WATCH: Sparks replay-Empowering Human-Trafficking Survivors

If you missed this last Sparks meeting, watch the replay featuring an interview with special guest, Jennifer Jean, discussion, and open mic!

Jennifer Jean is a poet, educator, activist, and consummate “literary citizen.” Her debut poetry collection is The Fool (Big Table); her poetry chapbooks include: The Archivist, and In the War. Jennifer’s newest manuscript, titled Object, was a finalist for the 2016 Green Mountains Review Book Prize. Other honors include: a 2018 Disquiet FLAD Fellowship; a 2017 Her Story Is residency, where she worked with Iraqi women artists in Dubai; a 2016 Good Bones Prize; and, a 2013 Ambassador for Peace Award for her activism in the arts.  As well, her poetry has appeared, or is forthcoming, in: Poetry Magazine, Waxwing Journal, Rattle Magazine, Crab Creek Review, Denver Quarterly, Mud City Journal, Solstice, Pangyrus, and more. She is Poetry Editor of The Mom Egg Review, Managing Editor of Talking Writing Magazine, and Co-director of Morning Garden Artists Retreats. Jennifer teaches Free2Write poetry workshops to trauma survivors, and she teaches writing at Boston-area universities.

Jennifer Jean’s website for more information is: http://www.fishwifetales.com

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Submissions

TLAfoundations

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

Upcoming Class: Values of the Future Through Transformative Language Arts with Doug Lipman

Doug Lipman will be facilitating the upcoming online class, Values of the Future Through Transformative Language Arts beginning May 16th!

Doug is an incredible storyteller and facilitator and we are so excited to have him teach this class! Watch one of his terrific performances here:

About the class:

Our current economic, political, and social systems are serving fewer and fewer people, not to mention destroying the environment.

I don’t know what a future society will look like, but if it is to meet our human needs better than our current society does, I believe it needs to be formed with certain values in mind.

Fortunately, these values can be taught, not just through stories, songs, dances, and poems about the values, but also through the very processes of telling or creating stories, singing or creating songs, and so on. In other words, our artistic processes themselves can give people experiences that open them to values that are necessary for an improved society.

In this 6-week course, I’ll briefly lay out a theory of how values can be influenced, as well as the eight values I’ve chosen as “values of a future society.” I’ll introduce the values one at a time and give examples of processes from storytelling that support each value. Then I’ll help you identify and/or create processes that can give others experiences of each value, from your particular type of transformational language work.

Key to this course is inspiring each other to notice the transformative power of the creative processes. Together, we’ll engage in building an enlarging web of activities that can help people align themselves with currents that, I believe, will help move us toward a more just, supportive, and enlightened society.

Who should take this class:

Storytellers, fiction writers, narrative poets, songwriters, improvisational singers, dramatists, etc. – all who use language to help people imagine or convey their experience – especially those interested in teaching their art or discipline with an eye toward promoting generative values.

The course will be most helpful to those with enough experience in their work to have already developed some processes for doing and/or teaching their art/discipline. I define transformative language arts broadly. If you think your work might belong here, it likely does!

Register for this class!

About Doug Lipman:

In 1970, Doug Lipman was a struggling teacher of troubled adolescents. He had given up connecting with them when one day, by accident, he found himelf telling them a story. They responded! Ever since, he has pursued the transformative power of storytelling.

Over the decades, Doug has coached hundreds of people on their storytelling, writing, and recordings. He is the author of three books on storytelling (Improving Your Storytelling, The Storytelling Coach, and Storytelling Games), scores of published articles, and over 150 issues of his own email newsletters, including “eTips from the Storytelling Coach (http://StorytellingNewsletters.com).

A professional storyteller since 1976, Doug has performed and led workshops on three continents and led many online courses and webinars. His ongoing search for effective ways to teach the transformative power of storytelling has led to projects such as a new paradigm for coaching storytellers, an exploration of the seldom-noticed Hidden Storytelling Skills, and the pursuit of ways that storytelling and related arts can allow our true humanity to blossom.

Stories with Spirit: Regi Carpenter

Regi Carpenter will be teaching the upcoming online class, Stories with Spirit: Creativity as a Spiritual Practice beginning April 4th.

About the Class:

“At the heart of one’s creativity lies a desire to explore and express the exquisite power of the present experience, feeling, sensation and belief. This class will focus on strengthening and recognizing the intuitive sense of the creative process without judgment or restriction. We’ll play with writing meditations, reflections, and written and spoken word pieces that gently guide us to who we are now, in this moment.

Through writing meditations, personal reflections, readings, videos and on-line shared discussions, we will explore how our creativity brings us into the present by bearing witness to the sacred within one another, the world and ourselves.

