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.
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.
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
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
As you might know, Your Right Livelihood started as a project of the TLA Network. As the founder of Transformative Language Arts and co-founder of the TLA Network (TLAN), I have long believed transformative language artists and practitioners needed a holistic training to unearth and integrate our real work into our lives. When the time was right, I enlisted a partner in crime, Laura Packer, who brought complimentary gifts and skills.
That was four years ago, and since then we’ve offered annual trainings that brought together people who are retooling their day jobs, leaping to new work, creating livelihoods, re-inventing their art or service, and re-envisioning their post-retirement life’s work. We’ve witnessed life-changing courage, compassion, and wisdom in all our graduates. This becomes even more vital as our lives have changed so much during the pandemic.
In the last year, Your Right Livelihood graduated from TLAN to become an independent project, while simultaneously remaining in partnership with TLAN. All TLAN members receive a $50 discount on the YRL training, plus graduates of our training receive a $50 discount on the Power of Words conference and a one-time $20 discount on a TLAN class.
Our next Right Livelihood training launches February 19, 2021 with a weekend retreat (via Zoom and other bells, whistles, and charms) followed by a 10-week online class that includes weekly Zoom sessions, guest teachers, one-on-one coaching, and guidance in putting together a portfolio of all that’s needed for your emerging work. We conclude with a weekend retreat April 30-May 1, 2021.
Laura and I would love to talk with you about Your Right Livelihood. Please contact us to set up a discovery call by emailing firstname.lastname@example.org. You can also sign up for our January 7th Life & Livelihood Small Group Coaching. Together, we can discover, develop, and grow our life’s work for our souls and communities. See more here:
Caryn Mirriam-Goldberg, PhD is the founder of TLA, past poet laureate of Kansas, and author of two dozen books of poetry, fiction, memoir, and anthologies. Her life’s work now encompasses coaching and consulting with people and organizations on writing and creativity, teaching and facilitating community writing workshops, and immersing herself in many collaborative projects to make and keep community, and find and live our callings. carynmirriamgoldberg.com.
Laura Packer is an award-winning storyteller, coach, and writer, as well as founder of thinkstory llc, one of the nation’s foremost organizational storytelling consultancies. Her work is focused on the power of story to guide, shape, and define our whole lives in the workplace and beyond. Laura’s performances, coaching, and facilitation are all intended to empower and connect. laurapacker.com
Several months ago, I completed The Art of Facilitation advanced level class by Caryn Mirriam- Goldberg and Joy Sawyer. The following consists of my reflections to this prompt: What will particularly help strengthen our ability to facilitate for community and change?
First, the importance of flexibility. As a former academic, I am inclined to be critical and aim for perfection in my work. This drive for perfecting the craft can dampen other’s desires to experiment as they may not feel comfortable making mistakes. By flexibility, I mean I need to adjust my expectations. I need to recognize my weaknesses. I am learning to adapt my skill set to the context of the group and the demand of circumstances.
Second, the necessity for humility. Humility is the willingness to see strengths in one context as weaknesses in another. It is also the willingness to honor the gap in knowledge as the world evolves. This is particularly true in the way we use language and understand politics. We may sharpen our skills in facilitation. Yet without any substantive grasping of the changing world, these acquired skills will not be adequate. There is so much to unlearn as well as to learn. Humility goes a long way.
Third, I keep on going back to the basics these days. The basics provide a blueprint and a guidance for what we do. I constantly ask myself the following questions: What is the purpose of my work? Why do I do what I do? What are the values that undergird my work? What is my vision? What is my mission? The answers help me make informed decisions.
Fourth, the imperative of doing. We cannot “will” the world to change. Talking will not automatically lead to actions. It is in the doing that I see commitment. If I want to make the world a better place for everyone, then I need to commit myself to actions. If I want to contribute to the cause of social justice, then I need to ask myself: What is it that I need to do to make a difference and exert impact?
Fifth, the necessity to allow for accountability and to create an open space for critical feedback. This is particularly important for those of us who are in positions of power or have accumulated a certain amount of privileges. Power and privilege can easily blind us to the reality of how the world operates for others. We need to create and maintain a vulnerable space for critical feedback and work against any instincts for comfort and complacency.
Sixth, honesty, truthfulness, and boundaries. I am at a point where I no longer wish to hold my tongue and silence myself. Words I swallow will turn into poisons that easily rot my soul. Boundaries are not for others; boundaries are for myself, so I affirm and validate my worth and truth again and again.
Ada Cheng is a professor-turned-storyteller, solo performer, and storytelling show producer. Ada is the producer and the host of five storytelling shows, including Pour One Out, Am I Man Enough?, Talk Stories: An Asian American/Asian Diaspora Storytelling Show, Speaking Truths Series, and This Is America: Truths through My Body. She creates platforms for people to tell difficult and vulnerable stories as well as for communities who may not have opportunities otherwise. Her motto: Make your life the best story you tell.
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.
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.
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 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, 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.
“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?”
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 email@example.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.
The story we make of this moment becomes the life we lead. ~Christina Baldwin, Storycatcher: Making Sense of Our Lives through the Power and Practice of Story.
“I’ve run out of words! We need new words. The strongest words.”
My friend and I were texting back and forth about the latest NPR news alert to light up our phones. It would have been a much better conversation in person, far more satisfying to laugh together instead of trying to find the emoji that most accurately expresses our level of gobsmack, of anger, of despair.
