by Jenny Rose | Jan 10, 2019 | A Flourishing Woman, The Journey
Photo by Laura Fuhrman on Unsplash
I’ve lately been revisiting David Whyte’s work, including one of his audiobooks titled What to Remember When Waking. He suggests having faith in things falling away.
It caught my attention because usually we speak of faith in what we judge to be positive: Courage, kindness and the sun coming out tomorrow. Having faith in the shadow side of life suggests a deeper wisdom.
This coincides with my current personal focus on shame, which I discover (to my chagrin and sorrow) is a burden I carry every day and can’t remember being without. I knew it was there, in the roots of me, but generally speaking I try to hide it and look the other way. I’ve never had any idea how to eliminate it or transform it into something less painful and more effective, so it’s become firmly and almost invisibly established.
Whyte, a magnificent poet, prompted me to think differently about feelings and experiences we typically cast as negatives and try to avoid, ignore, hide or minimize. Have faith in things falling away.
What kind of things fall away?
Leaves in autumn, innocence, comets, people, memories, time, feelings, others beloved by us, and our own lives. Flowers drop their petals. Snakes shed their skins. Seconds and years fall away, one by one. The sea ebbs from the land and then returns. What we can see of the moon wanes and falls away to nothing before it waxes once more. A fertile woman watches each month’s possibility of new life fall away when she is not pregnant. The dark falls away before the light, and the light before the dark. Cell by cell, lash by lash, hair by hair, our bodies fall away during our lifetimes.
Sometimes we fall away from others, or tear ourselves away from jobs, relationships or places.
Some things we are glad to let go and leave behind us. Other losses are so terrible we feel permanently maimed.
Then there are things like shame that are forced upon us by others, that cripple our joy and our ability to love ourselves. We long to be free of such burdens, to let them fall away, but we don’t know how to do it. Even if we find a way to loosen their grip upon us, we are sometimes unwilling to cast them completely aside, because then we would become strangers to ourselves, strangers in our own lives, and we fear that change more than our familiar suffering.
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Faith in things falling away. Trust and confidence, in other words, in both loss (things we don’t want to lose) and relief (things we do want to shed).
Could it be that the way through shame, longing, fear, anguish and the like is to turn toward it, embrace it, kiss it on the mouth? Is that what must happen before it can fall away? I wonder.
Can we trust in the approaching storm as much as we trust in the sun coming out tomorrow? Can we trust in the unraveling, the fraying, the slow decline, the darkest shadows of our hearts and actions, as well as healing, vigorous new life, and our kindness and compassion?
I suppose what I’m really asking is if we can trust in all of our experience and feeling, whether comfortable or agonizing, in any given moment. Can we trust in change and suspend our judgement about whether it’s good or bad? If our world is burning around us and everything we know or have is falling away to ash, can we have faith in the purification of that terrible loss?
Taking it further, am I willing to have faith in my own frustration, anguish, scars and shame? Am I willing to explore these things, talk with them, allow them to teach me, even love them, and then let them go or transform? Do I possess the courage to let an outdated version of myself fall away while I enlarge my soul?
Inevitably, inexorably, things change and fall away. As human beings, how do we choose to live with that fact? Faith or resistance?
Tonight I will sleep with my worries through dreams dark with soil
and the heaving cataclysm of the spade
turning earth round me
not speaking of air
or light fused with greenness
but of darkness
and the first leaves
like hands in prayer
clasped inside the seed.
— David Whyte, “Inside”
Photo by Trevor Cole on Unsplash
All content on this site ©2019
Jennifer Rose
except where otherwise noted
by Jenny Rose | Sep 13, 2018 | A Flourishing Woman, The Journey
Clarissa Pinkola Estes introduced me, years ago, to the idea of descansos in Women Who Run With the Wolves, one of the most important books I’ve ever read. Descansos is a Spanish word meaning resting places. A descanso might be a grave in an ordinary graveyard, but Estes suggests creating descansos as a spiritual practice; a method for letting go and/or acknowledging a loss; a place to put rage, fear and other feelings or destructive thoughts to rest so we don’t walk forward burdened by unresolved pain and experience.
