Tag Archives: InterPlay

Hard Times Demand Playful Dancing

rich-laverne-lynnTwo days after the election I awoke with muscle aches and a hint of a sinus infection I thought I was finished with. But my overwhelming sensation? A savoring, after-glow from the play-based ritual my improv troupe, Wing & A Prayer Pittsburgh Players and I created last night.

We gather for rehearsal most Thursday nights and our practice is to play with “what’s up?” Two days after the unexpected seismic election it wasn’t hard to find the theme strongly on our hearts and minds.

Using dance, song, story, and stillness, (the birthright practices of our ancestors, wherever they came from), we created a safe container and ways to express ourselves as individuals and as a group.

Here’s how it works –

  • Warm up together physically in order to get in our bodies and to create a sense of a group body. Especially necessary after highly charged experiences that may have shut down our breathing or caused us to exit our bodies.
  • Use an InterPlay improv form or “game” that allows us to hear from each person as they express in words and movements- “what’s up?” for them.
  • Play with a partner to mine our stories about the over-arching topic, elections and U.S politics. In the form, “I could tell about….” we take turns naming memories or images that come to mind.
  • Select forms that allow people’s stories to exist side-by-side, creating for the observer a sense of the larger group story.
  • Using shape and stillness, we dance on behalf of people not in the room who are particularly affected by this election. (Immigrants, Muslims, people of color, disappointed young women and old women who will not live to see a woman president.)  
  • Create a song to lift our spirits to a hopeful future – Last night the line we sang and played with was, “The farther back we pull the bow string, the farther goes the arrow.”

As Mr. Rogers reminded us, “Play is the work of children.” I’m fortunate to have adults in my life willing to join me in connecting with our child within. That’s where our fears, disappointments, dreams, and creative energy reside. Play turns out to be a secret path to accessing what we need to move forward, individually and collectively, into a joy-filled future, no matter the circumstances.

Let Me Read It To You

My then 20s something daughter said it best. “The main problem for my mother is that she has always been ahead of her time.” She supported this assertion with the statement that her mother had used what was then called “natural childbirth” when she was born. She added that her friends, who were just beginning to learn that taking drugs during labor might not be advisable, couldn’t believe her mother had acted on that so many years before.

Perhaps creative people have always had this problem but in the present era’s ubiquitous focus on branding, the timing and seeming appropriateness of an idea or project seems to have become even more critical. Being seen as a trendsetter is of value, but it’s not advisable to get too far ahead of where most of the herd are grazing. So recently I’ve been paying special attention not only to what’s emerging in my creative consciousness, but also to what’s happening in the larger culture, hoping for some possible connections during my lifetime.

Here’s the way my creative process works. Like most people, I get a lot of ideas, but every now and then, one idea won’t leave me alone. It continues to emerge and reemerge in spite of my efforts to question the advisability of acting upon it. Take for example the idea of writing a book. I wrote a book that I started with a co-author in 1985 and my version was finally published with me as the sole author in 1992. The process was so grueling that I told myself I would never write another book.

The idea to write another book came to me sometime in 2006, but it had to keep competing with the part of me that had taken that vow of “never writing another book.” I’m happy to say that the process of writing the second book was much more grace-filled and enjoyable than the first, but it did take, just as the first book had taken, seven years to become a reality. So perhaps our reticence to act on our inspirations exists to protect us from all the years of work that will be required to go from idea to reality.

Closet StudioSo here I am again, about to act on one of my ideas, to “ground my vision in reality, “as Anna Halrpin would say. Almost from the beginning of working on my second book I thought about the idea of creating an audio book version where I would read to my “readers”, making the book available for people to listen in their cars, or on their mp3 players while they worked out in their gym or garden. In the ensuing years, this idea has grown into a passionate desire.

Since Warrior Mother was published by She Writes Press in 2013, I’ve been Performing the Book, around the country and internationally, reading passages from the book while improvisational InterPlay performers respond with stories from their own lives. This idea, conceived as a way to get the word out about my book, has been most satisfying for me, and I believe for the participants who have performed or witnessed it.

All this practice in reading sections of my book out loud has given me the confidence to hire a sound engineer to help me create a sound studio in my closet and read and record the entire book for an Audio version of Warrior Mother.