We’ll focus on the use of images, metaphors, ritual, voice, and a variety of writing structures to create vivid pieces in and outside of class. Beginning and experienced writers in any genre are welcome!”  

Regi is a phenomenal storyteller whose captivating presence can be felt in this powerful TEDx presentation:

Don’t miss out on this opportunity to connect to the soul of your creativity with an incredible facilitator guiding the way!

Register here

About Regi:

For over twenty years Regi Carpenter has been bringing songs and stories to audiences of all ages throughout the world in school, theaters, libraries, at festivals, conferences and in people’s back yards. An award winning performer, Regi has toured her solo shows and workshops in theaters, festivals and schools, nationally and internationally.

Regi is the youngest daughter in a family that pulsates with contradictions: religious and raucous, tender but terrible, unfortunate yet irrepressible. These tales celebrate the glorious and gut – wrenching lives of four generations of Carpenter s raised on the Saint Lawrence River in Clayton, New York. Tales of underwater tea parties, drowning lessons and drives to the dump give voice to multi-generations of family life in a small river town with an undercurrent.

 

What Does Vulnerability Look Like?

by Melissa Rose

This piece was written during my experience in the TLA online class, Diving and Emerging: Finding Your Voice and Identity in Personal Stories facilitated by Regi Carpenter. I loved this class and the places the writing prompts led me, causing me to form a richer relationship with my memories and experiences. 

       The woman sits crossed legged on the shore of the silent lake on a crisp spring morning. The lavender mist hovers above the water, as she watches a flock of brown and black birds bob along the surface. She has been up for hours, watching the sun rise from behind the mountain in the distance, wrapping herself in a thick pink sweater, as the chill around her is remedied by wool. In this moment, she is anything but restricted. No pressure of tiny hands reaching for her. No eyes watching where she is. She inhales the fresh air and for once feels free. She tries to savor moments like this. They only come occasionally. Every minute by herself she wishes she could stretch into miles between obligations. It’s been so long since she could remember what it felt like to be alone. To simply “be” without label. Without definition. Only the morning breeze blowing a quiet promise through her wispy brown curls. She slips a single foot from her sandal and digs her bare toes into the soft sand beneath her; a boulder worn down into a million pieces.

      I am 4 years old, up at the cabin on the lake. It is early, and my mother sits next to the water outside, watching the Canada Geese bob along the surface and I awaken alone in my bed. I see her from the window, and sliding out of my pajamas I open the screen door and step outside. Stumbling on the sappy rocks, I walk towards her. She doesn’t notice me for several seconds because I am so quiet, watching her behavior, how she looks different. Not like my mother, but a wild creature in its natural habitat. She senses she is not alone, and like a doe, turns her head suddenly, with a sharp startled snap, then smiles, relaxing when she sees me, amused by my nudity. It is spring, and the air is crisp. I dip my feet into the cold water, but feel no chill.

      She always felt her body was wrong. The bumps never fell in the right place. The stomach expanding in places she didn’t want it to go. She felt trapped inside herself. Sweaters become her uniform. She never goes swimming. She never speaks of her body as anything but a burden. The flesh dragging behind her, like a punishment.

      I am 5 years old, and I search the house for my mother. I check the kitchen and the bathroom, even venturing into the dark garage. Then I notice her bedroom door is closed. My tiny hands turn the polished copper knob and I push the wood, stepping over the threshold, turning my head back and forth, looking for her familiar shape. We lock eyes, her body bare, pink breasts exposed and she covers her naked flesh with her arms, screaming in surprise, her voice high and tight as violin strings:

“Get out!!”

I flee from the room, retreating to my bed and under the covers like I had just witnessed a cardinal sin. My mother had never raised her voice to me before, and the sound frightens me. Shaking under the covers, she eventually finds me, applying her voice in an apologetic band aid.

“I’m sorry, Melis…you didn’t do anything wrong…” but the image of her face as our eyes met in that moment left an imprint. The shock and softness. The sting of her standing there completely exposed. A deer in headlights. The nakedness of her in her most pure and isolated state. The place of her she never wanted anyone to see.

I am my mother’s daughter.

      I hide my body as it grows and expands. As the pieces of it change shape. I grow breasts at age 9. My mother tells me to cover up. It is no longer “appropriate” for me to walk around my own house without a shirt on and I don’t know why. Only that my flesh is no longer amusing like it was when I was 4. It carried with it another message altogether. Something shameful. Wrong.

So I hide.

I wear sweatshirts on hot summer days.

