Surrender and Loving It 'Til You Know What It Is

I am in a large group of women artists who have driven up to the ridge of a mountain range and then down a very windy road to a secluded artists retreat program in northern California. All I want to do is stare at the dreamy landscape, watching how the golden green hills go back and back and back, disappearing finally into a fog bank which hovers just above the sea in the distance. I want to watch as the wind blows, the fog clears, and the misty outlines of the hilltops begin to glisten in the midday sunlight. I want to sit and sketch it, and fill in the colors I am seeing, and try to capture the dreaminess, the haziness of it all, the lack of precise outlines which gives it that quality of mystery that makes me want to keep staring.

But we have a schedule. There are ranchers and herders moving us along in this schedule, ensuring that we are on time. I help myself to a large lunch - two servings each of lentil soup and kale salad with some fruit on the side. My idea of a perfect meal. But my stomach feels slightly full after all that, and I am ready to rest and digest.

Having forgotten the schedule momentarily, I’m jarred when it is announced that we now need to move into another room for a “movement activity”.

I take my time walking there, hoping those extra few seconds will give my digestive system time to bring the food down a little more.

By the time I join, the circle has been formed and all the women are bouncing lightly on their bare or socked feet. This being one of only 14% of artist residency programs in the country who have a fully spring loaded dance floor, shoes are not allowed.

Ann Swanberg is the leader. I had experienced her work once before in a large church, where she presented her improvisational approach to life in a humorous show. We kept bouncing - this was Ann’s method for keeping us out of our thinking minds and in some other realm governed by the moving, breathing body - and we did a whole host of games designed to get us to drop our personalities by acting silly and free.

What I noticed is that my recent experiences with becoming present were done in the stillness and silent meditative movement of the Breema Center. Somehow in that setting, where I was truly not a personality and there was absolutely no imperative to show up as entertaining in any way, I could feel my own bodily presence. In this setting where everyone was asked to do something silly, there was slight pressure to be “silly enough”. As if stillness would not have been accepted there. But I don’t know because I just flowed with the energy of the room.

One of the more silent and inward-turning exercises of the day did capture my attention. She called it “The Infinity Box” or “Loving It ‘Til You Know What It Is”. The instructions went something like this: Reaching into an imaginary box from which anything is possible, allowing the “Body First” to lead the improvisation, follow the shape your hands spontaneously take as you reach in. As they emerge from the imaginary box, just be with them. Don’t change them or manipulate them into what you think they might be. Just breathe with the shape, feel it.

"Love it ’til you know what it is."

It was fascinating to watch the different shapes my hands took on when I allowed them to. Fingers apart and curved, palms facing up. Fingers together, joined at the thumbs and index fingers. Palms cupped, joined together, facing up. And then waiting. Breathing. Feeling. An answer or image always emerged. But sometimes I had to stay with it longer than expected. The final one I ran out of time on. So I sketched it, and it is permanently imprinted in my bodily memory. I am still wondering what it is.

It reminded me of painting. How the creative practice for me is staying with something long enough to find out what it is. Not to give up. Not to decide in advance that something’s “never going to work”. So often when I have mustered the courage or audacity or love to stay with it, to keep going, to keep loving it, something else so beautiful and magical emerges right on top of it all.

Chris Zydel sent out her newsletter yesterday too, and I happened to read all the way to the bottom. The article was about "Surrender". How surrender is not giving up or weakness or defeat. But rather a form of full presence. That in order to fully participate, there is surrender involved. As I write this, it occurs to me that the four “No…” principles from Breema touch on what kinds of surrender are involved - No Judgment, No Force, No Extra, No Hurry No Pause. Well that’s a lot to give up in order to get to presence! How often are we drowning in judgment, doing more than is needed, rushing around, or not acting because we feel stuck in hesitation.

Surrender is the sweetness of letting life lead. Of loving whatever life gives you until you know what it is. I am attempting to apply it to my body, my relationships, my work decisions, all of which I apply a certain amount of control, changing, and fixing to. I don’t really know the state of full surrender into acceptance. I am pointing towards it sometimes, but I haven’t sunk to the depths of that pool to say, “Huh. So this is it. I’d like to know how this feels. Really.”

Here’s what Chris had to say about surrender:

When a sunflower turns its face to follow the sun, that is surrender. When a seed planted in a rich soil breaks free of its encasement and pushes its way up to the light of day, that is surrender. When a wild mustang gallops wildly and joyfully across a meadow, that is surrender. When a baby tries to grasp a beam of light, laughing delightedly, that is surrender. When you look at a sunset and feel the peace of simply breathing in and out, that is surrender. When you enjoy a delicious meal, letting the flavors tickle your tongue, that is surrender. When you feel drowsy and begin to fall asleep, that is surrender.

In all these experiences you, or the horse or the sunflower are completely giving into what's right there in front of you. You are simply being in the present moment with what you feel drawn to do.