Those inner voices of reticence and dissent have been making quite a ruckus lately as I prepare to act on what is now a burning desire. But all that became silenced this morning when I read Wyatt Mason’s article, Audio Books Read By the Author in the New York Times. http://www.nytimes.com/2016/07/17/magazine/letter-of-recommendation-audiobooks-read-by-the-author.html?_r=0

Mason begins by extolling the virtues of poets reading their own work but then he says, “I would extend Rilke’s idea beyond poetry to prose. Because in prose, the author’s voice is even more essential to making the text not only intelligible but also meaningful.”

As I enter my sound chamber/closet to begin production of my audio book tomorrow, I take this as encouragement from the universe that this project will be both timely and relevant, and serve the purposes for which I intend it. Stay Tuned.

A Dance At Easter

Anticipation for Easter this year was enhanced by an invitation from Gail Ransom, a minister friend, to dance at her church’s Easter Service. Dancing as part of a worship service goes to the roots of dance itself, and sparks reminders of my past dancing career. Over 40 years ago, for a period of six years, I was a member of Festival Dancers, a dance company sponsored by the Jewish Community Center of Detroit and directed by Harriet Berg, who is still holding forth as Ms Detroit Dance. We performed frequently during that period in churches and synagogues around Michigan.

IMG_1216The ministerial team at First United Methodist Church came up with inspiring music and ideas for my colleagues and I to play with as we developed our contributions for the Easter service.  Rather than choreographing a dance piece from movement phrases I knew or thought up, I decided to use InterPlay’s improvisational forms, and arrange them in a sequence and in formations that fit the music and this particular church space. This was a natural choice because InterPlay founders Cynthia Winton-Henry and Phil Porter created InterPlay over 30 years ago on the altars of churches in California as a way of creating dance sequences for worship services.

A week before Easter I met with three young girls, members of the church, and taught them the primary forms we’d be using – shape and stillness, side-by-side solos, and gesture choir. When the members of Wing & A Prayer Pittsburgh Players joined me on Tuesday we worked out spacing and added a variation I’d call shape/travel/shape for each dancer to repeat until arriving at her assigned spot in the sanctuary. Inside these forms each of us created our own movement, connecting to the music and to one another.IMG_0332_2

The piece we were given to dance to was “Let the River Run” by Carly Simon. It had won the 1984 Oscar for best song in the movie “Working Girl.” The river referred to and celebrated in the song is a river of women, hundreds of thousands of women, taking their places as productive and fully contributing members of societies across the globe.

I was delighted and surprised by the synchronicity between one of my deepest lifetime longings and an opportunity to dance it.  Having the eager and dedicated young women join us added another layer of meaning to the piece since they are the future. As the choir lauded the coming of the “New Jerusalem,” we dancers of various ages leapt for joy, and my entire being tingled with what I could only describe as ecstasy.

Music for Whiling Away the Miles

Finally  a rainy morning where I can lounge a bit in my version of the universal writer’s uniform, my pajamas. The past ten days have been relentlessly busy with mostly all good things, but going the speed of the body means at this point, some stationary down time. In the past ten days I’ve driven to Youngstown to Perform the Book with guest artist, Soyinka Rahim and Atlanta InterPlay leader Jennifer Denning at her family’s home church. I’ve driven to Racine Wisconsin for the Body Wisdom National Board Meeting and Leaders’ Gathering, capped off by performing a solo drive home to Pittsburgh. Last night I headed to WV with two members of the Wing and A Prayer Pittsburgh Players and was especially grateful to friend Amy for her willingness to drive us home.

205889_410368685689992_895114972_n

Driving in my especially comfortable car is, for the most part, a delight. A sing-a- along with InterPlay musician James Schattauer kept me alert through miles and miles of monotonous turnpike terrain. James’s simple rhythmic tunes inspired me to try my hand at composing my own verses, and a likely theme that emerged was finding suitable food to eat at the roadside oasis. Here are the words to the song I came up with – “My body likes spinach, my body likes greens, My body likes spinach, my body likes greens, Like Popeye the Sailor Man, I too am a fan, But I must admit, I don’t like them out of a can.”

In defense of my “poetry” the purposes of this exercise, which I accomplished, were to amuse myself and to keep myself alert through a long day of driving. To get the full effect, you really have to hear the tune.

The Anatomy of Ecstasy

When my then five-year old nephew, Adam, who was an only child discovered that he had four cousins he said, “I feel so big. I’m bigger than a Giant!”

giantimage  Preparing to return from Atlanta after spending time with a group of amazing women and meeting many others in the larger community, I felt so full of excitement that I told a friend, “I feel like I could fly home without the airplane, though I do know that wouldn’t be a good idea.” 

