What makes you unique?

In the weeks since returning from Boulder, I've been spending more time with the idea of the Unique Self teaching of Marc Gafni and the Center for Integral Wisdom. For me it was deeply integrating to hear a story that finally enabled me to bring together both the parts of me I had discovered and cultivated during the last five years - namely, wordless presence, connection with the Oneness, and recognition of egoless identity - and the parts of myself I had "divorced" from - namely, the rules of classical training, the linear reductionist thinking of mechanical science, and the ignoring of subjective experience.

How refreshing to hear someone say, "You can't meditate your ego away. You can't meditate your story away." This was part of my experience as a meditation practitioner! I wanted to put certain chapters in the past, as "the way I used to be", believing that in order to become who I knew myself to be - both creative and spiritual - I needed to forget who I once was. No matter how many relationships I walked away from, no matter how many new practices I adopted, no matter how many new communities I joined, I could not completely ignore my prior experience and stories, and the curiosity I felt about bringing my new learning back to my old communities. I could not pretend they were not in me. Oh, I tried. But I never felt complete in my expression, or full in my generosity of sharing. It was as if there were problems I knew existed, in distant parts of the world, that I was deliberately ignoring for the sake of elevating myself beyond them, transcending them by trying not to pay attention to them anymore. I kept my eyes forward, visioning my ideal life over and over again. And still I felt there was a connection I was not making.

The image of my Unique Self "plugging in" to the infinite mesh of the One via a radically unique shape - not just a generic plug into a generic outlet, but a unique contour fitting in like a puzzle piece perfectly matching in every subtle turn of form - is supporting me to integrate all of my stories, all of my prior and current experiences, and to show up as me. I am now opening my vision to include all the parts of me I would rather hide and avoid, the parts I would rather not have you see, AND embracing my brilliance and light and infinite creativity at a level previously unrecognized....not as opposing sides of a coin, but as different and equally essential points on the same sphere of my wholeness.

So what makes YOU unique? What are the points that constitute the unique shape of your piece of the mighty jigsaw puzzle of all that is?

The invitation of our times is to hold this paradox: what you think you are is not who you really are, and exactly who you are is all you need to be.

When you show up as all of exactly who you are, you heal, transform, and create a world in the way that only you can.

Be Willing to Drop the F Bomb

When I was a senior in high school applying to college, I remember one university had as its essay question, "What was your biggest failure and what did you learn from it?". I remember considering not applying to that school because I couldn't think of a failure to write about.

At the time, I was on the receiving end of a lot of attention and praise for never having failed (publicly at least). But now as an adult, I know the trap of living a life based on avoidance of failure. It's no success to have reached all the goals that have been set for you, to have checked all the boxes other people have laid out as important for you, and then to look in the mirror and not recognize yourself. Or to have your body screaming in pain or exhaustion.

Having been there and done that, I have rediscovered the vital importance of failure. Not "achieving" failure as an identity, but being willing to fail. I gave a workshop on Friday to a group of engineers, coaches, consultants, startup founders, and other change agents interested in how groups of people grow and learn. It was based entirely around sound, voice, and music improvisation - in other words, the most common fears of about ninety-nine percent of the population.

The name of the workshop was, "Play the Wrong Note: Daring Adventures in Learning, Failure, and Creativity". The title actually refers to a specific moment in my life when everything changed for me. Those four words - "Play the wrong note" - were the four most compassionate words ever spoken to me by a teacher. No one in a position of authority had ever said, "Lisa, I want to see you break the rules. And I'll help you." It turned out to be the most loving instructions I ever received, and the framework for an entire body of work.

It was about three months in to my sound healing training program. A weekend workshop dedicated to the art of improvisation. I thought I could just observe and let the others do this improvisation thing, which was clearly for "those people" but not me. So I hid behind the teacher with my violin tucked under my arm, hoping he would not see me or ask me to participate in this bluesy, jazzy jam that was happening all around me.

And, of course, at that very moment, he turned around and pointed right at me. "You! Solo!" he said.

I had no idea what to play. I wasn't into blues or jazz and had no reference point for what sounds to make. He could sense that I needed help so he said, "Play the wrong note."

My facial expression must have communicated the feeling I had, which was, "OK. But...which one?". There were an infinite number of wrong notes I could play. How would I know which one was right?

