Is it possible to share our happiness? More specifically, is it possible for me to share the things that make me happy with others? I ask because my immediate answer to the first question is yes, of course. My immediate answer to the second question is no. Well, rarely. Let’s say rarely.
Martin Seligman makes a statement in his book, Authentic Happiness, I’ve been thinking about for several weeks. He writes that seeking out others to share our happiness with, and telling them how much we value the moment “is the single strongest predictor of level of pleasure.”
I’ve struggled all my life with an intense desire to share my happiness with loved ones and an inability to do so.
It works well the other way. For me, one of the joys of connection is allowing myself to become enlarged by the presence of others. I’ve always loved being exposed to what those around me enjoy: new music, new movies, new books, new ideas and new ways of doing things. All my close relationships have made me bigger and contributed to who I am in this moment, and I’m deeply grateful for it.
But I rarely seem to find reciprocity. Or flexibility. Or curiosity. Or something. I’ve never been able to figure out why. Is it that the things that make me happy are stupid, or inappropriate, or boring? Is it something about me? Is it that some people don’t value sharing emotional experience and joy and I have a genius for wanting to connect with those kinds of people?
Maybe some people have no happiness to share?
My inability to share my happiness and enjoyment with others has left me with a painful feeling of guilt, as though it’s disloyal or a betrayal if I enjoy something others can’t. Or won’t. Guilt turns me inward; I pursue my happiness in secret, stifling my longing to share it, struggling with feelings of rejection and resentment. I show up in their lives to share. Why don’t they want to with me? Am I needy? Demanding?
Around and around I go as I think about this, getting nowhere useful.
When I encounter a hairball like this in my life, I look at it through the lens of power dynamics. The fact is I know what makes me happy. I value experiencing the happiness and delights of others. Both are entirely within my power. I do long to share my own happiness, but sharing requires the participation of another, and that is not in my power.
Guilt and shame are not useful burdens to carry around. My happiness takes nothing away from anyone else. Making myself unhappy doesn’t ease someone else’s unhappiness. Hiding my happiness doesn’t seem like a useful choice. As for resentment, holding on to that only hurts me.
Another problem with my strong desire to share my own happiness is it reinforces people pleasing. I tie myself into knots thinking about exactly the right timing and approach in order to get someone else to be interested in sharing something I enjoy. Or I tie myself into another kind of knot trying to optimize what I think makes others happy, regardless of the personal cost to myself. If we can’t share happiness, and if something other than what I have to offer gives someone happiness, I disappear as much as I can so there’s maximum room for whatever I think is most wanted.
It sounds so easy. Find someone to share our happiness with. Tell them what the moment means to us. Enjoy the pleasure.
What am I doing wrong?
As I think about this, I wind up in a familiar place — with myself. Exploring happiness during these last weeks has made me newly conscious of my experience. Over the last couple of decades, I’ve gradually learned to befriend and care for myself, replacing old habits of self-destruction and self-loathing. I see now much of what I’ve done for myself, rather than waiting for someone to read my mind and do it for me, or give me permission to do what gives me pleasure, have been the same things that make me happy. It’s just not a word I’ve felt very friendly with or applied to myself before.
I’ve thought about all this during my Thanksgiving break. I spent hours and hours cutting greens and making holiday decorations. I thoroughly enjoyed it, and it was extremely stressful and uncomfortable. I enjoyed it because I love working with my hands, giving gifts, and sharing (there’s that word again) the glory of our evergreen trees and the spirit of the season. It was stressful and uncomfortable because I feel so much anxiety about sharing those things that give me such pleasure. Would I be making people uncomfortable, imposing a gift return obligation? Were the decorations ugly or inappropriate in some way? Would people already have wreaths and decorations and have no use for them? Were they too much? Too little? People probably can and have made or bought something much better.
This is familiar territory, as it’s always the background to posting on this blog. I push through it when I’m writing, but I usually talk myself out of giving spontaneous creative gifts. I decide whatever I want to do is a dumb idea, a waste of time, and, frankly, it’s too scary to be that vulnerable and risk rejection, misunderstanding, or making someone uncomfortable.
It’s too scary to share the things that make me happy.