We know grief has its own timetable. The Celts set aside a year and a day for the proper discharge of grief. Many other cultures have formal mourning periods and practices, during which people are not expected to fully participate in social responsibilities and activities. Many of us try to move away from the anguish of grief as quickly as possible, but there is no shortcut for the grieving process. Sooner or later, we must feel it and walk through it if we are to heal.
Photo by Madison Grooms on Unsplash
Loss is not just about the death of a loved one. As we journey through life we encounter many losses, including the loss of our innocence, which might take many forms; the loss of dreams; the loss of health; the loss of a job, a home, a relationship or some piece of identity. For all of these, we might make a descanso, a place where we have knelt and prayed, wept, planted flowers or a tree and marked with a cairn, a stone, a cross, or some other symbol that has meaning for us. A descanso is a quiet, private place apart from the rest of our lives, a place we can visit when autumn leaves begin to fall and the cooling air crisps with the scent of windfall apples, damp leaves and browning ferns. We pay homage to what has been, to that which we’ve blessed, released and laid to rest. We invite memory and take time to empty our cup of rage, pain or tears again.
I recently wrote about identity. This fall, it occurs to me to spread out all the pieces of my identity, past and present, try them on, one at a time, and notice how they feel. I will make descansos for those aspects of identity that no longer fit me or serve my intention going forward. I want an identity update; to replace the old versions with an identity compatible with my present life and experience, much like going through a clothes closet and culling.
In fact, that is a task I’m undertaking right now as well; going through my clothes. Perhaps that’s why I feel nostalgic and am thinking about descansos. Autumn awakens in me the desire to clean out and lighten up, literally and metaphorically. I discover my difficulty in letting go of clothing I haven’t worn in years and which no longer fits is about the memories of who I was and what I was doing while wearing it rather than the clothing itself.
Photo by eddie howell on Unsplash
Memories can be a heavy burden. Some are precious and we never want to lose them. Other memories haunt us and keep our wounds fresh and bleeding. The remedy for all those imprisoning beliefs, pieces of negative identity, unresolved feelings and painful memories is the practice of descansos, which is to say the practice of grieving and then moving on. That order is essential. We must grieve fully and willingly, and then move on. A graveyard is not a place to pitch a tent and live the rest of our lives. It’s a place to create, visit, honor, care for and meet ourselves when old parts and pieces of our lives enter our dreams and tug at our hearts.
Making descansos is a gentle practice. It is not denial, avoidance or rejection, but rather an open-armed welcome to all our experience, followed by honest assessment and choice-making. Like clothing, identity and memories wear out, no longer fit or become too uncomfortable and outdated to be useful. Making a resting place is an intentional practice, without violence, frenzy or horror. We are not tearing ourselves apart with self-hatred, but allowing change and growth, the same way the trees are beginning to let go of their leaves and a snake sheds its skin. The practice of descansos allows us to clean up, clean out, and create space for new growth and experience. It’s an opportunity to create a place of sacred memory so we do not have to stagger under a jumbled-up load of the past.
Creating descansos is uniquely individual. Some might draw a map of their life’s journey, marking descansos along the way. Artists might paint, make music, write, create, sculpt or dance. Others might seek out a sacred place in nature for ritual, prayer and making a grave or graves.
Photo by Sandy Millar on Unsplash
When I make descansos, I think of putting a baby to bed in a dim nursery, bathed and fed, sleepy and smelling of milk, with a clean blanket and a stuffed toy. Perhaps our most brutal memories and experiences are the ones needing the tenderest descansos we can create. As we would nurture, reassure and protect an infant, we nurture, reassure and protect ourselves with the practice of descansos. We allow ourselves to suffer, release our suffering and move on, honoring the way our experience shapes and enriches us.
It’s autumn in central Maine, a good time to make new descansos and visit old ones. A good time to remember. A good time to walk under the trees and absorb the wisdom of cycles and seasons, growth and change, life and death.
A good time to allow ourselves to rest in peace.
All content on this site ©2018
Jennifer Rose
except where otherwise noted
by Jenny Rose | Mar 8, 2018 | Choice, Power
Selchie: A mystical creature who takes the form of a seal in the sea and a human on land.