So in other words, surrender is something that happens daily, hourly, minute by minute in our lives. It's so very common and down-to-earth. It's in the most intimate fabric of our existence. And includes everything from the mundane to the ecstatic.

And tomorrow, with the start of the final Energy Gardeners' Club of the year, I am ready to apply the principle of Surrender. Making things happen is not about controlling in order to get what you want. Making is allowing.

Learning to Ride

It’s freezing. All I know is it’s 11 miles out and back. The description on the website had said, “Participants must be in good cardiovascular condition. No single track/technical work. Climbing for sure.” I should have known when I saw the fat tires on everyone else’s bikes.

Oh, how we wish that learning would take place in the comfort of our familiar homes! A cozy blanket, a warm cup of tea, our favorite music playing, and the knowing that everything as we have chosen and arranged it now surrounds us.

Learning for me always looked like showing up in a classroom, or privately in front of a teacher, and demonstrating what I knew. I would then get feedback in the form of a critique, the next challenge chosen by the teacher, or a score on a test that told me how much what I thought I learned matched what I was expected to have learned.

What I learned on my first mountain bike ride this weekend is that learning – the fresh, raw experience of aha!wow! that’s new! – can be extremely uncomfortable. It can happen when we are placed (or we find ourselves) in a situation we did not know we chose (but we did) and that every fiber of our being is wanting to fix, alter, escape, or resist. But there we are. In my case, “there” was a guided 11-mile ride on a closed access trail. Turning back was not an option without taking the entire group with me.

There are questions, but none worth asking, because any answer provided verbally in advance would not actually provide helpful information. I could only get answers in the act of experiencing it. How steep are the hills? How will my bike hold up? Am I dressed warmly enough? What gears should I use? Am I in good enough shape for this?

I find out the answers to each of them as I encounter the first climb, and then the first big downhill. The first of many. Each one a little longer, a little steeper. They keep coming. My lungs are burning. My ears are burning from the freezing cold air. I am miserable, I am cursing my bike for not being a “mountain” bike, only a hybrid. I excuse myself from having to keep up with the group because of this. I don’t want anyone to talk to me. I just want to breathe without the burning in my lungs.

At one point I am hurtling down a steep hill. My tires slip a little, causing me to bounce and weave, and instead of trying to take control, I decide to just let the bike do its job. I had no ability – defined as knowledge through experience – to control the bike or determine whether I would even stay on it. Slamming on (or squeezing) the brakes was not going to guarantee any safe outcome. I briefly flash back to skiing, where I’d always tried to slow myself down at the steepest parts, and it wasn’t always the best way – it was resisting the flow down the mountain, and it took a lot of effort to go against gravity.

I see now that I was lucky not to have fallen. But in that moment I had no concept of “luck” or “no luck”. It just wasn’t my day to fall. I let go, and it was my day to witness that miracle.

I keep going only because no one really asks me if I want to stop. I cycle through struggle, resistance, surrender, and then surviving.

I take a rest, at the turnaround point, and just breathe. It feels good to cover my entire face and breathe normally. Now I really have no choice other than to go back along the trail the same way we came.

I become curious, and begin to play. That’s when the true experience of learning begins to happen.

What could I try to do differently to see if it will make my experience any different?

I stop telling myself I have the “wrong” bike and start playing with adjustments. I raise the seat up. That one small move helps a lot.

My mind so wants a binary “how to” on the gears. A set of instructions like, “When going downhill, do this….When going uphill, do that.” But it isn’t that linear. Every hill is slightly different. My ingoing speed determines which gear would match it best when coming out of the hill. I have to play. Constantly engage with what is happening in this very moment, and be open to discovering.

I discover an elaborate, moment-to-moment dance of body, bike, and terrain. Tweaking. Feeling. Being ever present and also facing forward, constantly moving. Listening. Discovering. Adjusting by taking small actions.

During the second half of the ride I am much more friendly with my bike, my body, and the terrain. I am much more involved as a full participant, doing my part of the three-way equation, not trying to resist or control the other elements. I am having (slightly) more fun along the way.

At the end, I feel tired but glad. My body is very grateful for the opportunity to play and be worked. Discovering new possibilities and dancing within the situation, I realized there was only the choice of the moment – to ride it or to stew in a story of misery. I chose to ride.

On the other side of beautiful

THIS was not a photo on my vision board. I was perfectly content to be performing, showing what I was able to do comfortably, easily, and predictably. I thought I was getting "good" at playing freely, improvising, and creating in the moment. The sound of Chinese Melodrama that matches the stacks of CDs we bring to every gig.

Then THIS had to happen.

By "THIS" I mean: We are at LunarBurn, a three-day outdoor festival and experiment in community living. In my mind, it's a chance to show up and spread the love. We play our first set at the PermaPub, an intimate venue with couches, a bar, and all the impromptu live music one could ask for. We aren’t even finished with a song (Led Zeppelin’s “Over the Hills and Far Away”) near the end of our set, and a guy appears onstage. He has furry white chaps over his jeans, and a grey hoody. He appears to be maybe under the influence of some substances. But what do I even know about these things? I just thought he was a jerk for interrupting our set.