Working with Seligman’s book and thinking about happiness has changed things. I decided I was going to do something I love to do, share my enjoyment with others, and damn the consequences, or, better yet, completely let go of outcomes. Even if what I made gets thrown directly into the fireplace, what have I lost? My enjoyment of gathering, making, and giving remains intact. My happiness and expression of love are still free in the world instead of hidden and imprisoned in my own heart.
This week I’m exploring the idea of cultural appropriation. In the linked article, cultural appropriation is defined as “Taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else’s culture without permission. This can include unauthorized use of another culture’s dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc.” This definition provides a useful starting point, but it begs a couple of important questions.
I approach cultural appropriation from two different directions. I begin with a story I wrote years ago for oral telling. The story was inspired by the wonderful children’s author and illustrator Eric Carle . He wrote several books, among them Draw Me a Star. As a parent and librarian, I’ve bought, recommended and read aloud his books hundreds of times. You can look at ‘Draw Me a Star’ here .
“Sing me a star …” And the Artist sang a star. It was a shining star. “Color me a sun,” said the star. And the Artist colored a glowing sun, a golden lion, a hillside of orange poppies, a burning fire, and a feather. It was a red feather. “Weave me a tree,” said the feather. And the Artist wove branches and leaves and pieces of sky into a tree, and She wove fields and forests and deep, invisible roots, and a spider’s web. “Build me a fence,” said the spider. And the Artist built a fence and sculpted rocks and ice and sand and snow into a world. It was a glorious world. “Tell me a story,” said the world. And the Artist began, “Once upon a time …” It was a wonderful story. “Tell me some more!” So the Artist made all kinds of people to share all kinds of stories. They were strong people. The people said, “Teach us what love is.” And the Artist said, “Sing me a star …”
Photo by Leon Liu on Unsplash
Now set your burdens down for an hour and dance with me. Here’s the sound track I made for our community dance last Monday evening.
“Symphony of the Forest and Mysterious Island,” by Kitaro a Japanese artist.
“Maryam,” by Hamza Shakkur, from the soundtrack to the movie Bab’ Aziz , a Tunisian foreign film.
“Aye Lon Lon Vadjro,” by Angelique Kidjo , an African artist.
“Kozuma,” by Professor Trance and the Energizers, who perform multicultural Trance Dance music.
“Stars Align,” by Lindsey Stirling, an American violinist.
“Mwari,” from the album World of Rhythm.
“Pinguli Pinguli Giuvaccinu,” by Savina Yannatou , a Greek artist.
“Barcelona Nights” by Ottmar Liebert, a German guitarist.
“Symphony of Dreams and A Drop of Silence” by Kitaro.
I wouldn’t steal a pencil or a nickel. It’s easy to make a distinction between concrete objects belonging to me and those that don’t. Trying to define intellectual and cultural property, however, is another thing. Part of my integrity as a storyteller includes rigorously reporting the origins of my material to my audience. Part of my integrity as a librarian and a researcher includes investigating roots and versions of old stories and communicating that information to my audience so they get a glimpse of the amazing historical journey of human creativity and experience. Part of my integrity as a writer is to be open to the world of human beings around me in all its rich history, language, symbol, tradition, spirituality, expression, art, ideas and feelings.
Anyone who creates art or delves into old oral traditions realizes cultures are not so easy to distinguish from one another, and the farther back we trace certain artifacts, oral material, symbols and traditions, the more blurred the boundaries between cultures become. Part of my motivation in becoming a storyteller is to become a link in a long, long chain of humanity that reanimates old stories. Oral tradition survives because it speaks to the culture of human beings. Themes of love, birth, death, war, change and power engage everyone. The repeating horrors of colonization, genocide, slavery, plague and pestilence, massacre and religious persecution are embedded in the history of every culture on every continent.
Photo by NASA on Unsplash
It would be convenient to simplify the history of mankind into good/bad, victim/oppressor and black/white literally, as well as figuratively, but that’s an intellectually lazy and ignorant point of view. Science teaches us life is a complex, nonlinear, dynamic, holistic system, and every culture changes every other culture just by existing. Every species impacts every other species. Every organism impacts every other organism. It’s inescapable.
Culture is defined geographically, ethnically, politically, by religious belief, by shared history, by language and by physical types. All these factors and many others weave cultural definition. I define some of my cultural aspects and others also define me, sometimes accurately, sometimes ridiculously. Defining culture is like trying to catch fish with your bare hands.