      I don’t look at my naked body for years. Every mirror is an averted glance. Every locker room is a struggle to expose as little as possible. To never be left vulnerable. To never be seen without armor. Armor becomes my voice. Becomes my brashness. Becomes my need to hide how I really feel. Armor becomes a way to cover everything I do not want seen about myself.

      She drinks alcohol, hiding the bottles in her closet. Keeping the soft parts hidden under intoxication. Swallowing everything, covering up the raw places, collecting the pieces of herself and telling the children to keep her secrets.  

      In a bedroom, a man asks me to take off my clothes, and I am silent. As the pieces flake off my skin, a new exposure emerges. The prying open of a mollusk. The vulnerability left in the dark with my voice. I tell myself “You didn’t do anything wrong” but now the nakedness becomes more than a scream from my mother. It becomes the reason I scream too.

      A year later and I am fully clothed, standing on a stage. The lights hit me and I speak about the things no one wanted me to say. Exposure is what happens when I show my mess to strangers. Raw is what happens when I realize there is nothing to hide. That speaking is a step towards healing. That telling my story saves me from it.

      I stand on another stage. This time I say nothing. I am naked in front of strangers, but for a different purpose. For 3 hours every week I pose for artists. I embody emotion through my posture. Communicating without speaking every inch my flesh can muster. Telling the story of my body itself.

      Being naked is how I show myself my body is worthy of love. That there is safety in uncovering all that you hide behind. That for the first time since I was 4 years old, I can show myself that my nakedness is nothing to be ashamed of. That vulnerability comes in many forms. That the flesh I reside in is anything but sinful.

      I think of my mother, and all she chose to hide from me. That seeing her unclothed was the first time I was ever able to see a glimpse of who she really was, and everything she never wanted me to experience.

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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 and is the executive director of Siren, a nonprofit organization that empowers women through spoken word.

My Journey From Marine to Actor with Adam Driver

You may recognize Adam Driver from the newest Star Wars movies, but before his time fighting in galactic space battles, he was a United States Marine with 1/1 Weapons Company. Adam describes perfectly how he learned how to find the words to express his complex feelings throughout his transition from soldier to civilian as he tells the story of how and why he became a Marine and how he formed his nonprofit, Arts in the Armed Forces.

learn more about Arts in the Armed Forces

“Beautiful” by Sonya Rene Taylor

Sonya Renee Taylor is an Internationally acclaimed performance poet, actress, educator and activist who’s been seen on HBO, CNN, BET, MTV, and the Oxygen Network. She has performed on stages from New Zealand to Scotland to New York, and is currently residing in Baltimore, MD. She is the creator of The Body Is Not An Apology Movement 

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.

Workshop Inspiration

by Barbara Burt

During the Power of Words Conference early in August, Caryn Merriam-Goldberg offered a generative workshop called, “Writing the Tree of Life: Midrash to Re-Vision Our Lives.” As she explained, “Midrash is the Hebrew tradition of re-interpreting and re-visioning our guiding myths and messages to foster greater meaning, freedom, and authenticity.” After examining different examples of midrash, she invited us to consider it in our writing. For some reason, the folktale of Snow White popped into my head. This and Sleeping Beauty and all the other tales of damsels in distress have long bothered me; these girls sleep until awakened by a handsome prince’s kiss—how passive and unimaginative those heroines are! Yet, through the power of Disney and myriad children’s books, they are role models buried deep in many young women’s consciousness.

I believe that midrash specifically refers to retelling or commentary on the Torah; Snow White is no sacred text but it does carry cultural weight. I decided to try a retelling of Snow White in a poem. Other workshop participants created awe-inspiring poems and stories—all in a scant half hour, once again illustrating the creative power of silently writing together.

Here is the result of my effort, with a bit of editing since the workshop.

Snow White Remembers

I was not beautiful.

That is an embellishment added by the Grimms,

who couldn’t imagine a commonplace heroine.

 

And my stepmother didn’t really hate me.

She read rebellion behind my solemn stare,

resentful questions in the crick of my eyebrow.

Because she recognized a vestige of the same in her

(tamped down,

smothered)

She had to murder it in me.

But I do not know if she poisoned that apple pie on purpose.

She was a terrible cook.

 

I’d known those seven woodsmen since childhood.

Caught in a thunderstorm, I came upon their clearing

and sheltered in their cabin.

It was strewn with books left by an unnamed professor long ago.

He’d tried solitude on a summer sabbatical,

only to flee, books in his wake.

 

As I grew, I escaped to the those bookshelves

when I could,

drinking in word of other lands, other lives.

The loggers paid no mind to my visits.

They were busy in the woods most days.

And I was neat, straightening and dusting

the rows of books.

