to put some kind of censor on myself and think, I’ll just do this style or that, a few years ago, I made a conscious decision to not be conscious of the style and simply let happen what was going to happen, knowing it was going to be unique to me, and also fully understanding it would be incorporate a lot of things. And that’s when my music and creativity opened up, when I took the fences off from the different styles and quit separating them.

CMG: One of the styles that you do, gospel, speaks to a spiritual center and yet I hear that in so many of your songs. Is singing and writing songs part of your own spiritual practice?

Kelley with Mavis Staples

Kelley with Mavis Staples

KH: Yes, I think it’s the major part. It’s also a reflection of things that fed me as a young child and as a young woman. My grandma sang gospel and spiritual music, my mother and father, and especially my mother sang in church so when I was very, very young, like two, I had a memory of watching my mother be the entire choir in the little church I was in. It wasn’t so much about saving souls but about the music she was doing, and the style was gospel. As a little kid, I thought that’s what you do, it’s the no bullshit approach, it’s celebratory because she absolutely exposed herself, tears coming down her face, smiling and very unguarded in her music. I found that endearing.

CMG: Who wouldn’t? Where else did you learn about music and community?

KH: I also saw my mother in different settings sing different styles of music, and I would observe the people that were observing her, and see how moved they were, and seeing what she put out that moved them somehow that wasn’t about the music but what she did. Even as a young child, I realized how moving that was for other people, like a direct line to somebody’s soul.

CMG: Kelley, you grew up in Emporia, Kansas which is what we might call a medium-sized town in a small town state.

KH: I think it was 18,000 people when I grew up there.10177906_867454999967647_2102425794278092792_n

CMG: What was the role of music in both community and identity when you were growing up?

KH: Well, I’d say, interestingly enough, it had a very strong role in the school system that I was in. There was a lot of singing, dancing, music from other cultures that was brought in (like part of learning Spanish), but I had exceptional teachers in junior high and especially in high school in singing. I was bored a lot – there wasn’t a whole lot going on in my world or anyone else’s – so I tended to get involved in singing in school choir, church choir, rocket adult choir. And in my home, it was music all the time, mom singing, my parents’ friends coming over and playing music – they all played music. My older sister sang and wrote songs, my brother was singing in a choir in junior high, and there were records and radio always. I woke up in the morning and my mom would be downstairs with the radio going on, playing the hits of the day, and when I came home from school, she always had music playing in the house. It was something for me to do with my time, a way for me to be unique. In a lot of ways I didn’t fit in — I wasn’t the blue eyed, blond hair Kansas girl. But when, although I was really shy about it for a long time, the cat was out of the bag, and I played in a talent show with a guitar and singing, I realized I was only one doing this. Music allowed me to be myself.

CMG: It seems like music also allowed you to convey where you come from, such as in songs like “Rose’s,” which is about the corner grocery store in your town, and “Queen of the 88s,” famously about the woman who taught you to boogie-woogie. You’ve used your songwriting to keep some of that life going on.

KH: I hadn’t thought about that, but because it’s so meaningful to me and helped me make some choices in my life and helped form who I am. There’s something very dear and limiting about growing up in a small town. My choice was to leave that town, but I think I’ve written about the things that meant the most to me in one form or another.

CMG: I’ve also noticed that a lot of your songs celebrate the essence of being alive. What’s happening between you and the page and piano when you write?

KH: I lose my sense of time when I’m writing. I get very energized, I get really focused and excited, and three hours can go by and it feels like ten minutes. There are days when ten minutes go by and feels like three hours but more often than not, I’m very energized by it. Sometimes I have to work on songs a long time, and sometimes I finish them quickly, and sometimes I go back to them a year later. But when I really feel like a song in done, and I have some investment in that song, often I immediately take it to a performance setting just to see how it flies. When I take (a song) to an audience, I have a preliminary experience of taking it to a band and fleshing out arrangement, which can be real exciting or put a big damper on the song if it isn’t working. My intention is when 154475_150872431625911_150871691625985_242996_6281305_nI’m writing to write something well, and if not, let it go.

CMG: One thing that I find particularly unique about your process is that you write songs with so many people. You collaborate constantly. Why?

KH: I didn’t do that for most of my adult life. I only recently started co-writing in the last four years, three years. I used to be very adverse to it; in fact I turned down an incredible songwriter – I turned him down for seven years, the head of the gospel songwriting division at Universal. When I really took a hard look at why I was turning down these opportunities, I realized it was about fear, fear about being unequal, fear of sounding silly. I was just afraid. I wasn’t ready so it was good I didn’t do it until I was ready. I was scared to death and now when I do it (co-writing), I realize it’s not going to work with everybody, but I’m going to grow form the experience in one way or another.

CMG: One other thing I wanted to ask is how you sustain yourself when keeping yourself employed full-time as a performer, and keeping a whole band employed and being on the road so much under so much pressure with all those guys.

KH: That’s been a real process for me over the years, always surrounded by men in my work with occasional women writers or performers. I have to really work at it. I need time by myself to be quiet, I try to eat healthy food, I drink an ocean of water, and I do a lot of reading that is positive, uplifting, interesting. We call our tour bus the book mobile because I always show up with five to six books, books that inspire me, that feed my emotional/spiritual female self. I feel like I have to work keeping my attention and thought process in a healthy place. It’s easy to get discouraged when physically fatigued, easy to go to that bitter place of “why am I not wealthy and debt free when working as hard as many people?” It’s a conscious focus to take care of myself, also keep in touch with women friends and family…and find pockets of time alone.

CMG: It takes a lot of courage to do what you do, to live the dream without any holding back

KH: (laughter) Well, I think there’s some courage involved, there’s strong will involved, there’s some audacity involved, and there’s just some insanity involved. There’s a big price, or has been, almost as if I’m driven to it and have to do it. It’s a blessing and curse but more often it’s a blessing, it’s my choice, but then again, I can’t see doing anything else.

CMG: I’ve found your concerts to be deep exchanges, soul to soul. What’s happening for you when you perform that you can give so much, so vibrantly to the audience?

KH: I feel as though I’m in my element, it’s my joy, it’s what energizes me, and if I’m lucky – and although this doesn’t happen all the time – my day has been spent preparing for that burst of energy. I’ve been quiet, I’ve been restful in whatever ways I can on the road. Sometimes I’m out there when I’m sick, sometimes when I’ve just had an upsetting incident when I walking out, but generally what happens is that once I’ve began the process of playing and performing, it lifts me up. It has a lot to do with the audience. I feel very part of the audience – I don’t feel separate from them – and we’re all participating in this event. I just feel like I’m in my element. I know how to prepare, to be present and do that job. That’s what I’m here for.

CMG: If you were talking to yourself 20 years ago, what advice would you share?

KH: I’d say, listen to your intuition more. I’d say, don’t take yourself so seriously. Enjoy your gifts and spread them around.

CMG: And one more question – especially considering the very political songs you’ve been writing of late – what’s the role of music and social change for you?

KH: A lot has to do with personal growth. When you’re aware of what’s happening, and it becomes important to you, and you’re ready to say something about it in public, then it’s time to do that. Many times – in all of our history in music and politics – music has played an important role. When commentary needed to be had, it could be out in the song and out in the world, like in the work of Woody Guthrie. A lot of my songs tell a story, but it’s not necessarily a conscious decision to say, “here’s a political song,” yet because of something that’s been on my mind, it comes out in my work. It can take a bit of courage to do that out in the world – it won’t always be well-received. A good song doesn’t necessarily need to beat you over the head, but a good political song will last forever.