But that’s where so many of us are right now: stuck at home and stuck for words to express the inexpressible.
So, I write.
I write to make sense of it all, to search for a semblance of meaning in the midst of the madness.
And I read.
I read the words of others to find solace in similar experiences, in our shared humanity, and in the connection established through empathy. To share our words beyond ourselves is to cultivate compassion and create community.
Two years ago at TLAN’s Power of Words conference, Storyteller, Activist, and Founder & CEO of #MeWe International, Mohsin Mohi Ud Din, gave a presentation called “Storytelling as a Tool for Healing and Community-Building.” He told the crowded room why he believes in the power of storytelling: “The stories we tell ourselves shape us and how we interact with the world and others.” Healing cannot happen in isolation, he said. We need each other—we need to hear each other’s stories.
Over the four weeks of this class we will record experiences and express feelings with prompts as a “trail-head,” then learn some basic creative nonfiction methods to turn our writing into a crafted personal narrative, which may be shared with others in the class—maybe beyond!
Because we need new words. We need your words. In this moment. Because as Toni Morrison reminded us in 2015:
This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.
Joanna Tebbs Young, MA-TLA is author of the award-winning biography of Vermont historian, Lilian Baker Carlisle, and has both a memoir and personal essay collection in the works. She holds a BA in History, an MA in Transformative Language Arts, and is currently an MFA-Creative Nonfiction student at Goddard College. A writing coach since 2009, Joanna is also a facilitator for Vermont Humanities Council and teaches online for the Transformative Language Arts Network. Historical articles written during her time as columnist and feature writer for the Rutland Reader can be found at Rutland When… Joanna lives in Rutland, Vermont with her husband and two teenagers.
We are pleased to announce a series of fall offerings geared towards bringing our community together. The series, TLA in Action: Connection, Collaboration & Community, is designed to showcase some of the important work TLA Network members are doing across a variety of fronts, while offering affordable options that are welcoming and inclusive of all. The series will culminate in a special evening of poets, storytellers, and other TLA artists sharing their work in early December. We hope you will join us in celebrating our community’s many strengths and talents!
Art matters, and art matters especially in this time. Art helps us be part of the world, process what is happening, understand, grieve, and bring people together towards collective action. As ever, we strongly believe that cultivating a powerful voice in this complicated, challenging time, and using that voice for the greater good, deeply matters.
Find your voice, make meaningful art, and work for the greater good.
To the Power of Words, Hanne Weedon Managing Director, TLA Network
Art feeds and enriches our souls in the same way food nourishes our bodies. Reading books, watching films, looking at paintings, and listening to music or poetry can elevate everyday reality to something sublime. But, because we are more than consumers, we also crave opportunities to contribute something of ourselves to the conversation.
Unfortunately, we don’t find many opportunities to express ourselves without judgment, criticism, or comparison these days. Our society seems to have created a hierarchy around what constitutes a “worthy” contribution. So, only those who have gained the proper validation— through publication, professionalism, or fame—have “permission” to create.
The rest of us are cut off from something we really need and therefore crave—the direct experience of our vital life force through uninhibited self-expression. To see and know ourselves through our own creativity, to play, like children, with materials, only for the joy of discovering who we are, what we like, what we don’t like—this truly feeds us.
Images speak to us on a soul level. They bypass our rational, critical mind and allow us to feel whatever they evoke in us, intuitively. Unfortunately, that’s also how advertising works. So, it’s incredibly powerful to work with images—even if we identify more as writers who create literary images than visual artists. We are all visually literate, and through collage, we can create our own language and meaning.
When we learn to reappropriate the media and propaganda used to “sell” us who we are, we can turn it on its head. By cutting up glossy magazines and collaging commercially printed detritus, we change it into something else, not an externally directed expectation of who we should compare ourselves to or aspire to be, but our own reflection instead.
Making collages, or “muse mirrors,” as I call them, is the core of my “kissing the muse” creative practice and course. “Who am I? “What do I really want, need, and value?” It’s so surprising how the answers bubble up easily through this practice.
Collage is accessible to everyone. You don’t need to know how to paint or draw to work visually. Different disciplines can inform each other, so my course also includes other expressive art modalities, like music, poetry, writing, and movement. It also brings in everyday modes of creative expression, like food and relationships, to stretch your definition of “creative practice.”
So, kissing the muse is an interdisciplinary, tangible, spiritual practice that puts us back in our bodies. When we’re making art simply to know ourselves, we’re connected to the moment, through our hands, mind, body, and spirit—cutting and pasting, touching and feeling, manipulating materials to make sense of our world, inner and outer. It’s so natural and human. We become collaborators with the ultimate reality: infinite, ceaselessly dynamic, swirling, potential. Through expressive art-making, we create intimacy and connection with ourselves, heal our hurt parts, and bring our inner light out to shine. And by doing this, we add our innate value as unique human beings to the world, which feeds us all.
Robbyn Layne McGill is a writer, film-maker and painter who lives in Amsterdam, and runs workshops and trainings around the globe. Robbyn has an MFA in New Practices, an MA in Transpersonal Psychology, and a BA in Journalism—but the story of how she came to live in Amsterdam (with a man she truly loves, and a cat named Leonard Cohen), and host collage-making “Muse Dates” is far, far more interesting. www.kissingthemuse.com.