He smiled and took my finger in his hand, and moved it to a random place on the fingerboard of my violin. "Play that," he said gently.

I heard his instructions, but when I tried to play, my bow arm literally would not move. I was so hard-wired to play only the right notes - after daily practicing from age four - that my entire body would not allow me to play any wrong ones.

It was the perfect timing for me. I was ready. I had had a lifetime of good training, practice, and mastery. I was wired for success. But I had no wiring for freedom, fun, or failure. And in that moment, standing there, stranded, in the middle of a room with forty or so people making sounds, having a great time, and waiting for me to solo, I got it.

I could continue to avoid failure, or I could choose to grow into the unknown.

Later that day, in the same workshop, my violin case fell off its chair and onto the floor.

I took it as a sign and stopped avoiding the failures that were wanting to happen for me. I closed my violin school a little over a month later. I started practicing - first in the privacy of my own home, and using my voice, not my violin - making sounds that were all "wrong" to my trained ears. I started PLAYING again. Something I had not done in a long time, and maybe never on my violin.

The adventure that followed was a list of things I could never have planned for my life. I started playing only improvised music, in public, on a stage. I discovered hiking and backpacking. I went to the top of Half Dome and the bottom of the Grand Canyon. I started working at REI - the retail job I was never allowed to have as a teenager because I could earn more money teaching violin or staying home to practice. I won a gig as a gear tester and reporter for Backpacker Magazine, including a free trip to the Outdoor Retailer show in Salt Lake City. I discovered Thai massage and Breema bodywork, which led to traveling to three countries I would never have dreamed of visiting before - Bali, Thailand and Laos. And through my practice of these forms of bodywork, I traded massages for studio days with a couple of artist friends. And I discovered that I could play with paint. Which led to a daily art-making habit. Which has (so far, in the year or so that I've been doing it) led to a juried show, a new blog, and a whole lotta new art supplies in my house.

I could not have written these down on a bucket list because I would never have let my imagination run that wild. Until I was willing to Play The Wrong Note.

And not just once, in a workshop. It was about making a decision to bring the learning from that moment back to my daily life. To find ways to practice that willingness every time the opportunity came up.

It started with music. Being willing to play the wrong note in my personal comfort zone. And then it expanded. Not with planning but as a natural consequence of becoming familiar with the willingness to be "wrong".

So this is my soapbox.

Risk taking is necessary. Being open and willing to fail is necessary. Not knowing is necessary. And these skills are not taught in school. They are not the skills that get you straight A's. They are not the skills that make you look "smart". They are not the skills that earn you the proud distinction of being a Good Daughter (or Wife or Mother). They are not the skills that you use to fill out a college or medical school application. They are often not the stuff of polite cocktail party conversation.

They are the skills of the maverick. The rebel. The free thinker. The one who creates.

So no matter how long ago it was that you experienced your last failure - whether it was just this morning or decades ago or not at all - it is never too late to dive right in. Start practicing the F word.

Take it from a straight A student. Me.

Curious about my "Play The Wrong Note" workshop? Read this blog post or listen to the Creative Conversation we had yesterday about it.

And if you're ready to start practicing Fun, Freedom, and Failure with writing as improvisation, check out my brand new coaching program here.

Wishing You The Fun and Freedom of Being Willing to Fail,

Lisa

Where are you reaching FROM?

A few weeks ago, on August 20, I read the news that BKS Iyengar, the renowned Indian yoga teacher and founder of the Iyengar Yoga tradition, had died at age 95. Immediately I was brought back to the many memories I have as a result of his teachings. My first California yoga teachers were trained in the Iyengar tradition. In their classes I was exposed for the first time to silent meditation and chanting. I remember as a student just managing to tolerate these first few minutes of ritual as I waited for "the real yoga class" to begin. What could these Sanskrit sounds possibly have to do with my physical strength, flexibility, and fitness, which is why I did yoga (or so I thought)? As soon as I read the news, I went to my bookshelf and pulled off my well-worn copy of Iyengar's book, Light on Life. Nearly every page is marked and notated, evidence of the way I used to read as if every book were homework that I would have to write a paper on someday.

The pages that the book fell open to were about extension and expansion in yoga poses. How when we reach and stretch, we often only think about the point to which we are trying to reach, but we forget about where we are reaching from. And as I pondered this, I realized that no matter how far we are trying to stretch, we are always reaching from where we are now. From the center of our being.