Here’s my, “Get off the stage, jerk!” look:

Yep, what you're seeing is a whole lotta judgment flowing freely from me in that moment. First he wanted to play my violin. I’d rehearsed this response before, so it was easy to say, “Sorry, I don’t let anyone touch my violin.”

He wasn’t looking like he was going to leave the stage, and this being an open, community-driven atmosphere, I said, “You can play yours, and I’ll play mine.”

Then he wanted me to help him tune the thing.

Seriously??? Suddenly I was flung back to my violin school, “Doctor Chu” days, tuning other people’s violins. Spooky.

My partner Randy was way too far away on the other end of the stage, separated from me by a drumset. I was alone to deal with this. But when it was clear that The Guy – Adam, I would later learn, was his name - was there to stay and play, Randy pulled out the right song – like he always does -- and that was all it took.

Adam started to play. All kinds of sounds were flying out of his instrument, no holds barred. Absolutely no judgment.

I’d never heard such sounds before, let alone play with them, try to create with them. But there I was, on a stage, with captive audience, and microphones on. I started to play too. The interplay of sound and listening began to work its magic. Then moments emerged from the chaos that felt like oneness.

Really? With THIS jerk? Yes.

I was listening to all the sounds, noticing, admiring, perhaps sometimes even envying, the beauty that can arise from NOT CARING AT ALL, in other words, no judgment.

You must understand how deeply ingrained it is for me to take GREAT CARE of every sound from my violin. I’ll never forget sitting in a huge auditorium in Chicago watching one of the “big kids” – a high-schooler at the time – in my violin school, receiving a master class with Russian violinist Viktoria Mullova. I was about 10 years old.

“You don’t CARE!”, she said, in a thoroughly Russian, loving way. It was the kind of icy cold Russian love so commonly doled out in violin training. Meanwhile my classmate’s lips trembled, tears beginning to well up behind her eyes. Tears that represented a lifetime, from the age of three, trying so hard to prove that she cared. She was one of the stars, one of the protected ones in the group. No one had ever spoken to her like that. At least not in public. On a stage. In front of other people.

I vowed never to play like I didn’t care, if only to avoid the stinging feeling I felt that day.

So to stand on my stage with this guy – Adam – who had the audacity to walk in on us and just PLAY like he doesn’t CARE was a big moment. A moment either to shut down or to wake up and say yes to life. Shutting down occurred to me for a few moments. Remember this face?

Yeah, I was ready to shut it down. But then I remembered that I could just relax into my own place that doesn’t care so much. The place that knows I can play anything with anyone and I will be OK. The place of trust and surrender.

Because when you don’t care, you really are trusting in something greater than personalities and performances. Somewhere along the way, in our journey of recording and performing and trying to “build” something with Chinese Melodrama, I got caught up (again) in making things beautiful and perfect and acceptable and nice. I got caught up in my idea of what “good” sounds like. What I had to measure up to (in my own mind) in order to be worthy of appreciation, applause, presence, whatever. My idea of what I needed to be in order to be liked and accepted.

What I experienced by not caring so much was another layer of freedom peeled away and revealed to me. The discovery of something workable – beautiful – within the basket of sounds I’d call “dirty”. The sounds I don’t choose automatically because of the depth of my conditioning to play only beautifully. The discovery that he will never sound like me, and I will never sound like him, so there is nothing to fear. We can meet in the oneness of our combined sounds and play. Dance. Listen. See what happens.

“Beyond our ideas of right-doing and wrong-doing there is a field. I’ll  meet you there. When the soul lies down in that grass, the world is too full to talk about.” – Rumi

The next day, I returned to the stage with Randy. No Adam this time. Yet I still had the taste of the experience in my body, my ears, my whole being. I carried the permission of those “dirty” notes with me. They gave me wings to be less careful, more adventurous, more willing to be curious without worrying I would hurt or disappoint anyone. I had fun. I moved more. I felt my own joy. I invited it in. I was inspired by "no judgment".

I noticed that as I became more playful, my entire body began to participate. My feet were not firmly planted on the floor with my legs stable. My knees began to bend. My spine began to twist and turn. My feet were walking (sometimes stomping). My head was leaning. The feelings of the music flowed through my entire being, when my mind was no longer involved in saying, “Now what can I play that will be really beautiful?”.

When the music becomes a dance, when I am truly playing, then it’s not about what the notes are, but what is going on inside me as I am playing them. Even if I play every single note “beautifully”, correctly, in tune, like I was taught, it may not connect with a feeling. Because I may actually be trying very hard to create this state of “beautiful” and “correct”. Within me, I am not playful. I am controlling myself. When I am controlling myself, I radiate the energy of control.

When I lose control, anything can happen. Scary, yes. But on the other side of scary, there is beauty. Not “beautiful”, but beauty. The beauty of anything and everything. The beauty of what is.

P.S. Thank you so much to Adam, Matty, and everyone at LunarBurn who played and listened!