Who is authorized to speak for their culture, and what gives them that authority? Who controls the sharing or withholding of cultural information? At what point do we qualify for inclusion in a culture? My own ancestry is a polyglot of Irish, Norwegian and German, at least. Am I Irish enough to be allowed to tell an Irish traditional tale? Does the fact that my skin is white prohibit me from dancing to African music and introducing others to artists like Anquelique Kidjo?
We have ample evidence that cultural purity is a fast track to cultural death. It doesn’t work in breeding animals, it doesn’t work in the plant world and it doesn’t work any better with humans. Life is not about maintaining divisions and isolated islands of purity. It never has been about that. Successful life is about biodiversity, cooperation, adaptation and hybridization. The attempt to maintain cultural purity is an attempt to restrain change, which is an attempt to harness life itself. Human beings, thank all the manifestations of divinity, are not that powerful.
Photo by Lukas Budimaier on Unsplash
What human beings are is creative. We are sensual. We thrive on expression and ritual. We hunger for spiritual nourishment. At our best, we’re observers, recorders, problem solvers, explorers and synthesists. We’re curious. As in the old stories, we go out into the world and seek our fortunes, our mates, our place, our families, our passion, our destinies and ourselves. Yes, there are plenty of madmen/women, megalomaniacs, destroyers and other pitiless, power-hungry, dangerous, destructive people out there. Entire human cultures have disappeared, leaving behind nothing but artifacts and fragments of language. Many, many other kinds of life have vanished as well, and many more are at risk. Yes, there are people who steal real property as well as intellectual property. There are people who would gladly wipe out whole groups of humans and other life, given the power. It’s happened before and it will no doubt happen again.
Photo by Jazmin Quaynor on Unsplash
Have you noticed, though? Life — human, animal, plant — goes on. No one can really steal our heritage or our identity, because those things reside within us. Plagiarism and duplication are sterile things. Culture persists. It might go underground for generations in order to survive, but it persists and eventually shows itself to the world again. Stories, music, traditional arts and crafts, religious rites, dance, clothing, jewelry, language and tools are all seeds of culture. When someone with cultural seeds in their pockets reaches across boundaries to another culture, powerful, life-sustaining, magnificent collaboration happens, the kind of collaboration that allows an ordinary person like me to create a multicultural dance track and lead a small group of people (all kinds of people) in dance, which is a human cultural tradition from the dawn of man/womankind. The mingling of cultures creates new cultures, as well as sustaining the original parent cultures. If one person reading this discovers new music to add to their lives and pass on, a long history of cultural tradition goes with it and is preserved. I’ve succeeded as a link in the chain going right back to the first humans.
Eric Carle has had a hand in shaping my life, along with hundreds of other authors and illustrators. His books were read to me when I was a child, and in turn I read him to other children, including my own. He’s a unique and beautiful artist. My appreciation for his work inspired my own creativity. I was also inspired by my brother, who is a gifted musician, and I dedicate ‘The Artist’ to him, out loud, every time I tell it. I take my copy of Draw Me a Star to every telling to pass around. I’ve told ‘The Artist’ dozens and dozens of times to all kinds of audiences, children as well as adults.
Photo by Quino Al on Unsplash
The story tells my truth. The act of creation is an act of love, appreciation and respect. Creation never happens in isolation. It’s never pure. It’s always a maelstrom of conscious and unconscious influence, memory, and inspiration from things seen, heard, read, felt and experienced. Culture is not static. It adapts, adjusts, persists, learns, discards, incorporates, borrows and contributes, or it dies.
Last week I wrote about making ourselves small. Cultural eradication makes the family of man smaller. Plagiarism kills creativity. Appropriation shrivels our souls. The threat of tribal shaming limits our joy in discovery and exploration outside our cultural boundaries. Choosing rigidity, hoarding and withholding our beautiful languages, our nourishing spiritual wisdom, our rapturous music, our skills and traditions, impoverishes us. Refusing to experience, explore and appreciate other cultures and their richness also impoverishes us. Sterility and isolation in, sterility and isolation out.
The greatest honor I can give the countless musicians, authors, artists, dancers, storytellers, photographers, sculptors, weavers, gardeners, mystics, filmmakers and other creators who grace the world is to see, to listen, to be touched, to weep, to laugh, to dance, to receive, to learn from, to be inspired by, and to add my own work to the dynamic, ever-changing culture of humanity.