I have a picture book from my childhood called Greyling, by Jane Yolen. It’s one of my favorite stories, by one of my favorite authors, and I’ve told it as an oral storyteller for many years. When I began doing storytelling, I sought out all the selchie stories I could find and incorporated them into my programs.
I rarely tell a selchie story without fighting back tears.
I’ve lately revisited this wonderful material for the second book in my Webbd Wheel series, and it occurred to me to explore why these stories touch me so painfully and deeply.
Selchie stories appear in the Hebrides, Iceland, Orkney, Scotland, Ireland and the Faroe and Shetland Islands. Like all lasting oral traditions, they contain blueprints for navigating loneliness, exile, love, loss, competition, compassion, trust and power. A good story has many facets.
A common thread in selchie stories is that a seal comes to land, takes off its skin, and becomes human, usually a beautiful young woman. Subsequently, the skin is stolen by a man and the woman entrapped. In many of the tales, she marries the man who has her skin (always a fisherman) and bears his children. Sometimes her husband promises after a certain number of years he’ll allow her access to her skin again, but he doesn’t follow through for fear of losing her. Inevitably, the skin is found, often by a child, and returned to the selchie, who must then face a choice between her life with her family and her life in the sea.
Photo by Jeremy Bishop on Unsplash
It is this choice that makes me weep. I know the agonized longing for what we are made of but can’t ever quite find.
As I observe the world and people around me, I think many of us feel in some way exiled from who we were born to be, from a place, from a tribal connection, from some integral expression of self. I believe this exile creates such an unbearable hunger we grasp at anything within our reach in order to appease it, becoming addicts, developing eating disorders and body dysmorphism, and struggling with anxiety and depression. We live in a culture of distraction and entertainment. We’re busy, noisy, exhausted, and inundated with information, stimulation, propaganda, manipulation and demands.
Photo by Anna Dziubinska on Unsplash
We want what we are made of, but how do we find what that is? Why is it taken away or withheld from us? Why are we so often forced to choose between one thing we’re made of and another? This all lies at the heart of selchie stories, for the selchie is a creature torn between two worlds and two tribes, and we instinctively recognize this conflict.
Choice is so often grief. If a selchie re-dons her skin and goes back to the sea, she cannot return, for she already knows the terrible cost of losing her skin, and though she may love her children and even have grown to love the fisherman she’s with, she cannot trust him. In returning to the sea, she is joyous, but now the grief of leaving her children and the life she made on the land replaces her longing for the sea.
I was with a man who avoided choice. He said he didn’t like to choose one thing in case something better came along. My experience of this was that he didn’t want to commit. It meant we couldn’t plan a date, a weekly ritual or even a walk. If we did, he frequently cancelled at the last minute. It was painful for me, and it frayed our connection considerably as I vacillated between hurt and anger. Eventually, I gave up and made my own plans. I told him that his maybe-I-will and maybe-I-won’t approach didn’t avoid a choice but was a choice. He refused to take responsibility for that, and he was bitter about the choices I made subsequent to his.
I’ve also been with partners who believe we can have it all. One man walked away from any situation in which he couldn’t have his cake and eat it too. It was a point of pride with him. He didn’t see why he shouldn’t have it all, and, as far as he was concerned, the world (and I) owed him that. Looking back, I see this as just another evasion of the heartbreak and consequences of having to make choices.
I think very few of us have the luxury of having it all. We come together and move apart, searching, fleeing and climbing ladders we hope end in success. Many of us feel rootless in terms of place and tribe. We don’t really feel we belong anywhere on a map, and we have no rightful place in a human circle. We do the best we can, a choice at a time, and over the years those choices and their consequences teach us who we are and turn us into adults.
What we’re made of is not necessarily what we’re born into. What we’re made of is not necessarily the place we live in, the people surrounding us, the job we have, the clothes we wear, the car we drive or the color we dye our hair. What we’re made of is not always who we want to be, who we insist we are or who we’re expected to be. Discovering what we’re made of is an excavation of our dreams, our souls and our joyous bodies. Many of us spend our whole lives finding one piece of ourselves at a time, stumbling, groping, picking up and discarding, searching blindly in the dark with nothing but our feelings to guide us.