How often do we check in with how we are as we are doing something?

With the completeness of our focus on the outward gaze, how skilled are we at really seeing the inner place we are always reaching from? Do we know this place? Do we know how it feels? Do we really know it as it is NOW, or do we know it as a memory, a snapshot of some previous moment in time, or some interpretation created by our judging mind? Do we only see what we think other people are seeing - some image of how we're supposed to look?

Developing clear inner vision, and the capacity to really see where we are reaching from, is the core practice of being present. In the years since I started yoga practice, I have been exposed to many more forms that give the body, mind, and soul the opportunity to be together in harmony - improvisational music, whole body listening, Breema bodywork, to name a few. When this harmony is happening, we have the opportunity to see the world within our true selves. When we practice seeing into our true selves, we begin to know more and more where we are reaching from in any moment, even as we continue to reach toward something else.

Each day since Iyengar's death, I have read a few pages of the book again. I am grateful for the life he lived that enabled him to write those words on the page. And I feel gratitude for the life I am living that enables me to understand the meaning of those words beyond the page.

Where are you reaching FROM? And how can you practice seeing your true self with inward-looking eyes?

Join me in the Energy Gardeners' Club for some practice with the support of nature, sound, art, and a circle of safety and encouragement. Starting next Tuesday, September 9th in Half Moon Bay.

E-Squared Book Club: Week 5

This week we discussed Experiments #6 (The Superhero Principle) and #7 (The Jenny Craig Principle). Both principles relate to the ability of our thoughts to impact physical matter in the material world. First we discussed the results of the seed experiment. As you may recall, Tammy gifted us with sunflower seeds from her studio garden, along with a little bag of soil. It was such a beautiful gift! I went home and planted my seeds that night.

As I tossed them into the soil playfully, I said, "Isn't it AMAZING that this one row of seeds is already growing faster than the other row?? I'm AMAZED!". At that point, of course, they were "just" dry seeds going into soil, sitting on my kitchen table. Nothing had happened yet. Except my thought and feeling of ALREADY being amazed at their growth.

Two days later, I was truly amazed to see sprouts beginning to show. I literally thought nothing about these seeds other than the feeling of amazement that they were already growing faster.

I added a few drops of water to the carton every couple of days, and regardless of what I saw with my eyes, I commented, "Isn't it AMAZING that this row of seeds is growing so much faster than the other row! I am AMAZED!". I didn't say, "I can't believe it!", or "I can't explain it!". I just held the amazement.

 

And they continue to grow and amaze me, every single day!

A couple of notes on this experiment for me: I have absolutely NO expectation about me and growing things. I'm not exactly a "green thumb" and haven't had a major draw to grow plants before. I think because of this, I was able to be truly open and playful. I had nothing to prove and everything would be a surprise for me coming from these seeds.

Tammy planted her seeds one day after mine and they had not sprouted at the time of our meeting yesterday. She had placed them with loving care in a special spot at her studio, and every day as she watered them, she waved her hand over them to transmit loving and encouraging energy to the seeds. She talked to them, using the energy of her words to support their growth.

Why were our results different?

We talked about the difference in energy between "wanting" something to happen and "believing" it is already happening. When you send an energy of "want", the result remains in the future. You receive what you asked for, which is continuous wanting. When you believe that something IS, and carry that energy regardless of the "results" you can see with your eyes right now, you support the essence of life that wants to thrive, grow, and come into being.

We demonstrated this with the Push Together-Pull Apart experiment, which I learned from my life coaching mentor, Martha Beck. It goes like this (and is discussed in Martha's latest book, Finding Your Way in a Wild New World):

1. Have a partner stand with their arms bent, hands in front of their body, with palms facing in (as if they are about to clap).

2. Tell them not to let you push their hands together, as you press on the tops of their hands as hard as you can. Fill your thoughts with effort, pushing, and domination as you do this.

3. Now, do the same thing, except this time hold in your mind thoughts of joy and love, or a time in your life when you felt utterly at peace. Don't think about the other person, just hold these thoughts and allow them to spread throughout your entire being. Now just put your palms on the backs of your partner's hands and move your own hands together.

