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FIND YOUR OWN VOICE

FIND YOUR OWN VOICE

Probably every wanna-be Creative has been told (at some point or other) that in order to reach their full potential as a writer, visual artist, musician, performer or whatever, it is imperative to “find your own voice.”

Now, in the Age of Social Media and Self-Branding — when the “Creative Mindset” is supposed to be The Way to $ucce$$ and Happiness — we are told that we must go looking for our individual, unique voices.  Our success depends on it.

I confess, I almost lost it when a pragmatic, more literal-minded friend snarked, “I KNOW where my voice is.  It’s right here in my mouth!”  Gales of laughter came bubbling up.

Explaining this “voice” thing gets confusing because even people who are engaged in developing themselves in a craft or an art or some other skill that doesn’t use words and doesn’t engage the mouth’s ability to make sounds can get all tangled up in trying to figure out how to find their own “voice.”

Now that the business world has turned on to getting creative, it seems that everyone wrestles with the idea of developing a voice.

There are Titans out there – the guys who built empires using their strengths and compensating for their weaknesses by surrounding themselves with people who have other, complementary strengths.  Lots of people admire them and want to be them.

There are Mega-Stars and Rainmakers and Heroes and Idols and Headliners and Leaders and Big Cheeses and High Muckamucks and Household Names and Treasures and Wonders and Leading Lights and so on and so forth, ad nauseum.  

Every one of them will probably tell you that they reached the stratosphere of massive accomplishments because they were successful in finding their own unique “voice.”

WHAT IS YOUR VOICE?

This concept of the elusive “voice” all wanna-be Successes are supposed to be nurturing is the crux of a story I encountered in a blog published by a flamenco dance teacher, Rina Orellana.

She relates how students come to her asking, “How do I find my voice?  How do I allow myself to become the dancer I want to be?”

When dancers ask her this, she says, to her it’s an indication that the dancer is “not quite comfortable in their skin.  They’re thinking too much and not feeling or allowing themselves to be in the movement.”

Her advice to these students is particularly insightful, I think.

Orellana tells them that they “need to allow themselves to be the bad-asses that they are” and she reminds them to “look at themselves in the mirror not to correct any physical part of the dance but to CONNECT with themselves as the person dancing.”

She assures them that looking at themselves in the mirror with acceptance will ultimately lead to their being confident in their movement and in their skin.

flamenco-dancer
“Flamenco Dancer” by Natalia Ba via Flickr [CC BY-ND 2.0]
Being comfortable in your own skin is how you tell when you are speaking with your own voice.

Your “voice” is how you’re recognized by others.  It’s the “tone” and the themes of your body of work (whatever it is).

Every time you do anything that other people notice, whether you’re an artist, a businessperson, an intellectual, a scientist or a geek, you are also putting your values and the unique perspectives and skills you bring to your work on display.

What is on display is the meaning and the mana that you have developed so far in your life.  Your work shows how you are standing in the world.

Like every other human thing, your “voice” changes as you grow and evolve.  It develops nuances and layers.  It deepens.  It may develop greater clarity or get muddied up by life-induced confusions.

TWO TEACHERS

As an accomplished dancer and teacher, Ornella says, she cannot help passing along her own ways of moving and styling as well as the basic theories and techniques surrounding the craft.

However, in the middle of all that, her aim as a teacher is to encourage each individual dancer to find and focus on the movements that feel “right” for the dancer and to explore the rhythms that resonate.

Kevin Fitz-Gerald, a professor at the USC Thornton School of Music, in this YouTube Video “ARTS: Finding Your Voice,” which was published by the school in 2007, agrees with Ornella.  The video was produced by artistshousemusic.org.

As Fitz-Gerald points out in the video, the things that his students point to as things they don’t like about themselves are very often what sets them apart and makes them unique individuals.  It is those things that can help them move beyond being “average” or “mediocre” and generic.

Both of these teachers advise their students to discover and develop their own natural strengths and make allowances for their inherent weaknesses and limitations by working on improving their techniques and by choosing a framework within which they can reach for their best work.

Both of them say that you will only be able to discover and use your own voice to present a message that is unique to you when you are able to explore and accept the whole package that is you.