On one particular day of no special consequence, my small toddling self, clothed in a yellow bathing suit with white trim, was lifted into a pool of water as big as the sea. From that day to this I’ve loved the water, and during occasional long, dry spells without access to swimming I dream of water and wake myself weeping with the anguish of my longing.
I’m a creature of water. It’s part of what I’m made of.
Photo by Nathan Anderson on Unsplash
For some years I lived in a city and laid awake at night watching headlights move across the ceiling and walls, straining to hear a precious moment of silence in between the sound of cars and sirens and too many restless people moving through the pale night. I dreamed of high, snow-covered mountains under starry skies and the peace of trees in unbroken darkness. Every day I died a little more, but I knew in my heart one day, one day I would leave the city and live in the shadow of the mountains I dreamed of. A thousand nights later I freed myself from the tentacles of that city, but I also left behind my marriage and the father of my children, my belief in happy-ever-after, the most lucrative job I ever had and the good wife and mother I wanted so much and tried so hard to be.
Photo by Ryan Hutton on Unsplash
At last, I slept in the shadow of snow-covered peaks in a small mountain town without pavement and street lamps and sirens. When I awoke at night, I heard the cry of the vixen, the rushing wind, the owls calling to one another, the sound of the bear eating apples from the tree outside my window, or the raccoons cavorting in the tops of the pear trees like furry pirates.
I did not have it all. I had another piece of what I’m made of. I chose it, and I paid for it. I’m still paying for it, twenty years and thousands of miles later, and whatever the cost, it’s worth it. I cannot live in the city.
By the time my life is over, will I know everything I’m made of? Will I have lived with enough courage to choose what I’m made of, come what may? Will living true to what I’m made of sustain me? Will I ever find my own sealskin wedged between rocks, or locked away in a chest, or hidden in the thatch?
Reclaiming what I’m made of, one choice at a time. My daily crime.
The selchie lives in a small cottage on the shingle beside the sea. She lives with a fisherman whose face is carved with a lifetime of loneliness that she has relieved. She and her children gather seaweed and driftwood, mend nets and dry fish and watch for the fisherman’s return, lighting a lamp and setting it in the window to welcome him home in the evenings. She lies with her man at night and listens to him sleep, and the waves come in, and the wind sighs through the beach grass, and she thinks of her sea kin and wonders how it is with them and if she’ll ever see them again.
Photo by Kace Rodriguez on Unsplash
The selchie takes the folded sealskin from her child and holds it to her breast, weeping, smelling its fading perfume of fish and sea, rubbing its softness against her cheek. She tells her children she loves them, but she must leave, and they clutch at her hands and her skirts, crying, not understanding what is happening. She tells them they will see her again, but in a different form. She cannot stop to explain, lest the fisherman return and her chance for freedom is lost. She stumbles out of the house, casting aside her clothing as she goes, until she stands naked in the surf and steps into the skin. The children follow, stricken and wailing, pleading with her not to leave, but her need for what she is made of is even greater than her love for them, and the surf takes her gladly in its embrace and carries her out. She looks back one more time, her great, dark eyes full of tears, before she dives into the arms of what she is made of and disappears.
All content on this site ©2018
Jennifer Rose
except where otherwise noted
by Jenny Rose | Feb 22, 2018 | Choice, Power
A small clay sculpture of a woman with her hands cupped in front of her chest sits on my desk. She holds a tiny clay bird and is surrounded by a couple of crystals, a piece of amethyst and a small geode. This little altar has been my daily companion for years. Wise and smiling, round and nurturing, the sculpture has comforted me through many losses, grief and rage. She’s one of my greatest treasures.
Letting Go
These days, the bird she holds is perched on the rim of the wooden dish she sits on, looking out at the room, at the world, at me. It can stay, or it can fly away. For now, it’s content to sit, watching and listening, as I live my life in these two small rooms at the top of our sagging farmhouse.
I have placed tiny polished garnets in the woman’s cupped hands where the bird once nestled.
I had a friend, dear and wise, in my old place who once said to me if we open our hands and let something go, and keep our hands open, something new will come and fill them. As she spoke, I again saw the image of an open hand, generous, allowing freedom, and prepared to welcome and support the next thing, and the next.