Experiment #7 was about our food being the carrier of our thoughts' energy into our bodies. Since I don't own a scale, I did this experiment by measuring how I feel in my body when I take the time to taste my food completely. If I'm talking while I eat, this is more difficult to practice. This is when I often lose track of what I'm feeling, and just keep putting food in my mouth until the plate is clean.

For those of you who would like to lose a few pounds, I'm curious what your results are after trying Pam's advice. Notice any negative thoughts you have toward your own body. Let them go and replace them with thoughts that praise your body for the way it already is. Take a moment to bring your thoughts into a state of peace, love, and joy, before you eat your food. And see what happens!

At Quarry Park, the sun continued to shine on us, and it was an unseasonably warm day.

Later in the afternoon, we all attended a monthly gathering of Art and Inspiration hosted by Amy Sullivan. Tammy painted a "butterfly brain" image inspired by the E-Squared Book Club.

Shirley made a collage of cats and flowers and castles and circles.

And I played with my new acrylic gel mediums. FUN! I drew the "Joy" card from the Soul Coaching deck. Its message was to remember that my soul's purpose is simple - to experience joy. And to share this and its healing qualities with the world.

It has been my joy to create this book club and to experience the discoveries together in a circle.

Next week, we discuss the last two chapters, Experiments #8 and #9. In our final week, we will design our own experiments for the holiday season and end of year.

To listen to a brief (17-minute) recording from the phone meeting, click here.

As always, please feel free to share your stories in the comments!

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!

How is your soul like a can of tomatoes?

I’ve been hosting SoulBodyMind Salons in my home, and the most recent session was centered on the theme of “Soul-Care”. I always start each of the sessions with a story or image that grounds the group in the journey we are about to take that evening. I had easily come up with stories and images for the body and the mind – ones that I had heard from my own teachers as I gathered knowledge in these areas.

But the soul – no one had ever talked to me directly about the soul before. This was the first time I would be attempting to ask the question, “What is the soul?” in front of a group.

I am simply fascinated by the phenomenon of soul, because everyone can relate to the word, although in a totally unique way. It’s a bit like the word "music". Ask anyone from any culture and any time period, "What is music?", and they know what it is. However, listen to the music from any culture and any time period and you will get wildly different experiences and sounds.

I was walking around my house, dusting the wood floor, pushing chairs in different directions, thinking about this question of “What is the soul?” and how I would explain this in a brief introduction, without either getting lost in philosophy or oversimplifying.

Naturally, I picked up the nearest object and began thinking of ways to incorporate it as a visual aid.

That object was a can of tomatoes. I had just gone to the grocery store and this one hadn’t make it back in the cabinet yet.

It still hasn’t.

When I looked at the can, I began to see how it could be the perfect tool to illustrate what the soul is.

I started the evening by holding the can up, and asking the group, “What is this?”.

They kind of looked at me strangely, as if to say, “Of course it’s a CAN! Is this a trick question? What could this possibly have to do with SoulBodyMind?” Some of them leaned in and squinted, as if to try to read the label.

Aha! Reading labels is one way we figure out what something is.

“OK”, I continued. “So what if you couldn’t read? Or if you’d never seen a tomato before? What would this label, with the red picture of a tomato ripening on the vine, and the words, ‘Organic Diced Tomatoes,’ mean to you then? How would you explain to someone what was in the can if they had never seen or encountered a tomato before?”

Chins tilted back and eyes blinked in reflection.

“And even with words,” I went on, “we can talk about what’s inside the can, based on our concepts and our past experiences of tomatoes and our predictions of what tomatoes are supposed to be like. But we actually can’t speak accurately to what is exactly inside this particular can without opening it up.”

“In order to open it up, what would we need?” I asked the group.

There was silence again, as if I were administering some kind of secret intelligence screening test.

“Um, a can opener?” one of them offered, sheepishly.

“OK, a tool! Good! We would need a tool of some kind to get through the impermeable surface of the can.” I tapped the metal walls for additional dramatic effect.

“So to really accurately say what is inside this particular can,” I offered, “we would need to go beyond the labels, beyond our memories and concepts and past experiences and predictions. We would need to access the right tool to get through the hard container and to get to the actual contents of the can. And then we would need to taste these tomatoes. And smell them and look at them of course. But if we're really honest, tasting is the only true experience of those tomatoes.”