VOICE, AUDIENCE AND YOU

All performers (and businesspeople are performers too) need an audience.  It’s part of the dynamic of this self-expression jones Creatives have. They trip out on the reactions they can engender in their audiences.

Every Creative understands that their audience will have an effect on how the artist does what he or she does.  Often the audience will determine whether the artist can continue to do it.

As a performer you want your audience to actually see who you are.  You want them to pay attention to what you have to say.  The audience doesn’t have to like what you say.  They don’t even have to like you.

Getting these others to pay attention to what you need to say can be the most important, life-affirming thing a human can do.

As a young girl who was a victim of sexual abuse by a trusted adult, acclaimed poet Maya Angelou had to choose between going silent and remaining trapped in an untenable situation or finding and using her own voice to get the help she needed to escape and to transcend this soul-shattering thing.

The girl chose to speak, and she kept on speaking and affirming life throughout her long and productive time on this earth.

In this YouTube Video, “Finding My Voice,” published in 2010 by visionaryproject, she tells how she brings herself out of her inherent tendency to go silent and closing herself down by deliberately making herself speak and speak and speak.

As Angelou points out in the video, mutism and freezing when overwhelmed by the circumstances in your life can be a very dangerous thing.  It can become too comfortable.

You become invisible.

Angelou was acclaimed as a poet, story-teller, and writer.  At one point she became an actress, playwright, producer, and director.  She was renowned as an educator and as a civil rights activist.

Angelou died in 2014, at the age of 86.  Throughout her long life, she was not invisible.

THE SHAPE OF THE SELF YOU SHOW

Your audience – anybody who’s watching what you do – will respond to the You that you present to them in your performance.  They can only know what you choose to show.

Maybe you’ve decided to spend your time imitating what those who have become the icons and the “best-of-class” in your field do. Maybe, you think, if you do what they did, then you will glow with their kind of shine.

There’s only one problem with doing this:  The You that you are showing to your audience will never be more than just a copy of somebody else.

For example, there are excellent Elvis imitators out there.  They serve a useful function:  They help keep the legend of that good ole boy alive.  But, really…off the top of your head, can you actually recall the names of these performers?

fat-elvis
“Fat Elvis (#2)” by allison via Flickr [CC BY 2.0]
The same is also true in any other field of human endeavor.   Imitation is its own reward.  Maybe you win a lot.  Mostly not.

I suppose, “finding your voice” is all about choosing the You that you want the World to know.  And, probably, you do hope that the You that you choose to show will not be ignored, dismissed or mocked.

Let’s be frank here.  You really do want at least some of the other people in this world to like that self you’re showing them because, basically, you do need to win enough support for what you are trying to do so you can keep on doing it.

Part of that is a matter of survival.  You have to eat.  You need a place to lay your head that’s more comfortable than a piece of cardboard under some highway underpass.  You need to take care of the people you love too.

And you have to achieve all that among all these other people (seven billion and counting) who are wanting to do the same thing as well.

However, it seems to me that if you’re any kind of a Maker, what you really want out of all this dancing around is to get to a place where you will have the freedom to get on with doing what you like to do best.

fountain-dance
“Fountain Dance” by Diana Lee Photography via Flickr [CC BY-NC-ND 2.0]

HOW DO YOU GET ON THE BUS?

The biggest problem with all this head-scratching and mooning around trying to hear your own voice is, as jazz great Miles Davis once pointed out, often a matter of spending enough time just doing what you want to do.  Miles said, “Sometimes you have to play for a long time to be able to play like yourself.”

For one thing, there are a lot of different “selves” inside every one of us.

All the wise guys and smarty-pants agree.  All of us humans are pretty much assemblages, made up of the bits and pieces we’ve picked up over time from the other people around us as we continue to wander through the world.

These assorted bits get glued onto the basic package. Sometimes all those life-bits turn us into lumpy messes.

To find the self that best encourages other people to respond positively to your spending your days in ways that resonate with that self you actually started out being can be a bitch of a project.

Every hour of every day and night you’re dealing with the pressures and demands of all of your dailynesses.  Work, and the needs of your family, your friends, your co-workers, your neighbors, and your stuff eat up your time.