 My friend and teacher, Cynthia Winton-Henry knows about this. She calls it “Flaps up, Flaps down.”  To demonstrate how to navigate between our Big self and our pedestrian, Little self, she directs her students to raise their arms high and out to the side as though they were a bird or a plane. This is “flaps up.” Then she instructs her students to put their arms down by their sides, “flaps down,” in order to return to their smaller individual selves.

womanspreadingwings Some activities require us to be in our Larger self. When I spoke with a numerologist friend of mine about what I needed to do to promote my book she said, “Last year was your completion year when you finished and published your book but this year is a number one year for you, a time of new beginnings. It isn’t a time to play small.”

  I knew what she meant. This isn’t a time to lead with my insecurities. When I experience that excited/scary feeling in the pit of my stomach just before I step onto a stage – that’s the call to step into my Bigger Self. When I am in this Larger Self, all that I know is available to me, and I am open to inspiration, which in theology is described as a “divine influence. ” I know that I’m likely to be there when I’m centered in myself from deep inside, standing tall without apologies, and fully present to the environment.

Some activities take us to our Larger Self. In Atlanta, when I was with a group of women who were each in their Larger Selves, it seemed easy to be all that I am and to appreciate the wonder and amazement of each of them. During our time together it seemed that magic happened and magic has continued to happen since as the universe seems to be cooperating with our shared goals.

Atlanta group-58 One of the women sent an email to the group members and told of an experience she had while driving home. She heard a voice that didn’t sound like her own. The voice said, “Prepare to be amazed,” and it seemed to her like the matter-of-fact sounding message delivered at Cape Canaveral – “Prepare for lift off.”  Later that same day when she got home she had a chance encounter with a woman who, when she told her a bit about our weekend, offered to partner with her to achieve our desired goals in their community.

In the days since, many of us have been experiencing similarly amazing chance happenings that are likely to help us achieve our individual pieces of the desired group goal. As I reflect on this experience of communal flaps up and its aftermath in my life, I remind myself to take special care of my Little Self. Our bodies aren’t built to live perpetually in flaps up and my bodyspirit need some flaps down time in order to be prepared for more amazement.

 

Taking Warrior Mother on the Road

 “How’s your new book doing?” people ask, and I don’t know quite what to say. The official reviews have been wonderful, most of them thoughtful and articulate, better than I could have hoped for. I have felt blessed by such intelligent and crafted responses as different reviewers have picked up on and emphasized, different themes from the book, rather like turning a prism to refract the light into the various colors contained therein.Sheila Performing Book

Friends and acquaintances who have spoken to me or sent me an email after reading the book have had very good things to say. Of course there may be people who read it and didn’t like it, but they’ve failed to contact me. No one so far has demanded their money back. One woman friend I ran into in the grocery store detained me for quite a while with wonderful comments and complements, followed by a pledge to bring several friends to my next book reading. And she did just that.

Amazon rankings have been all over the place, but today the book is number 51 of the top 100 books in the category of parent and adult child relationships. I had a big disappointment when one of the top reviewing companies that had spoken highly of the quality of the book, and had promised to review it, declined to do so at the last minute.  I learned they were concerned it “wouldn’t have wide enough appeal.” (I think that’s code for “it won’t sell enough books to make it worth our while.”) But in the two and a half months the book has been out, this has not been my experience.

There’s the man I gave a promotional post card to, who read the synopsis on the back quickly as we stood together on the street corner. “I’m gonna buy one of these and give it to my daughter-in-law,” he said. When I asked why he said, “She’s been having a rough time. Our nine year old grandson was killed last year in a boating accident.”  Several people have told me they were buying the book for a friend or family member going through grief, or stuck in an old grief, having trouble moving on.

Wing & Prayer Book Performance
Wing & Prayer Book Performance

 

I’ve become very cognoscente of the universal themes contained in Warrior Mother through a system I’ve developed for book readings. In place of a traditional reading, I connect with people in the community where I will be presenting who do InterPlay, (the system of movement, song, and storytelling that I use) and have them join me in “Performing the Book.”  We select themes that emerge from the snippets I read, and link them to an InterPlay form. The improvisational artists then add their own stories and experiences to mine.