And as I looked around and saw heads nodding, I added that our taste is a very personal and private experience. We can’t truly convey that experience to anyone else, even though it is undeniable that we are experiencing something very vivid that permeates our entire being. We can put words to it, but when another person hears those words, it conjures up what it conjures up inside them, which may be something completely different from what I experienced in the moment of my tasting.

Now we were ready to start experiencing “The Art of Soul-Care.”

Your soul is the tomatoes.

It’s a soft and squishy and boldly flavorful place inside this hard and seemingly impenetrable container that we call our body. We develop this outer shell that is seen by the world. We have labels attached to us, roles that we play, descriptions that refer to other people’s experience of us or our memories of ourselves or our expectations of what those words mean about us. But all those words and labels only point to what’s inside. They are not the same thing as tasting the tomatoes.

We can open up the can with the right tools. And then others might be able to taste our particular tomatoes. But what they taste and what we taste are our own experiences – all valid but also, quite possibly, completely different. We have no way to actually taste what another person tastes. The words we choose to name the taste might be similar to or completely different from someone else's words. But we each experience a taste nonetheless.

The point is to get a taste. Go beyond the labels, get the tools to penetrate the closed container, and taste for yourself.

You can tell other people about it, but don’t get too caught up in comparing your description of the taste with other people’s description of theirs. Learn to trust what you are really tasting. Learn to observe when you are only seeing a label, or trying to get inside a metal can without a can opener.

That’s what a can of tomatoes taught me about the soul.

Empowering Your Self With Vision

“How you see determines what you see, and what you feel.” – Tenzin Wangyal Rinpoche

I’ve had a love-hate relationship with vision boards since the very beginning. My very first one was an assignment for the very first personal development workshop I attended. End of Day One, before we were to break for dinner, we had a few hours to make a board of what makes our heart come alive.

The second one I made was later that year with an ex-boyfriend on a retreat in Santa Cruz. It was my first beach weekend retreat since moving to California five years before. What had taken me so long?

Then I made another one that made me feel like crap, but I didn’t quite know why.

I kept up with vision boards for some reason. Maybe it was my determination to see if they would really work for me in my life. I was a total skeptic in the beginning, going through the motions like a good student, but not truly expecting anything to happen.

After several years of practice, now I know that when I approach them from a certain place within me, vision boards can invite in some real magic into my life.

I haven't yet written about the latest example of how a vision board changed my life, and since I’m leading a vision board workshop next week, this seems like a good time to really tell the story in completeness.

From Complaining to Creating

I was living in a tiny house with my boyfriend. It was his house. I moved into it. This was after I had downsized my own belongings by eighty percent. I had moved out of a commercial office space, and then moved out of my apartment after staring at the furniture for months and months, not knowing how I would detach myself from it.

There was really no space that was “mine”, although I had access to everything that was his. We made a garden. We cooked. We adventured mostly outside the house. But we felt closed in because we were surrounded by apartment buildings, a parking garage, an architectural firm, and a daycare center. Our blinds were always closed, and there was only one door to the outside. I had a tiny space in the back, about the dimensions of a single yoga mat, where I did my morning ritual, meditation and chanting. I could see a patch of the sky, and the tops of trees from the windows in there, which gave me a daily dose of spaciousness.

My enlightened self can identify the gifts of that time in my life – the gifts of being outdoors for a long hike every single weekend, the gifts of being in my garden every day in the summer, the gifts of not working so hard on my business, the gifts of discovering REI, and the gift of becoming more open to things falling apart.

But I still found myself spending most of my waking hours complaining about the space, what was missing, how it was impeding my ability to focus on my work.

I realized most of my energy and attention were being spent on what I didn’t want, and what wasn’t working. I was blaming the space for all of the things I wasn’t able to feel within myself.

One day it occurred to me that I was also free to ask, “What if I shifted my attention to what I do want?” Aha! I hadn’t done that in awhile. Complaining was my mind’s way of dealing with the situation, believing that if I complained enough, maybe something would happen differently.

It had been over a year and nothing had “happened” differently, at least with the space.

So I decided to make a vision board.