Trying to deal with satisfying other people’s priorities, goals and expectations and maintain the life you’ve become accustomed to is often simply overwhelming.

Now, on top of that, we’re supposed to dig out our true selves and find our own voice as well?  Ri-i-i-ght….

dizzy-wood
“Dizzy Wood” by Marco Nürnberger via Flickr [CC BY-2.0]
Todd Henry is the founder of Accidental Creative, a company that works with people and companies all over the world to foster creativity, productivity, leadership and passion for work.

His book, LOUDER THAN WORDS: Harness the Power of Your Authentic Voice, is a good one to explore if you choose to accept this latest mission:  finding out who you are and what you want to say and do and then figuring out how to get other people to buy into that.

Besides explaining why finding your voice is important if you are looking for the meaning and mana in your ordinary life and in your work, Henry puts forward questions to ask and ways to find your own answers to them.

Here’s a list that he put together:

  • What angers you? What triggers an urge in you to rectify a great wrong?
  • What makes you cry?
  • What have you mastered? What do you do well?
  • What gives you hope? What do you look forward to?
  • As a child, what did you want to be when you grew up?
  • If you had all the time and money in the world, what would you do?
  • What would blow your mind?
  • What platform do you own?
  • What change would you like to see in the world?
  • If you had one day left, how would you spend it?

YET ANOTHER 30-DAY CHALLENGE SERIES

It occurred to me that Henry’s question list would make good 30-day challenge material.  Here’s the how-to:

  1. Grab an ordinary small-kid kind of composition notebook and a pen and label it “The Voice Project.” (No need to get fancy with this.)
  2. Now, choose one of those Henry questions or make one up that’s your own, then make a commitment that for just ten minutes every day for the next 30 days, you will think on that one question and write down your answer to it in that notebook you’ve labeled. (If the time you take to answer the question stretches past the five minutes, that’s fine too.)
  3. Do this notebook thing every day for 30 days.   Be honest with yourself.  Nobody else is going to see this thing.  Just you.
  4. If it starts to get boring, you might want to use colors and drawings and other stuff to illustrate the thing. Cut out magazine pictures and stick them in there.    Write a poem.  Whatever.  Have fun with it, but answer the question.
  5. By the end of that time, you’ll at least get some idea about the kinds of thoughts that arise when you ask yourself this one question.
  6. After you finish the first 30-day challenge with the question of your choice, do it again for the next question, then the next, then the next.

Ten minutes a day for thirty days equals 300 minutes – a minimum of 5 hours total in a 720-hour time period.

It’s less than the time spent attending yet another workshop or working your way through one more online course.

It’s less time than the time spent participating in networking events listening to everybody else’s pitches and slinging some your own self.

In between the question-answering sessions, you might want to go back and read over and look at the stuff you’ve produced.  You might ask yourself whether you really agree with all this blather and B.S. you’re shoveling.

That’s when you really start figuring out what you actually think about the thoughts you think.  You find the shape of your own basic self – the one that just sits there waiting for you to notice.

It gets to be quite fascinating after a while.

composing
“Composing – 67/365” by Andreanna Maya via Flickr [CC BY-NC-ND 2.0]
I notice that the weirdest result of this little exercise is how just answering these questions and others like them affects you in your daily life.

You might start doing things that surprise you:  accepting an invitation to a gathering that you might normally not consider, taking on some project or supporting a cause that resonates strongly with you, or trying something you never tried before just to see whether you might like it.

These things may have some pretty amazing results.  It can be a very good thing.

Here’s a poem:


THAT IS THE SAD

Melancholy sits, a knot at the small of my back,

My companion as I walk through sunshine and through rain,

As I do my days,

Charging at windmills,

Taking in the wonderments,

Drinking down the joyousness,

Choking on the tears.

 

Maybe I’m understanding now:

The sadness is only the residue

Left behind as a flood flows

Through my heart cave yet again,

Leaving behind a high-water mark.

 

You know, of course, that all that shiny stuff

Running through all of our heart-caves are

Tributaries that merge together into a great river

Running through this ancient universe,

Pumped out by the jostling masses of living creatures,

Flowing all together like the notes of one grand song.