You are not alone...the power of women gathering at TEDxSandHillRdWomen

Last Saturday I attended a program called TEDxSandHillRdWomen in Menlo Park, California. You may already be familiar with the TED talks series. This was one of 130 events of its kind around the world on the same day, gathering women together to hear "ideas worth sharing." I had an intuition about attending, and synchronicity brought me the opportunity to take the place of a friend's friend who could not attend at the last minute. All kinds of insecurities ran through my mind in the hours and days approaching the event. I was not a speaker, "only" an attendee. Yet all of the connotations in my mind about "Sand Hill Road" - the home of venture capitalists and attorneys for all of Silicon Valley, the allure of which had once drawn me into the role of venture capitalist, and eventually drew me to live in this zip code when I first chose to move to California - now haunted me. I wondered what I would wear. I no longer even own any high heeled shoes or suits, and I didn't feel like dressing up to "be like" what my mind believed a "Sand Hill Rd woman" should look like. I watched my mind mull over this question, knowing from my higher awareness that it didn't matter at all what I wore, but also curiously observing as my thoughts popped up anyway.

A few days before, a friend heard me describe this and said, "The question you should be asking is, what do YOU want out of this?"

I immediately replied, "I want to be comfortable as myself. I want to show up as myself."

She smiled and her eyes sparkled as she nodded. "And I'm looking at you right now. I see you, right in front of me now. Are you comfortable?"

We were sitting cross-legged on the hardwood floor of my home, getting ready to sing and make music together. I had met with this woman every two weeks for the last two years. I was totally comfortable.

And now, nearly a week after attending the amazing TEDx event, I can say that I felt totally comfortable there as well. I was surprised in the most delightful of ways at everything - the diversity of women there, the inspiring speakers offering so many different perspectives, the serendipitous interactions I experienced throughout every moment of the day - and most of all, I was delighted to experience myself as me, fully inhabiting my body and my mind and my spirit exactly where I am today.

I felt the sense of "home" that one feels when we are surrounded by people who make us feel that we are not alone, that we are seen and accepted for exactly who we are, that we share more in common - our fears, our grief, our insecurities, our hopes, our ambitions, our courage - than we are different or separate from one another.

I felt this in every cell of my body. And I wore no makeup. I wore comfortable shoes. I wore jeans. I wore beautiful colors and fabrics in which I physically felt at ease. I was confident in a way that is different from the ways I have "dressed up" to "perform" for others in the past. And I was seen by so many women for who I am. I was able to see into the hearts and the lives of these women and feel the confidence that I am absolutely not alone in my human journey, in my deep desire to speak about the values I hold in my heart, the issues in this world that I know are important, and how we must all transform - no matter where we are today - in order to sustain and support life on this earth.

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From the women onstage I learned that I am not alone in my challenges, my thinking, or my passion to make a difference based on what I have experienced in my life. I also learned that as women, we have a tendency to criticize each other when we see another women step up into her own power. That we as women also tend to shut down and hide when we feel there is the slightest possibility of dissent or resistance (or even silence) in response to our ideas. That we as women must learn how to support one another as we each take the risk of bringing our ideas into the world.

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It is no longer a question of building résumés, or putting women into positions of leadership and decision-making where men currently dominate, or getting equal access. It is a question of supporting life itself on this planet. This is vital not only to women, but to everyone who inhabits the earth. It is a question of bringing the truth in women's hearts - what we know so deeply to be true - into our way of life, creating communities that are based on our real values. Not the ones we have imitated in order to be accepted. Not the ones we have gradually adopted in order to fit in. Not the ones we have been trained by advertising and media to believe. Not the ones we have reluctantly accepted as “just the way it is”. [singlepic id=493 w=320 h=240 float=center] In summary, I heard the voices of extraordinary women - a serial entrepreneur who has built billion-dollar businesses, a venture capitalist, a founder of an environmental alliance, a global fundraiser/author/activist, a redheaded Chinese-speaking songwriting banjo player....the list goes on, and these titles do little to describe the power of the heart and mind that each of them conveyed in their own totally unique way. How they have each followed their own path and have taken action on their intuition's whispers in service of a more heartfelt world, a greater depth of connection, with life.

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My point in all of this is to share my passion that the future of our earth depends on women and girls adding our voices to the conversation of life. We women are in a position to bring balance to the conversation, to influence everyone - men and women - in our families, communities, and workplaces, by expressing ourselves more authentically, more truthfully, by honoring who we truly are, in every moment.

What that means - to be "authentic" and to be "truthful" - is the heart of each woman's own journey. To discover this by way of living. To ask. To know that she is not alone.

What the Bike Taught Me

About two weeks ago I bought a bike. Brand new, cute as can be, even with a name, "Fiona". I also got the cutest panier ever, with a lime green flower and orange straps. [singlepic id=477 w=320 h=240 float=center]

On my very first ride, I got a flat tire. A complete blow out, requiring me to walk it home for about two miles. Luckily it was a particularly beautiful sunset on the ocean, and I got to look up, twisting my head slowly to savor the powder blue sky and cotton candy pink clouds spreading in all directions around me.