What It Looks Like versus What It Feels Like

I used google to search for images of places and views and living spaces that felt like  what I wanted to experience from my own living space, but had never dared to say out loud. Knowing what I wanted to feel like is an important difference from believing I knew what things were supposed to look like. We’re so bombarded with images these days that we rarely have time to sink into our bodily sensations that come up in response to these images. I've learned that when I connect with the feeling behind images, I am often surprised that what they look like is nothing like what I imagined.

The qualities I wanted to feel were captured with the words gathering space, nourishing space, convertible space, walking space, creativity, honoring earth, peace, reflection, nature, beauty, energizing, growth, inspiration, joy.

Since I wasn’t able to see these qualities in my living space at that time, I didn’t believe they could be part of my reality ever. But I set aside those doubts for one evening, and put myself in the place of the person in my imagination – the “me” who had it all. I found pictures of nature, hiking trails in the backyard, a garden, expansive views of hillsides, trees, big windows, high ceilings, convertible spaces for creating, reflecting, gathering, eating, and seeing nature.

Then I said, What the heck, since I’m doing this exercise, why not put everything out there? The stuff I really don’t believe is possible.

So I put in a recording studio – a picture of a guy playing guitar in front of a microphone, surrounded by windows opening into views of trees and nature. Another secret desire of mine was to have my own creative space, and for my boyfriend to have his own creative space, so that we could come together in each of these spaces but were not forced to work in the same space at the same time. I put in a picture of a home yoga studio with luxurious amounts of open hardwood floor space, literally thinking, “Yeah, right. No one has that!” while feeling in my body the tingles of excitement around the idea of, “What if I did?”

I loved the resulting images, and it was enough for me to make it the wallpaper on our computer so I could dream of living there on a daily basis.

Three magic words: "Thanks, I quit."

Then I let go.

There was a sense of relief and freedom just from having created the vision board. And in my mind, everything about the images seemed impossible – there was nowhere I had ever seen in the Bay Area that would meet all these criteria, be affordable enough for us, close enough to my boyfriend’s work for a manageable commute, and so on. My naysayer mind chimed in again with its list of “no way”s.

I let go but I didn’t forget. I left the vision board on the wallpaper of our computer, and then I returned to the tasks of daily life.

Within three weeks, my boyfriend sent me a link to a property for rent in Half Moon Bay. The pictures had windows that looked similar to the images on the vision board. Interesting, I thought. I clicked back onto craigslist and saw that there were two other places in Half Moon Bay within our price range. One of them had very dark pictures, and a very simple description that wasn’t flashy. Yet it just had a feeling that intrigued me, and I wanted to check it out. We scheduled appointments at all three properties for that weekend.

The minute we turned the corner and started driving down the street, I knew this was the one. I just felt this was where we were going to live.

Then our jaws kept dropping. The beach was just steps from the front door.

There was a large room facing the ocean that is now our home music studio and house concert venue. And the front room, with two large windows peeking out to the ocean view, is now my home yoga and meditation space and painting studio!

I even have my own office, which I honestly didn’t even expect. I was prepared to let that go in exchange for the yoga and creative space. But I got it all!

We got it all.

We are both so happy and inspired in this space, as it serves our needs and creative purpose in life right now. We enjoy sharing it with the community in the form of house concerts, my new SoulBodyMind Salon series, and who knows what other forms will emerge.

I tell this story whenever anyone asks “how we found” this place, because I know from experience that the place found us.

By shifting the energy from “what’s missing” and “what’s not working” to “What do we want to create?”, we invited in our own ability to see possibilities in a whole new way.

I never imagined, even at the moment of making the vision board, that we would end up living by the ocean. I was in love with the tall trees, the mountains, the rivers. I thought we would find a little cottage up there somewhere. But my ability to imagine was only based on my prior experience, and the universe had a greater vision and infinite possibilities waiting for my ability – my vision - to discover them.

Try out the experiment of taking an area of struggle in your life, an area where you notice yourself spending a lot of time complaining about what’s wrong or missing, and try asking, “What do I want to create in this situation?”

I’d love to know what you see through these new eyes.

Join me on February 9th for a Vision Board Workshop at Prajna Yoga & Healing Arts in Belmont, CA. Do you want to have me facilitate a Vision Board Workshop for your organization or in your home? I'd love to talk about that with you. Contact me to discuss your curiosity and interest.

Photo credits: sunset, Randy Bales. All others by the author. Prints of hand-painted heart image available at my online Zazzle store.