 

The birds singing their morning hosannas as they greet the sun

Go on through their day with the sound of that

Mighty chorus sounding in their ears,

Content that they’ve established their place in the world.

 

I am thinking we humans are no less connected than they,

But ours is a darker richer song,

Its complexity woven into our days and nights like a subsonic rumble

As we delude ourselves into believing we are immune –

Apart somehow – from the music we are making,

That grandiloquence that touches the edges of our own universe and beyond.

 

We fool ourselves and think we can sidestep the consequences

Of our myriad tiny choices,

That we can stand apart and inviolate, away from the all of everything.

And so we stand uncertain, unsure that this how, this place is righteously ours…

Unlike the bold birds who understand otherwise.

 

That’s the deep sadness, I am thinking,

The “suffering” wise guys ponder – this forgetting that is uniquely human –

The disremembering that, one and all, we are

The favored children of this old universe…

Welcome, gifted and alive,

Swimming in the same golden stream.

 

That willful denial keeps us grabbing at the silly, glittering flotsam,

That awful lostness rasps and scrapes us raw,

Dogging our days and trotting us around all crazy.

That’s the sad, I think.

That’s the suffering.

By Netta Kanoho

Header Photo credit: “Who Is Speaking?” by Daniel Horacio Agostini via Flickr [CC BY-NC-ND 2.0]

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FINDING YOUR AUDIENCE

FINDING YOUR AUDIENCE

It’s a cliche, of course.  Writers, artists, and performers of all sorts (including politicians and business speakers) are forever being told that they have to “find their own voice.”  The premise in all this advice is that each one of us is a unique individual with our own way of seeing the world and sometimes by speaking our own truths in our own way we can help other people find theirs.  Your “voice” is your style, how you present your own truths.

Those of us who want to communicate our thoughts to the world spend a lot of time thinking on that.  We spend a lot of time trying to figure out not only how to say our own say, but also we keep trying to figure out how to find an audience that will hear us when we do.  Communication is a two-way street.  There’s you doing the sending and there’s all those other guys doing the receiving (and talking back).

Here are some thoughts about this from a varied group of people who have been working in their craft for a while.  All of them have worked on finding their own voice.  Each of them has found and cultivated an audience who hears them.  Perhaps one of their ideas will spark some of your own.

TO FIND YOUR VOICE, USE IT

Artist and online entrepreneur Austin Kleon, in his book SHOW YOUR WORK:  10 Ways to Share Your Creativity And Get It Discovered, had some hard-earned advice.  After years of trying to figure it out he says, “….now I realize that the only way to find your voice is to use it.  It’s hardwired, built into you.  Talk about the things you love.  Your voice will follow.”

This YouTube video, “How to Find Your Own Voice,” was published by Bedros Keuilian, the president of Fit Body Boot Camp International, which is among the fastest growing fitness chains in the world, apparently.  Keuilian focuses on marketing strategies in his videos.  In this one, Keuilian points out the importance of being you.  (Everybody else is taken.)

USE YOUR VOICE TO FIND YOUR AUDIENCE

As a writer, a speaker or an artist, your incentive for developing a voice is so that people will recognize you, listen to you, hear you.  Madman-writer Dan Harmon advises, “Find your voice, shout it from the rooftops and keep doing it until the people that are looking for you find you.”

In this YouTube video clip published by FidelWriting, Harmon is giving a talk at the Nerdist Writers Panel.  This bit of silliness is Episode 107, “Structure of a Sitcom.”  In his advice to young writers Harmon does a wonderful riff about storytellers….

Buried in the laughter is a truth:  Your voice is yours.  Don’t let anyone take it away from you.

This little gem’s from Roz Parry, a consultant in communication and team-building.  She agrees that the best way to find your audience is to speak with your own voice.  “You have to be true to your deep beliefs, especially in the face of adversity.  That way you attract the people to you who value you and what you stand for.  They come to you, not the other way around.”

SUSSING OUT YOUR AUDIENCE

Finding and speaking with your voice is only half of the communication equation.  You also need to know something about the audience that your work attracts.