Letting go is power. Letting go is serenity. Letting go is an authentic act of love toward self and others. The usefulness of letting go is not a secret. Almost any self-help book out there talks about it as an aspect of healthy functioning, but I think popular psychology doesn’t explore it deeply enough.
Letting go doesn’t mean we brush aside our feelings. Not at all. Unexpressed feelings cement us in place. We all know people who remain frozen in time because of a death or traumatic event. Years and decades pass, but they don’t heal. They don’t move on. Their emotional growth is arrested. This is what unfinished emotional business looks like. Unexpressed feelings can’t flow through us and dissipate so we can release them.
We know very little about appropriately expressing our feelings in this culture.
Feelings aren’t thoughts. They’re not stories, expectations, beliefs or ideology. They’re not labels or rules. Like it or not, admit it or not, we’re physiologically wired for feelings, and they give us good information about how things are with us. Our thoughts and beliefs, on the other hand, are frequently distorted, confused, misinformed, outdated or otherwise unreliable.
That’s where letting go comes in.
We’ve all had events in our life that left deep scars. We’ve all seen things we can’t unsee, heard things we can’t unhear and done things we can’t undo. We’ve all felt disempowered or victimized at one time or another. Death and disaster enter our lives with no warning and take those we love.
Some people move on from such events with more grace than others. I suspect part of that grace has to do with forgiveness. Not forgetfulness, but forgiveness of self and others. I suspect another part is the ability to fully experience and express the feelings attached to the event. That requires a certain kind of support, and many folks don’t have it. Some people simply don’t choose to move on or let go. They center their thoughts, feelings and energy in the event, whatever it was, and they hold it tight, cherishing it, feeding the fire of their pain, keeping their scars open with the razor blade of their attention and focus. It becomes part of their identity, part of their story, a grievance to cling to, a betrayal to treasure, a wound to worship.
Photo by Andrey Grinkevich on Unsplash
I have a book called Clean Sweep, by Denny Sargent. It’s filled with rituals and instructions to help us let go of what no longer serves us. The author outlines a banishing exercise in which he suggests the reader visualize holding tightly to a thorny branch. In my own version, the branch is heavy, so heavy I can hardly hold it, which drives the thorns deeply into my flesh. The branch is a person, event, memory or belief that gives us emotional pain. We can make an easy choice and cling to it, cradle it, embrace it, let it tear our skin and make us bleed. We can make a harder choice and set it down, open our hands and let it fall. We can walk away from it. We can burn it or bury it.
In order to let go, we have to be willing to surrender control and endure loss. Letting go of a core piece of identity, a long-held belief or a painful memory is difficult work, even when that core piece, belief or memory gives us great pain. Letting go will leave a hole. Then what? Then who are we? How do we fill that hole? How do we understand ourselves and our place in the world? This is scary stuff.
Photo by a-shuhani on Unsplash
Aristotle said nature abhors a vacuum. My friend was right. If we open our hand and release what we’re holding, something else will come, though we can’t predict or control what it might be. In fact, the thing released might return to us in another form. We can’t know. We’ll never know unless we release our need to control. We’ll never find out what might perch on our open hand if we’re not willing to walk through loss in order to reach gain.
I’m having a long and involved break up with my desire to control. Some days I go all day without thinking about it, and other days I want to micromanage everyone and everything in my life. Some days I feel light and free, a confident and lovely woman, and other days I feel like a grubby three-year-old hiding under the covers sucking my thumb because nothing and no one is the way I want them to be. I sulk and pout and snarl and I feel crushed by the thorny weight of my need to control.
Then, at some point, my eye falls on my little clay wise woman and her cupped hands and wide-open heart, and I say, “Oh, yeah. That’s right. Letting go.”
I feel annoyed when people tell me to “get over it.” First of all, I have a right to my feelings, and secondly, it’s not that easy. Letting go, for me, is a practice, and I need time to engage in it. Sometimes I go back and find my leaden armful of hawthorn or bramble or locust and hold it again for a while, opening up all the old wounds, exhausting myself, hurting myself, and, finally, opening my hands and letting it fall again. Sometimes I need to design a ritual for letting go, a prayer or a dance or some kind of purification rite. Sometimes I need to make a physical resting place, like a grave or a patch of garden or a newly-planted tree in order to let something go. For me, taking time to honor whatever it is I’m trying to release is helpful. Whatever it is that no longer serves, it was once a part of my life and experience. Laying things to rest in this way helps me release them fully and finally.