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Still, I was a little shaken by the fact that the road looked so innocent - no broken glass or bed of nails in sight. Just smooth blacktop for as far as the eye could see. Except for whatever jumped into my back tire that evening.

It turned into a perfect opportunity to have one of my coworkers show me how to change a flat. Somewhere around step 9 of the process, my eyes started to glaze over, but I kept taking notes as he explained and demonstrated patiently. He taught me about tire protectors and now I own some. If you don't have them, go get some!

I've been riding almost every day since. On the sunny ones, I'm riding chin up, smiling from ear to ear, and taking in the sounds of the rolling waves and the expansiveness of the ocean stretching out to the horizon. I note the particular shade of blue in the sky and on the water each day, because they are never repeated exactly.

Riding my bike has transformed a routine errand - hopping in my car to drive two miles to the local market for food each day - into a celebration of life. I breathe in the scent of cypress, I feel the warm sunshine on my cheeks, and I experience my own body propelling this amazing machine beneath me.

I wonder, “How the bicycle must have transformed human experience when it first appeared on this planet!”

And then I think, "What made us dream of a bigger machine that would multiply our speed of transit even more, but not require us to move our bodies at all?"

When I'm sitting on my bike, gliding along the paved path near the ocean, I think about these things. I am relaxed and confident, because this is a bike's territory. Pedestrians and dogs must yield.

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A different story begins the minute I cross from the path to the road. The very last stretch of ride between my house and the market involves crossing a major intersection with a stoplight. Four lanes of traffic, three strip malls, a gas station, a high school, all converge at one point. I have two streets to cross each time I reach this intersection. I walk across one way, and ride across the other, my body often tense with resolve to "get through" without any close encounters with cars or mishaps with my own machine beneath me.

One day last week, I was feeling particularly vulnerable. It was drizzling lightly. I liked being alone on the path, feeling the cool breeze in my ears, and the tiny fuzzy droplets of mist gathering on my eyelashes. I was cautious, using the brakes a bit more on the turns, controlling my speed, as I had no idea how Fiona would respond in wet conditions.

Traffic was slow on the main highway. Cars inched along, and it was only three o'clock. The high school had just gotten out, so large groups of kids congregated at the crosswalks, on their way home or to the adjacent strip mall.

I gritted my teeth and got through the stoplight. My pant leg got caught momentarily as I mounted to start to go across, and I had a slight moment of panic. I didn't want to be seen falling in the middle of the intersection! I started over, gathered my composure, and made my way across without a problem, although I was muttering some phrases to myself under my breath anyway. I hated that feeling of vulnerability, of having to depend on my body and this foreign thing underneath me to work properly in order to ensure my safe passage.

I did my shopping, filling my panier to the brim with beautiful vegetables and dinner fixings. I was ready to go home. But I had to get back across the hairy intersection first.

I took a slightly different route, making my way around the back of the store, thinking I would use a pedestrian crosswalk in the middle of the block. There was no easy way to get back to that stoplight. Cars came from four different directions - a parking lot, a side street, and two directions on the main road.  A large group of high school kids – mostly boys – was hanging out on the sidewalk, directly in front of the pedestrian crosswalk. Most of them were looking down, kicking the ground, their hands shoved into their pockets, as if they were waiting for something. As I approached them, I felt an ancient but familiar wave course through my body – like prickles, spreading from my hands up to my neck, a tensing, a holding of my breath, a desire to "get through" this without being noticed, without embarassing myself.

Me, on my brand new Fiona with a brand new panier overflowing with vegetables, wearing a bright green rainshell and bright white helmet. Everything so bright and brand new. Who wouldn't notice that?

I changed my plans and kept riding.

I passed the group of boys and proceeded to the next parking lot entrance, thinking I could position myself to cross the street with the cars. Several minutes – or what seems like several minutes -- went by, and it was clear that drivers are not going to make space for me. I would have to “be aggressive” and act like a car, or wait. So, I decided to retrace my path by half a block back to the pedestrian crosswalk.

I never looked at any of those high school boys, but I felt them watching me as I approached. This, of course, made me avoid eye contact totally. They were spitting, laughing, and yelling things every now and then. As I looked over my left shoulder and waited with one foot poised on the pedal of my bike, I felt ashamed that I wasn't "aggressive enough" to cross the street as if I were another car, or, like some bikers, as if I owned the right of way. I felt lame for having retraced my route by half a block, just to use the pedestrian crosswalk. I waited, and I watched, and I found my window to cross. During those few seconds, I heard one boy's voice shout, "CHINESE PEOPLE!" I didn't look back. I couldn't. I felt a sting of pins and needles spread throughout my body, and all of my attention went toward getting out of there as fast as I could.