Swedish diplomat Dag Hammarskjold was the Secretary-General of the United Nations for most of the 1950’s.  Hammarskjold pointed out another truth, “The more faithfully you listen to the voice within you, the better you hear what is sounding outside, and only he who listens can speak.”

Todd Henry is the founder and CEO of The Accidental Creative, a company that helps creative people and teams generate brilliant ideas.  He regularly speaks and consults with companies about how to develop practices and systems that lead to everyday brilliance.  He’s written three books:  ACCIDENTAL CREATIVE, DIE EMPTY and LOUDER THAN WORDS.

Henry says, “It’s not the responsibility of your intended audience to adapt to you, it’s your responsibility to adapt your idea so they can receive it.” 

 So, how do you suss out your audience?  Listening is a big part of that.  So is research.

This Kickstarter YouTube video is part of a collection of helpful tips and advice from creators about common Kickstarter project questions.  In this one, “Knowing Your Audience,” filmmakers Karyn Parsons , the creator of “The Janet Collins Story;”  Adam Weber and Jimmy Goldblum,  co-directors of “Tomorrow We Disappear;” David Thorpe, director of “Do I Sound Gay?” and Malika Zouhali-Worrall, director of “Call Me Kuchu” tell how they worked to find and build the audiences for their crowd-funded projects:

Here’s a poem about getting the voice right….


VOICE

 

When you get it right, when it all goes well,

And everything falls in place,

There’s a shift inside of you

That opens up another space.

 

You’re an empty, hollow flute

That the winds blow through and through,

And the words that appear on the page

Don’t even feel like you.

 

You think another voice

Has sounded through your throat,

And all the notes and pauses

Seem to effortlessly float.

 

The variations and the themes

Are from some other place,

Some other who in some other when,

Wearing some other face.

 

It is a comfort then

To understand and see

That the self you think you know

Is more than you think it could be.

 

The music of the spheres contain the songs you sing

Stop shrinking yourself small;

You’ll get big enough inside

To contain and reframe them all.

By Netta Kanoho

Picture credit:  Disembodied Voices by Jeremy Brooks via Flickr [CC BY-NC 2.0]

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FACING FUTURE

FACING FUTURE

I’m writing this on the day after Christmas.  It always seems to be a time that encourages reflection.

This time of year feels like what I imagine landfall at a home port must have felt like for the captain and crew of the tall ships in centuries past.  There’s all kinds of hoo-hah and celebration, but underneath it all you are thinking and planning and preparing for your next voyage.

Very soon now we’ll be ringing in the new year.  Facing future is the order of the day for many folks.  It’s a time for reflection on the past year and a time to regroup and re-think.

MAKING A MANIFESTO MEANS CHOOSING YOUR DIRECTION

For my own self it is a time to take a new look at what I call my “manifesto.”  I made up this thing about 14 years ago when I realized that every year I spent this time brooding over all my past failures and vowing (yet again) to pick up chops.

Even as I put together my plan for the new year, I knew in my gut that the resulting euphoric high from doing it was likely to last about a month and a half.  After that I fully expected to drown again in the all of everything.  I knew I would probably fall right back into the same-old.

The whole process was less than satisfactory.  Rather than making yet another to-do list of new year’s resolutions, I decided to choose the direction I was going to head and to write it down.

Here’s my current manifesto’s statement of direction:

“The path I choose, the one I will gladly and freely accept, is the life of a kanaka makua, a sovereign person.  This life-path I am choosing is one that is filled with freedom, creativity, love, joy, synergy, balance, aliveness, contentment, peace, art, books and music.”

This statement has stayed pretty much the same for the past few years.  It is, after all, the result of years of revision. I do know my statement sounds high-flying and woo-woo to the max, but that is just me.  (I’ve always figured that if you aim for the stars, at least you’ll maybe get your ass to the moon….)

The rest of my manifesto goes on to delineate how I plan to walk in the year ahead.  I go over the strategies I noted at the beginning of the year.  Then I will refine (or dump) the ones that did not work as I expected or write down new ones that I’ve discovered.

I limit the things to no more than the six life-areas that I feel are important:

  • caring for the framework of my life (house, gardens, transportation, offices,  workspaces, body and finances);
  •  making room for my heart people;
  • playing and helping other people play;
  • making the ordinary sacred;
  • remembering and honoring the fact  that the Creative and the sacred moves through the world;
  • learning to dance well with money-energy.