At Performing the Book events we’ve explored relating to adult children (or being one), accompanying a friend or loved one through medical diagnosis, treatments, and death, and rituals that heal grief and loss of whatever variety. Feedback from these presentations has given me a realization that Warrior Mother is about finding ways to authentically communicate about, and honor, the human condition. And that condition is that everyone dies. Once we face that reality, we can enthusiastically choose life for whatever moments that we, and our loved ones, are allowed.

Dancing on the Fringe

The streets of Edinburgh Scotland were filled, as they are every August, with performing artists and the tourists and locals who had come to see them. Rich and I, along with 22 other InterPlayers from around the world were among them. RichCatapillerphoto-16Pushing our way through the hordes of mostly young performers on the cobblestone street which is the Royal Mile, we observed the ritual of performers dressed as caterpillars and clowns, giving out flyers, barking as circus midway callers do, to draw attention to the free samples of their art on the makeshift stages of High Street. Though a little less flamboyant, and a good deal older than most of them, we too had came to perform on the Fringe.

Edinburgh Fringe
Edinburgh Fringe

The Fringe Festival, the largest open access arts festival in the world began in 1947 when eight theatre companies showed up uninvited to the Edinburgh International Arts Festival.  The juried arts festival is still in business but the Fringe, officially organized in 1951, has grown way bigger that that one. In fact it’s bigger than anyone could imagine an arts festival becoming. By 1959 there were 494 companies and by this year, 2013, the festival had over 40,000 performers in 359 venues. Unlike those original participants, we did have an invitation from Mairi Campbell, a well-known Scottish folk singer, http://www.mairicampbell.co.uk/

Meeting up with a dozen members of our US InterPlay community, and joining another dozen InterPlayers from Germany, Finland, England, Australia and Scotland, we formed an improv troupe. After practicing together for several days (which was a big part of the fun of it all, along with time spent with fabulous local home stay hosts), we came together at Venue #127, St. John’s Church in the center of the city. Our performance of the Unbelievable Beauty of Being Human was part of the Just Festival, a subset of the Fringe that focused on social justice, spirituality, and peace.mairiUBBH-17

Our well-attended performance was a fitting tribute to the festival’s themes as we danced, sang and told our stories in the moment and on the spot, highlighting what’s wonderful about being human and what’s not so great about it. As one of the elders in the group, this was my 9th performance of Unbelievable Beauty, having participated in the first series of performances in San Francisco CA in 1997, in Sydney, Australia in 2004, and in Seattle and Chicago in the years in between.  Each improvisational performance followed a similar format yet each was a unique and never-to-be-repeated experience for participants and audiences.

In the 50-page program for the Just Festival, which was a subset of the 390 page program for the Fringe, the program description read: “Re-igniting hope for human kind, passionate, funny, honest, affirming of real people and real living. Performers elevate both the miracles and struggles of every day folk in a daring, spontaneous, fresh way.  Directed by InterPlay founders, the program features InterPlayers from around the world. UK debut”.UBBH.Edinburgh1

And so it was, a never-to-be forgotten, Unbelievably Beautiful Experience!

Actually Playing is Way Better Than Talking About It!

We’re just back from a Play conference where hardly anyone played. There were over one hundred sessions, and according to the topics, people talked about play, gave research papers about play, offered strategies for breaking down barriers to play, and suggestions for designing playgrounds for play. But from what I saw in the public spaces, there weren’t too many people actually playing.

What happens when we actually play? In our workshop (or what we would prefer to call, “playshop”) we explored InterPlay tools for multigenerational play. Participants let go of their self-consciousness, and fear of looking foolish (we call this having a willingness to play) and moved into the present moment with a breath and a sigh, a shape and a shake, a laugh and a song.

We noted and experienced the bonding that results from a following and leading game between toddlers and their caregivers, between grandparents and their grandchildren, between people of any age from different cultures. And when we experienced moments of blending, when no one could tell who’s leading and who’s following, we noted these are skills necessary for healthy relationships at any age. We practiced interruption, when the connection is dropped or severed, (scary stuff for our inner child), and experienced reassurance in the reconnection.

A special play expert, a “Playcologist” came to one of our workshops and invited us to stop by his exhibit afterwards. Though it wasn’t easy to find, we persisted through the back dark corner of the convention center. Gary Auerbach’s table was colorful and welcoming, full of inviting toys; hula hoops, scarves for juggling practice, Frisbees (he’s the World Frisbee Champ) and peacock feathers. (You probably didn’t know a feather could be a toy!)

