WHAT’S POSSIBLE
I always feel nervous writing about ‘following dreams’ or ‘we can do anything we put our mind to, it’s all possible if we really want it,’ because the longer I’ve been alive the more apparent it’s been that this is a statement more about my privilege than anything else. I used to say it was an equation of privilege + courage, but I guess if you are really unsupported by the systems of the world, you aren’t even afforded the prvilege to be allowed to be courageous. Like the classic meme ‘did you really manifest it, or was it just privilege?’
At the same time, potentially it is true that for a lot of privileged folk that we do put invisible barriers up to doing what we really want to do in life. Create obligations, or self-sabotage, or have all sorts of distractions blocking in from our authentic desires and creative impulses. The Artist’s Way talks a lot about it, which is part of the reason this has been on my mind. I also re-listened to the incredible Patti Smith track ‘Land’ the other day; epic, gritty and determined, “seize the sea of possibilities...” reminds me of the way my friend Imogen always describes “feasting from the buffet of life.” So motivating to think of the world this way, if indeed you are privileged enough that it makes some sense. Sure a lot of buffet out there, an incredible amount of opportunities. Artist Way: “progress is a series of leaps of faith.” That aligns in with one more lyric from the P Smith song: “Got to lose control, then you take control.”
I’m feeling that so much, on an unhinged Euro trip, lucky enough to be following my dreams but frequently untethered and terrified, then swirling back around to a level-up, a blissful moment of discovering exactly who I am becoming. The losing control, shaking in your boots, eventually giving way to a glimpse of taking control of it all. Raw, real, “Life in full colour,” as another inspiring friend Caity might put it.
ANALOGY OF THE BUBBLE
Huginn told a really animated story in class the other day. He jumped up from his chair half way through and acted out the second half - really worked to make you invested as a listener. He spoke of a fledgling moment in his performance art career where he was hiding in a box in an art gallery for a long and cramped time, waiting for the moment at which he’d blow a single bubble out of the box - the brief performative moment which was the whole point of this box installation he’d created for the exhibition. Finally the audience was led over to the box by their violinist guide, and of course in his nervousness poor Huginn dropped the bubble container and was scrambling in the dark trying to dip the bubble wand into some of the spilt liquid. Bringing the wand to his mouth, but no bubbles, just spraying saliva through the wand in a mist. Total fail. But then a moment of prayer, and, of course, the last effort miraculously worked and a single huge bubble was sent out of the box, floating into the gallery room.
A well delivered tale, and something in there for sure about ‘your moment to shine’ suddenly coming upon you. The one, special bubble that you are uniquely capable of delivering. When the moment comes, will you be ready? That was my kind of take on the story!
HERO’S JOURNEY
Revisited the classic 12-part ‘monomyth’ this week as a part of this Tarot card project I’m working on. It’s just so perfect and satisfying, a structure so inspiring it begs you to craft a story to fit it, perhaps. Also really enjoyable is mapping your own life to it. I wrote out what each of the stages could represent in the ‘journey’ of my last twelve months. Who was the ‘mentor?’ What was the ‘innermost cave’ and what was the ‘big ordeal’ that allowed me to ‘seize the reward?’ The reward, of course, can be tangible jewels, cool new computer, etc, or intangible like a life lesson or renewed sense of confidence. It was a lot of fun. Would recommend.
OPENING UP THE VOICE
Something else awesome from last week was some voice workshops we did. Someone else ‘playing you like an instrument,’ so if they touch your head you sing from there. Which, of course, tends to be a high-pitched ‘head voice’ note. And if they touch your hips, you sing from there, usually deep. And then if they hold your feet, or put a finger on your ear, you just breathe into where they’re touching and follow your impulses. Something great about the self-judgement disappearing because you’re just responding to someone else’s touch, rather than trying to sing a perfect C or whatever. Perhaps that tactile soft emotional quality of being touched makes its way into the work as well, easier to sing with more conviction and thus, perhaps, more power. Definitely remembering my love for singing lately and just how much ‘finding your voice’ matters, even if you don’t quite have the technical stuff down.