As I pedaled away, I recalled the incidents - yes, plural - from my childhood that had made me feel the same way. They were so long ago, but in that moment immediately came back into focus. I had been called "Chinese, Japanese, dirty knees, if you please" starting in first grade. I had been taunted with, "Gook!" yelled at me from open car windows as I commuted on foot between the freshman building and the main building of my high school, where I took math class with the upperclassmen.

I knew exactly what these words meant, and I knew exactly what these people were making fun of - me. The slant of my eyes, the color of my hair, the whole history of a people that I didn't know and they probably didn't know either. I just looked like something funny and irrelevant to them.

I realized on that drizzly day, pedaling away from those boys, that the act of riding a bicycle is nothing short of revolutionary for me. None of the women in either of my parents' families ever learned to ride a bike. It was considered "too dangerous". That and swimming. From the stories I heard growing up, it seemed unnecessary for a girl to take such risks in the name of mere recreation and enjoyment. It was considered a privilege not to have to be physically active. It was a sign of refinement, education, and status. And there were no higher prizes than these in the Chinese culture that I learned about from my parents’ stories.

I never learned to ride a bike until second grade. That was late in my hometown of Libertyville, Illinois. It seemed to be a top priority in that suburb to teach your kids to swim, ride a bike, shoot a basketball, catch and throw a baseball. This is what the “All-American”, “normal” people in our neighborhood did for fun.

I learned to ride a bike mainly to avoid further embarrassment at school, to have one less reason not to fit in.

In my family, the priority for me was learning to play an instrument (two instruments, actually), learning to practice every day, focusing on building a skill in the solitude of our own home. No one at school really knew what I did at home, and I never found the words to explain it. One day a newspaper clipping announcing my first place win at a Chicago-area piano competition was tacked to the bulletin board of my fourth grade classroom. I felt the same sting of shame and embarrassment, like I didn't want anyone to see it, like I had to get out of there fast.

Why? I wanted to hide. I wanted to protect what I could protect, because anywhere I showed up, people would see my face. My slanty-eyed, unmistakably Chinese face, looking out at a sea of “All-American, normal” white faces. I could never hide my face, but I could hide what was in my heart, what I really cared about, what made me feel joyful and alive. No one could make fun of that if I kept it hidden, precious only to me.

I developed the habit of cultivating my most precious territory within me. It protected me, and I protected it. While others experienced me in performance, I experienced myself most deeply in the solitude of my own practice. I learned to love the stillness, silence, and solitude of practice. My practice – the sacred activities I do for myself, which now consist of yoga, meditation, singing, painting, writing, and bodywork – still brings me to the deepest feelings of love and connection in my life.

I'm grateful for my bike and for the fact that I learned to ride it.

On my bike, I get to experience my vulnerability in a tangible way. There is no hiding. I am not protected by the walls of the 4-wheel-drive SUV my brother insisted I drive after my second car accident in my twenties. "You need to be surrounded by a cage of steel," he said to me in his lovingly protective way, as he bought me a new car.

In my car, I can hide. I can blend in with the traffic, just "getting through" to my destination each time. I can look out the windows and think my thoughts about other drivers, bikers, pedestrians. No one will notice me, if I just get through. I can play a CD and drown out the rain. I can keep the windows up and not feel a breeze.

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But my bike has taught me that there is an aliveness to being vulnerable. I feel the wind whipping by my ears, I hear the clicking of the gears and chains, I hear the swells and roars of the ocean waves, and I announce my presence to pedestrians by saying, "On your left!". I greet my fear each time I cross the highway, or, earlier this week, take a turn too quickly and crash into a fencepost. (Fiona and I are both doing fine.)

I feel both the rawness and the sweetness of being exposed. I feel more of everything when I am on my bike. I hear the birds singing and the highway patrol sirens blaring as they approach a wreck. I smell the eucalyptus trees, and the garbage waiting in cans for pickup. I recall ancient memories of shame, and I receive more reasons to appreciate my particular life story.

My bike taught me all of this, in only a few weeks. I plan to keep learning.

How does it FEEL to celebrate?

I've never really been good at celebrating my birthday. There are a few birthdays in my life that I remember - one was my 6th birthday when I had a party at my house with my favorite girls from second grade, complete with musical chairs, Bozo buckets, a violin serenade by my brother, and hand-selected party favors for each guest. Another was my sophomore year in college, when my roommate totally surprised me by inviting over half a dozen or so of my best friends, who arrived with cake, balloons, and songs to sing. Yet another was in my twenties, when my brother procured tickets to see Itzhak Perlman and the Minnesota Orchestra, and my parents came into town to join us.

But when it has come to my really knowing how to celebrate myself, and knowing what I really have wanted to do on my birthday, I've mostly come up blank.

Now I know that it's because I have been more focused on what it LOOKS like to celebrate than how it FEELS to celebrate.

What Celebrating Looks Like

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In our image-obsessed culture, we can easily be led to believe that what we SHOW about our lives - how we make things appear - is actually more important than how we FEEL about our selves as we live our lives.