I left bouquets of wildflowers and pine boughs on the table.

 

On the day the illness came upon me,

I ran to the cabin after the compulsory midday meal at home.

(Apple pie to finish.)

I was sixteen and sick of arguing,

and the cabin had an extra bunk where I could stay.

I chose a stack of books from the shelves

and buried myself under blankets.

In a day or two I could keep food down again.

 

She doesn’t want to be found, said the loggers,

turning away searchers at their door.

 

A year went by

as I read through the pile

until few titles remained.

I was restless;

my attempts to help with cabin upkeep

bored me.

Chipmunk chatter was no longer delightful.

Almost a housewife, I was no longer just playing house.

The loggers were kind

but their table talk described saws and stands of trees

and they were snoring by dusk.

 

So when they spoke of a young man new in town,

I listened.

He is kind to us, they said.

He fingers tunes on his fiddle.

He carries a well thumbed journal

with poems and colored sketches of birds.

Shall we invite him here? they asked.

Perhaps, I said,

coolly.

But I was fire inside.

 

That day I entwined flowers in my braids,

chose my eyelet blouse,

and rehearsed clever conversation.

I spied him walking up the path,

deep in thought,

and was pleased by his brown curls and open expression.

Just as he knocked, I opened the door,

and I kissed him.

 

Baggage: How I Wrote My Way Through Self Destruction

by Melissa Rose

Five and a half years ago I was perhaps in one of the most confusing and chaotic years of my life. I was struggling with depression and suicidal ideation, using alcohol to self medicate, and putting myself in increasingly dangerous situations by involving myself in abusive relationships. Looking back now, I can see why I was in that place, where the need to self destruct stemmed from, yet at the time, all I was trying to do was make it through the day in any way I could.

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This is the time in my life I did not want to remember. I didn’t want to remember the mess I was, lashing out at anyone who tried to help me. Blaming everyone for my own misery. I didn’t want to think about all of the shame of being in such a low place and being completely out of control. And I didn’t want to admit that I didn’t want to survive and all of my behavior during that time reflected this desire.

As fate would have it, I became pregnant, and my entire life changed. I was able to pull myself back to reality and remember there was a reason for living. I was able to stop the spiral I was in and turn my thoughts to the future for once. I moved on from that dark place and I became a mother to my son and tucked the years I spent on a bender in the back of my mind, like trash stuffed under a bed. But the more years that passed, the more I began to smell the rot I had been ignoring.

I sometimes worry that my history is doomed to repeat itself. I still fear ever slipping back into the person I was all those years ago. It frightens me to think of myself in that place again. To be so utterly out of control. I could pretend that nothing happened, that it was just a “bad time”, but that description didn’t do the experience justice.

Last year, I began writing about the years I didn’t want to think about. I mentally transported myself back to that place and time. I imagined myself as that young woman, confused and scared and alone. I wrote about my selfishness. My cruelty. All of the shameful things I did and said and how I justified it. Where it all came from. Where the self destructive tendencies started. Throughout the process it was as if I was able to cast a light on the shadow of my past and take away its power over me. I was able to face the parts of me I was most afraid of and reflect on them from a new perspective.

Eventually, I would turn these writings into a script. My first one-woman show, entitled “Baggage”. This 50 minute exploration of my past took place in an airport as I flew home from Europe, confused and jetlagged—completely unsure of where I was going to go next. Being separated from those memories for so long unearthed a million feelings I had been ignoring, and as I sifted through them, I was able to embark on my own healing process, and forgive myself for all of the things I was so ashamed of. I was able to see myself not as a monster, but as a human being who did what they had to do and survived.

I knew that to bring my story full circle, I would have to perform my piece, but I was nervous about how an audience would perceive me. I put off scheduling a performance for fear I would be overly exposed. I have written and performed about many personal things, but this piece was somehow different. The raw honesty in it cut me close enough to bleed.

I knew that in order to honor and love that young woman I was, I needed to tell her story. It was the only way to release her from that pain she felt all those years ago. It was the only way to let her know that she was important and worthy of love, even during those dark times. I owed it to myself to make sure I could heal in order to never be in that place again. So I set a date for the performance, and begin practicing my piece, pouring all of the experience into my words and movements. Embodying the woman I was for the first time in years. It felt like I was reuniting with a part of me I hated, and as I began to embrace that character, I was able to love her in a way I never had before.

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After the performance, I felt a sense of relief, like I had let go of something weighing heavy on me.  I had survived. I wanted to survive. Even during those times. No matter how often I tried to convince myself otherwise.

Through writing and performing my story,  I finally was able to unpack the baggage I had been carrying with me for so long.

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.