Opening to Heart Space

Every morning of the Convention after breakfast the presenters would describe their workshop that day. Each one I attended was full of practical wisdom, and also considered the influence of emotions on our teaching. As a whole, this Convention was characterized by affinity and fun, as well as a call to action, and I'm sure it's because the presenters were willing to explore this sensitive territory.

Vivien's singing seesaw

Vivien Mackie, who studied cello with Pablo Casals, challenged us to sing solo before the group and in dyads, exploring the ways we can bring whole-body fluidity to support a clear, expressive voice.

Bob Britton has an encyclopedic knowledge of anatomy. We marveled at the beautiful serpentine curves of the subtaler joint, the extension of tendons into fingernails and toenails, the 650,000 nerve receptors in our skin - extending even inside the ear canal - and how we can tap into dynamic expansiveness within the body and convey that through our hands.

Glenna Batson led us through time-altering movement explorations to feel the actual physical space behind the heart, space we can inhabit and bring to our hands when we make contact with students.

Giora Pinkas shared insights about general versus specific forms of the practice we call inhibition. His advice is to merely observe yourself wherever you are, with thoughtfulness - this is his definition of meditation - and then offer whatever kindness you can, to yourself and whomever else. Don't do again what you know you shouldn't be doing; just think, I'm observing myself where I am, as I am. Then look for something to solve, try to be helpful. Above all, the aim is to stay balanced and cheerful in the face of emotional stimulus, being conscious that you have choice.

Finally, John Baron and Lyn Charlsen Klein led a collaborative exploration that was a highlight of my week. Recognizing that each of us carries a sense of self formed in early life, one that encapsulates our fears of who/what/how we are and aren't, we drew images that symbolized that self and shared them with the group. Although I drew pictures of books, report cards, and the glasses I wore (the exact same style) for all of elementary school, thinking of my "bookworm" persona that hid me from the world, instead the words that came out of my mouth were about my stuffed animals. As a child I made a rule for myself that I had to love them equally, so none would feel left out, and I made myself play with ones I didn't care for - and refrain from doting on the ones I did. Surprised by my own confession, I found myself wondering how I accustomed myself to shutting down my heart, keeping myself from feeling and expressing how much I love the people in my life. Because I have to tell you, if you've ever been under my hands - and I've tried to put my hands on all of you! - then the truth is, I love you, and deeply. The heart-hand connection is so clear, and this Alexander practice tunes me in to opening up all of me, affirming our shared capacity for expansion and joy, and letting you feel through my touch whatever freedom you might have forgotten you could have. Touching you this way reminds me of my own freedom, and for that I thank you.

I'm so grateful to Lyn and John for taking the giant risk of leading us, by example, through this process. It had me see how much I love my colleagues, and feel free to really cherish and adore them, and let myself be seen and loved by them.

Which is why I asked Glenna if, for the Talent Show, she'd be willing to do a little burlesque number with me.... ;-) !!

 

Posted with Blogsy