Your life areas will probably be different.

Each area gets no more than six simple strategies to help further the steps I am taking to make a life filled with meaning and mana.  It’s gotten a lot easier to do this manifesto-thing now than when I first started.  The manifesto sits in a computer file from one year to the next.  (Writing it out by hand every time I revised it used to be a major production.)

My manifesto strategies are not goals.  There are no dance-step diagrams in this thing and no deadlines that have to be met.  They are just a part of a roadmap and a plan for the next journey I am choosing to make in the coming year.  As 18th-century historian Edward Gibbon once said, “The winds and waves are always on the side of the ablest navigator.” To my mind, the ablest navigators are the ones who know where they want to go.  It’s the first step.

In this ever-changing world, however, on any journey, you do need to be able to “flow with the go,” as Guy Kawasaki says.  Objectives, goals, deadlines and such will happen when you interface with the world.  Those will come later.  Manifesto-making is just choosing the direction in which you are heading.  There are no firm-lipped resolutions to mess up, no florid vows to break, and no major deadlines to blow.

For a less woo-woo (and probably more practical) approach to writing a manifesto, here’s this YouTube video “How to Write a Manifesto” published by Empower the Tribe.

A more detailed how-to-do-it may be found in Todd Henry’s book, LOUDER THAN WORDS.

REFLECTION EXERCISE

This year when I do my manifesto, I’m also going to try a reflection exercise that online entrepreneur Derek Halpern, the self-styled “conversion expert,” and the founder of the website “Social Triggers” recommends.

Here’s what you do:

  • Look back at the past year. Now ask yourself,  “What went well?”  Do a monthly review of your past  year and choose the one thing each month that worked out really well for you.  (I plan to look through my old planner book and my journals for the year.  I’ll pick out the triumphs and blessings in a year beset with setbacks and list the best, one for each month.)
  • Now, look at all those shiny triumphs and ask, “Can I do it again? How?”  As   Halpern says, “If something went well once, it can go well again.”  The thing you have to figure out is how to make that happen.

And that’s it….

My own feeling on this is that if you can spend your time figuring out how to replicate and reiterate the things that worked during the past year and then go do it again next year, then by the end of the year, you’ll probably have a whole bunch of new shiny stuff.

The exercise could also be a good way to remind yourself that the Universe is still on  your side…especially after a hard year.

Halpern shares his knowledge of psychology with entrepreneurs and bloggers, helping them gain greater market share with many counter-intuitive strategies that work.  You might want to check out his website, Social Triggers.

A NAVIGATOR’S HANDBOOK

One book I’ve found valuable in thinking about all this stuff is LIFE CYCLES:  Your Emotional Journey to Freedom and Happiness, by Christine DeLorey.  DeLorey is a writer and world-renowned numerologist.

The book is divided into three parts.  First you learn how to find your “Destiny Number,” the one you were born with and what it may mean for you.  Then you learn how to determine where you are on your Journey through the 108 possible cycles of your life, year by year and month by month.  The last part is an explanation of DeLorey’s philosophy and why she constructed the book in this particular way.

The structure of this book has proven to be useful to me.  Knowing where I am in a cycle of my life and using that as a starting point, I have been able to make some fairly good decisions that have led me to very good places in my life.  I have also, I think, been able to resolve many puzzling questions for myself and find new ways of thinking as well.

Numerology is an ancient way of studying life.  Whether you believe in its effectiveness or not, in the hands of a person like DeLorey, who has apparently thought deeply about life and how to live it most effectively, numerology becomes a very useful tool for finding strategies for navigating through all of the situations and circumstances that life can throw at you.  It makes the chaos feel more organized.

For years now, at the start of each month I have read the relevant entry in DeLorey’s book for whatever month of the cyclically numbered year  I’m living through.  I pick out the likely lessons for the month.  I consider  DeLorey’s suggestions for dealing with them.  During the month I often get the chance to try out these suggestions.

I am not sure why this practice seems to work.  (It could just be a function of where I am putting my attention, after all.)