“Throw, throw, catch, catch – crisscross, apple sauce.” We practice a cross lateral movement as he teaches us to juggle and I am reminded that this movement is recommended for brain development in children and continued brain activation as we age. Harder and more athletic than it looked, our attempts to juggle generated lots of laughter among this group of “women of a certain age,” as we kept dropping the scarves and stooping to pick them up. 

“Now try two scarves in one hand and one in the other; throw, throw, throw, catch.” Just like in Interplay – you start off simply, and then add complexity. And that thrilling sense of gaining mastery isn’t just for kids. We all loved the triumph of becoming able to juggle three scarves at a time. And the peacock feathers – I discovered I had a special skill, easily balancing one on my palm, then on one finger, and (though I didn’t quite master this), balancing the 3 ft. feather on my nose.

Martin and Me

Our InterPlay troupe participated in several Martin Luther King celebrations this past weekend, which got me thinking about what my kids used to call, “the olden days.” I remembered the time I almost got to meet Dr. King in person.  

Dr. King was scheduled to speak at a Black church in Detroit, Michigan, where my then husband was a news broadcaster. As a member of the press he was invited to attend the event as a special guest and I came along as his wife. The church was crowded with people, and the excitement in the air was palatable. We were immediately ushered to the front and given seats on the stage. As I turned around to survey the audience, I realized we were a couple of only a few white people in attendance. I remember this surprising me at the time, because Dr. King was a well known public figure, and I for one had considered this evening a wonderful opportunity to see and hear him in the flesh.

After some preliminary introductions, the MC of the event made an announcement. “Unfortunately I have some sad news this evening. Dr King will not be able to speak to us this evening. He has been arrested and is in jail.” There was a hush and then a great commotion in the audience as people came to realize the realities of this situation.

The speaker continued, “But we are fortunate to have Dr. King’s father, the Rev. Martin Luther King senior as our speaker this evening.”  I don’t remember the words he spoke, but I can still see his small frame at the podium, the worry and concern for his son on his face. As I told the kids at the MLK celebration at the Kelly-Strayhorn yesterday, the whole audience joined Martin’s father in his concern for his son, because at the time, none of us knew how things were going to turn out. 

And now that we do know how it turned out, my compassion for his father reaches even deeper and broader. Martin Jr. has said, “The Arc of the Moral Universe Is Long, but It Bends Toward Justice.”  I’m grateful to have lived long enough to experience that bend.

United We Stand

Last weekend InterPlay Pittsburgh participated in the Building Change Conference: a convergence for social change. This three-day conference included skill-building workshops, panel discussions, community dialogues, a film festival, an art show, and an evening of performance art.

Our improvisational troupe, Wing & A Prayer Pittsburgh Players performed Friday night on the theme, Changing the World 101.  Two hundred or so conference participants, award honorees, and friends witnessed our 20-minute performance that occurred in the center of an evening of short performances by singers, drummers, dancers, actors, rappers, and musicians – all who use their art as a tool to change the world.

Since our performances are made up in the moment and on the spot, it’s always a bit confusing when we say we practice InterPlay on a weekly basis. But how it works is that a week or two before a performance, we each meditate on the topic or theme, and practice accessing and telling our stories that seem related to it, or to words that people associate with the topic.

The words, “domination” and “fear,” were suggested by audience members when we asked what gets in the way of creating a world that works for all. This brought out a troupe member’s story of how her young son had solved the bullying problem at his school. She had told some version of this story before at one of our practices. But in the presence of witnesses, people passionate about social justice, this simple story became something much more.  As company members joined her, the message her son gave to the bully, (after he had rounded up enough kids for support), became amplified in movement and song. “Whatever you do to one of us – you do to all of us.”

And then, with support from our keyboard musician, the entire company formed a straight line, shoulder to shoulder in solidarity and began moving towards the audience. The song morphed into,“We’re standing together, we’re standing together.” None of this had been rehearsed. It came from the grand goal of the conference, of the Occupy Pittsburgh event that was to take place the following day, and of hundreds of events taking place around the globe last weekend.  I felt in my own body, the connection to my fellow performers, the support from the audience, and the power of standing together. We became, on behalf of everyone in the room, in the nation, and throughout the world, a metaphor and a mantra, for the Power that Unity brings.