Even the lyrics to popular songs teach young girls what it means to "party in the USA" - "Welcome to the land of fame, excess, whoa am I gonna fit in?".

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Because feelings are often difficult to express in words, or not accurately captured by images, or perhaps don't match up with the social pressure to perform and please, I have (perhaps like you) defaulted to suppressing the feelings, not bothering to connect with them, and making choices based on what will make me LOOK like I'm doing fine.

I did this without being conscious of it. It happened slowly, in small steps, over time, like any changes do.

How To Learn What Celebrating Feels Like

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When I have been in relationships, I have felt particularly pressured to celebrate in a way that LOOKS a certain way, to demonstrate a certain level of happiness or to do something that would reflect where I "should be" at a particular time in my life.

It's a lot easier to produce a celebration that LOOKS a certain way, because you can go to any store and find cards, decorations, party invitations, gift wrap, and other accessories that create a celebratory LOOK. You can get dressed a certain way, go to a certain place, and think that it's going to make you FEEL like you've celebrated.

But I've found that in order to celebrate your soul, to acknowledge what you really want, you've got to stop.

You need to slow down, rest, and create space in your life. You need to breathe deeply.

You need to relax your whole body, even the places and muscles you never knew you had.

You need to get to a place of inner silence, where you can become an observer of your thoughts rather than attached to them as who you are.

You need to know what peace FEELS like first.

And if you've had the courage to trust enough to do all that, you will automatically experience the spontaneous positive feelings that I just call "joy".

These feelings have nothing to do with how things LOOK. They are not dependent on conditions or circumstances. They are what is already there, at your core, without your having to do anything.

It turns out that a true celebration is when you can finally connect with that place in your core that does not need you to do anything at all.

So what did I do this past weekend for my birthday?

I slept until I felt like waking up. (I already do this most days, so I rarely feel sleep-deprived anymore, and I even more rarely feel guilty for "sleeping in".)

I savored a breakfast made for me by Rocket Man (that's the pseudonym on this blog for my partner who is such a compassionate witness as I learn to love myself). And by that I mean I noticed the fluffiness of the pancakes, I amused myself with the juiciness of the blueberries, and I allowed myself to eat two strips of bacon without a single voice of self-criticism in my head.

I then spoke out loud a thought that had popped into my head earlier that morning. "How about going to Napa?" No plans, no reservations, no idea where we were going, no agenda for what had to happen. We just decided to go.

While I looked up directions and addresses of restaurants, Rocket Man was looking up places to play music later in the evening. I didn't know it at the time. I thought he was just surfing on Facebook again.

Little did I know I would experience two things I never thought were simultaneously possible: doing exactly what I wanted, and not having to figure it all out on my own!

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After eating a delicious meal at Cindy Pawlcyn's Mustards Grill, we headed up the Valley to Calistoga to scope out a potential retreat site for my new offerings in 2011. (Stay tuned for more excitement on that front!)

We then came back to Pacifica, where at the Chit Chat Cafe, a monthly open mic was happening. The Chit Chat Cafe sits directly on the Pacific Ocean, at the back corner of a small shopping center. It's a small local hangout, with a selection of coffee drinks, baked goods, a couple of wines, and a few computers sitting at the back wall.

As of the last two weeks, I had been following a calling to sign myself up at my weekly open mic to share a bit of sound healing magic. It had occurred to me when I first started coming to open mic that a participatory music experience would be perfect. But I wanted to fit in and find my place first. To become comfortable as a violinist in this brand new setting, before giving people reasons to look at me funny.

Each of the now three times I've done this at open mic, I have been pleasantly surprised, not by the crowd's response or feedback, but by how it makes me FEEL to offer it. My fears of being "looked at funny" have been replaced with a deeper connection to who I really am, and what I can really offer in this world, if I only would step up and try.

So perhaps it's fitting that on my birthday, I stepped up to the mic at Chit Chat Cafe, and shared a few sentences about how, after many years of being trained as a performer and someone who's supposed to know more than other people, I've come to be interested in the healing power of sound and music to connect me to people .

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And then it was just "Ah".

The openness of harmonious sound. The togetherness of wordless interaction. The infinite possibilities of vibrational connection.

No need for further explanation beyond the sound. The energy in the room was palpable, because we had taken that moment to come together and focus our energies on just one sound....the one we were creating in that moment.

When it came time for me to play with Rocket Man, we already felt part of something larger than ourselves. The space was prepared for us - first with a day of celebration, and then with the intention to be who we are, sharing what we love, in this room full of people.

Our sound was unamplified and therefore intimate. Both of our songs transcended labels, categories, and time. No one cared who wrote them, where they came from, or when they were first performed. For one evening, all that mattered was the moment we shared with the people in that room.

The kinds of interactions we had with people after that performance were unlike any other we've experienced so far as a band. The last time I remember such a heartfelt connnection with an audience was when I was a teenager on a concert tour in Moscow, too young to put words on the wordlessness of musical communication, and too distracted by the hard work of "doing it right" to realize that I was touching my life's work already.