However, when I’ve encountered situations that go wonky, I’ve been able to take stances and make moves that help resolve things in a satisfying way using DeLorey’s advice.  The lessons I’ve learned along the way have been eye-opening and the take-aways I’ve gotten from the situations are often surprising and sometimes counter-intuitive.

I do recommend giving DeLorey’s LIFE CYCLES a space on your reference shelf.  Perhaps it will work well for you as well….

FINAL THOUGHTS

Doing the work of making a manifesto, then trying to figure out where you might explore next and how, then working your way through your year following the things you’ve thought on seems like a lot of complications for an already complex life, I know.  For some reason, though, I’ve found that making the time and doing it upfront in this way seems to help you figure out how to take care of getting the most important things in your life done.

Meaning and mana in a life doesn’t just happen automatically, I find.  Maybe nothing that is worthwhile happens automatically….

In any case, it sure does work better than making dumb resolutions that you know you are never going to keep.

Here’s a poem:


YEAR REVIEW

 

It seems to me

That this whole year

I’ve been looking at

Who I am and where.

 

I like me.

I like where I am.

 

For one whose imperative

Seems to be about growing,

About transformation,

This is a conundrum.

 

What do I keep?

What do I let go?

How do I change?

Or do I have any say, really?

 

I know the direction

I am wanting to go…

Towards peace and joy and love.

I am learning again

What doesn’t get me there.

 

But, it seems a small goal,

A very little one.

Still, if I can get there

Maybe I can point the way

For others who are trying

To get there as well.

 

Maybe that is all that I can do.

Maybe.

by Netta Kanoho

Picture credit:  Tall Ships by JFB119 via Flickr [CC BY-ND 2.0]
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GETTING ON THROUGH

GETTING ON THROUGH

Todd Henry is the founder of Accidental Creative, a company that helps people and organizations “generate brilliant ideas.”  In his book about developing a voice, LOUDER THAN WORDS, he recounts a piece of advice that artist/illustrator Lisa Congden received from her art teacher.

The teacher told Lisa that the thing to remember is that every creative project (no matter what it is) has a U-shape.  You start with a clear plan and great enthusiasm.  As you work on the project, your natural energy starts fading.  Things that seemed so very simple at the top of that U when you began the thing prove to be complex and unclear and the way gets very boggy as the mist rolls in.  Nothing is as straightforward as it first seemed.  At this point, people often lose heart and give up.

But, he said, if you keep slogging on through the deepest muck at the bottom of that U, then your heart starts to fill up again, your passion revives, you start seeing the patterns of this thing and the fog clears.  You find the path opens up again and your energy will return – sometimes stronger than ever.  When this happens, he said, the resulting work is usually far better than ever seemed possible at the bottom of that U.

For this reason, Henry says, you need to be guided by a larger vision for your work.  Your job (as you slog through the Valley of Despond) is to keep your end-goal in sight, even when your view of it is blocked by frustration and complications.

The antidote for the part when you’re running on fumes at the bottom of the valley is to remain focused on your vision and to keep on taking the next step, then the next one and then the one after that.  You keep going until you get through the downer place.

As Henry says, “There will be peaks upon which everything seems so clear and your work is so on target that you want to share it with everyone you meet, and there will be valleys in which you question why you’re even trying.  It’s all part of the process, and it’s never ending….”

Another poem….


AND LIFE GOES ON….

And life goes on…

Whatever is happening

Does a slow and stately dance,

Flowing like dark molasses, heavy and dense,

Or else it tumbles like some hip-hopping crew

Zit-zack-zuck, whizzing by,

All the many, many parts

Zooming, on the fly.

 

Me, I’m just one little bit –

A ‘one’, a ‘zero’, a spectator, really –

Trying (in my way) to see

The whole meshugennah thang,

Trying to go for the grace,

Step-step-stepping lightly,

Looking for the beauty,

And helping other people play.

 

I can just do little things:

Lend a hand when I can,

Do the small move that evokes a quiet smile,

Turn on the teeny maglight

And shine it on the path,

Turn one small key that opens one more little lock.

 

And I’ve been thinking…

Maybe that can be a cool thing.

by Netta Kanoho

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