When it comes right down to it, this blog has been an exercise in letting go as much as anything else.
Photo by Ester Marie Doysabas on Unsplash
When we know how to let go, we increase our power, as well as the power of others. Often, what we desperately hold onto is people. This is a strong archetype in old stories; locking the beautiful maiden in the stone tower to “protect” her. Part of love, as any seasoned parent will tell you, is letting go. Imprisoning, disempowering and trying to control others isn’t love. Refusing to let go of someone isn’t love.
Releasing our grievances with others frees them as well as ourselves. Being willing to accept an apology, an explanation, and the imperfections of others allows us all to move forward with lighter loads. The stories and memories we hurt ourselves with are often ghosts, events involving people who are long dead and far in the past. We can choose to bless them and lay them to rest.
I don’t want to haul around painful memories, toxic garbage, the futility of trying to control life and ineffective behaviors and beliefs. I can’t swim with all that tied to my ankle. I can’t dance. I can’t embrace anything or anyone with an armful of brambles. I can’t create with a heart full of thorns.
I want to be free.
I open my hands.
Photo by Stephen Leonardi on Unsplash
Make a Boat
Make a boat
out of who you are
not what you have.
If you don’t know who you are
(Search for the desert between the worlds.
Find Bone Mother.
Recollect.
Reassemble.
Bathe in soul.
Birth yourself.)
That is another journey.
Your boat will be small.
You can take no one.
You can take no thing.
Shape your boat with your truth.
Shape it with the joy in your hands
and the wisdom in the soles of your feet.
Make a chisel of rage and grief.
Sand with the grit of clarity.
Stain with blood.
Oil your boat with the moisture and musk of your sex.
Stitch the rags of your life into a sail.
Weave rope from your hair.
Take your time
And remember
Fear does not float.
When you know the boat is ready,
Sit in it.
Lay the backs of your hands on your knees.
Open your hands.
Let everything go.
Let everything go.
Keep your hands open
So that new things may come.
Without fear
Ask the one who stands just behind your shoulder
The one who shelters your life in the shadow of her wing
To come forward.
She will guide the boat.
Surrender yourself to your boat,
to the water,
to your guide.
Find your breath.
Stay there.
Find your heartbeat.
Stay there.
Keep your hands open.
Rest.
Don’t stand up in the boat!
Don’t throw yourself out of the boat!
Don’t you want to see where you are going?
Look. See how the feathers on her wing
trail in the water?
All content on this site ©2018
Jennifer Rose
except where otherwise noted
by Jenny Rose | Sep 1, 2016 | A Flourishing Woman, Body
Last weekend I took my own advice and surrendered to the now of my life. Two big, heavy wooden doors opened like wings and I came home to dance between them.
One of my dearest friends introduced me (kicking and screaming all the way) to dance more than ten years ago.
“No,” I said, “I can’t do that.”
“No,” I said, “I don’t know how.”
But she, in her infinite female wisdom, nagged and niggled and poked and prodded until at last I agreed to try it. Once. Just to get her to shut up about it!
So I tried it and found myself there, waiting. I rarely missed a dance for years afterward. Ours was a small group of dancers, ebbing and flowing over the years, but the core group remained remarkably the same. Sometimes there were only two of us. It didn’t matter. It was a safe place, a place to be with myself in candlelight, a place to be in my body without thought, shame or responsibility. Everything happened at dance. We raged, we sobbed, we hurt, we lay on the floor. We shouted and clapped, farted, belched, giggled, played, pounded on the walls and danced until we drooled. It’s one of the few places in my life where I’ve felt I belonged.
Leaving my dance group was the most painful loss when I left my old life and came to Maine. I knew I could never replace it, but I hoped to find another place, another group, another dance.
The farmhouse I live in is more than a hundred years old and that means the ceilings are low. I don’t need a lot of room to dance by myself, but I do need to be able to move freely. I did dance a couple of times the first winter and spring I was here, but I had to make myself small so I didn’t scrape the ceiling with my hands and my heart was filled with what I’d left behind. It was so painful I didn’t want to face it again.