This birthday was a celebration of my growing ability to trust how I FEEL and my constant practice of letting go of how things LOOK.

Will you ever know what it FEELS like for you to celebrate yourself? It is my greatest wish for you in your lifetime.

Waking Up To Love

[singlepic id=284 w=320 h=240 float=center] Every once in awhile, I get completely jolted into awakening. It's like the universe taking me by the shoulders, shaking me, and saying, "Wake up to your life. Look! Listen! Pay attention!"

Usually these moments happen exactly when I admit to myself that I just don't know. When I completely surrender to not knowing, and just relax there, it's my way of asking for guidance. I'm opening to the possibility of something waking me up.

Last Wednesday was one of those moments.

I dragged myself to another open mic at Angelica's. After going every week for nearly six months now, I admit that sometimes it's a bit of a chore to get myself there. But I do it because I know that playing music and seeing other musicians play - and frankly, the "you-never-know-who'll-show-up" factor - will feed my soul in some way.

I even brought my computer this time, because I had been on a bit of a writing "roll" before I left the house, and thought I might pass the time by writing.

It was Game One of the World Series, with the San Francisco Giants playing. I live in the San Francisco Bay Area. In other words, we didn't expect peak attendance at that night's open mic.

Well, it ended up being proof that quality far outweighs quantity.

A young Asian woman came in, with her father and younger sister standing by the door. She had thick, black hair, with a braid draped over her right shoulder. She was confident yet also eager to please, and approached our table to sign up for the Talent Show. She'd read about it online. She was girlish, pleasant, and in a soft voice told us her name was Kelli.

"Where are you from?" I asked.

"San Bernadino County," she said.

Yes, all the way from southern California. The band was on their way north to Oregon for a gig, and this was a stop along the way.

We were dazed and distracted, already having "written off" the night as a low-attendance, low-energy kind of deal. The sign-up sheet wasn't ready, we had no idea who was going to be a judge for the Talent Show, and we thought it was just going to be a low-key group of friends playing for one another. Meanwhile, we had a computer plugged in so we could get updates on the World Series game that “everyone else” seemed to be watching.

I went onstage with my guitarist/vocalist Randy to "warm up" the room, and we played some songs that I had never played before. The pressure was off, the stakes were low, so the thought was, “Why not?”. I wasn't thrilled with any of the sounds I created, and I frankly wasn't that excited to play. I was doing the closest thing to "phoning it in" that a musician can do onstage.

Across the room, Kelli's table had filled up with two other women, in addition to her father and little sister.

They were last in the sign-up order. And this is what we heard:

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A smile spread across my face as I started to bop along with the upbeat, almost Europop/British invasion style groove. They had such an ease, transparency, and joy to their music.

It stopped me in my tracks. I saw a family. I saw togetherness. I saw a proud father, driving his four daughters on a musical road trip up the Pacific Coast. I saw light in their eyes, and a beaming smile on the father's face.

After their three song set as Ramekega, the band, they had signed up Kaira, age 7, to sing her own set.

Here's one of her originals:

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Again, I saw the togetherness of a family united by something powerful. I felt it, saw it, heard it, but couldn't name it.

Everyone ended up doing a second set that night. So when I stepped onto the stage a second time, I went inward to acknowledge what I had seen in these girls. They had touched me with their obvious joy and light. They had reminded me of the joy and light I know I have, and I know were once radiating so transparently through my being, but have recently been fogged, blurred somehow.

I played with all the heart I could muster. I was happier. I felt like I had honored myself a little more this time.

And afterwards, I approached the Ramekega girls (Melissa, Kelli, Gabrielle) to know a bit more about their story. Was there another sister? Just one more, the oldest, in nursing school.

And mom is at home? "Our mom passed away. When I was 12," said 16-year-old Melissa matter-of-factly.

"Oh I'm so sorry for blurting that out!" I said as I put my hand to my heart, taking in an even deeper level of what I'd just experienced. I looked from her to her father (still smiling, sitting calmly, beholding all of his beautiful daughters busily writing down email addresses, signing forms, collecting money for CDs). And I really listened to the story. Their mom had passed away. And so this is family. This is it. This is life. This is music. On the road together. Just living the dream. When they could be wallowing in what others call a nightmare.

And then I knew what chord had been struck in my heart. The nameless place inside me that had been cracked open by Ramekega's music came into brief focus for me. It was love.

What I saw and felt in their performance was the pure joy of love when it shines brightly through words, actions, and results.

And that still-incomplete piece inside me is my love. I'm believing that I am getting closer to accessing the fullness of my love for life and everything I have come to life to be and do. And the beautiful girls of Ramekega helped wake me up to what still needs to be done.

Thank you for the wake-up call, girls! Keep spreading your love.

P.S. Ramekega will be back at Angelica's in Redwood City to compete in the final round of the "We've Got Talent" show on Friday, December 17. You can enter too...more details on the competition here>>

Photo credit: Alarm clock by Oscar Megia, used under a Creative Commons License