In Colorado we danced in a yoga studio. It was a beautiful space — clean, high ceilinged, wood floored. Perfect. Our little town was safe after dark. The studio was easily accessible, heated, had a bathroom available, and for most of us it was less than a five-minute drive to get there.
Since I’ve come to Maine I’ve searched for a local group. I’ve talked to several women about dance. Some have been intrigued, but they’re busy, or they have partners, or we don’t live very close together, or there’s no place to get together and do it. You know.
Here, the nearest town is twenty minutes away in good weather. I’m sure there are places in town we might use, but I don’t know where. Or who. Or how. I’m intimidated and overwhelmed and it seems ridiculous to try to find a suitable gathering place when there’s no dance group to use it.
So I stopped trying. Too painful. After all, now I have a partner to hang out with in the evenings. I told myself I’d keep thinking about it, look for openings, and eventually, maybe, be able to start another group. Or even find one. One day. When we had more money. If we moved somewhere else. If we had a better car that could actually deal with driving on winter nights.
But this summer there’s a lot of movement and change, not all of it comfortable. I’m learning a lot. I’m feeling a lot. Writing is good, and so is swimming, but dance accesses something deeper. I’ve known for a few weeks now I need to find a way to get back into those depths for my sake and for the sake of my loved ones.
So I decided to quit playing games with myself and figure this out.
Naturally, an old farmhouse in Maine comes equipped with a barn. Ours is a total of 
four stories, a typical New England nineteenth-century barn. There’s a bat colony in the top of it and it’s an apartment house for rodents. It’s constructed of gorgeous beams and posts with high ceilings and huge blocks of stone in the foundation. Windows look across the tops of the trees and over the river valley, most of them without glass now. We have six cords of hardwood stored in the driveway level and miscellaneous stuff on the top two floors. The spirit of the building is in the cellar, though, which is accessed through two huge heavy wooden doors that are permanently propped open in the back of the building. This area is mostly underground and the stone foundation can be clearly seen. There are old pens and animal stalls built by hand from the plentiful wood here; not boards, but logs and saplings, rough cut. The mowed area in front of this lower floor is not visible from house, driveway or road and is surrounded by trees.
So, I built a playlist of good music, a mix of old familiar dance tunes and some new discoveries. I swept and raked, picked up trash and got rid of some impressive spider webs. I found an old rusty tin can, filled it with dirt, and stuck incense in it. I put on a skirt and some jewelry, found a pair of light shoes I thought would work (I’ve always danced barefoot), grabbed a yoga mat to sit in the grass and stretch on and went to see what would happen.
They were all there, my dancers. It seemed to me I could almost reach out and touch them. They mingled with the ghosts of animals who once lived in this barn, long dead; generations of birds, now flown from empty nests in the rafters; and the dirty lace of old cobwebs. My feet felt clumsy and heavy in shoes and it wasn’t night, but my body remembered how to move and my brain remembered how to lie down and rest. The music swept me up, pushed me with sharp elbows and knees, shook me by the scruff of the neck, played with me and soothed me. I danced with my expectations, my stories, my fears and limitations and loss. I danced with my disappointment and grief and rage. I threw down my rigidity, refusal and denial and danced in their blood. I danced with the joy of coming back to myself.
I danced in an old barn, in a new life, but not alone. The past is still with me, the dancers I knew green and supple in my memory. The pain of change is not, after all, too great to bear. I don’t need money. I don’t need a better car. I don’t need anything that hasn’t been here all along. I don’t need to wait for anyone else or anything else. I just needed to surrender to what is now.
So this one’s for you, my dear Bobbi; for you, Jill, in all your beautiful sensitivity; for you, Rena, who taught me so much about strength, courage and being real; and for you, Pat, who brought essential balance to our group and allowed us to dance with a playful small boy.
Half a world away, you all still honor my dance with your presence.
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We based our dance practice in Colorado on the work of Gabrielle Roth, and I still follow this template. Please see my resource page for links. Also, here’s a wonderful piece about the power of dance.
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Jennifer Rose
except where otherwise noted
