Friday, June 27, 2008

On Music & Grieving

(I realize that these posts are really long. I'm still learning--how to write prose for an audience, how to edit in blogspot, how to uncomplicate myself... Bear with me, lovers...)

Part of me is still grieving for the lack of music in my life—and no, that’s not a metaphor. Looking through the closet I caught myself thinking, My tuner, why is the tuner not on the piano bench—and then I remembered, with a pang, that I no longer need it. Not even why, but just that simple fact: I am no longer a musician. And it is just like a death. I did the same thing when my grandfather died when I was about 13—caught myself hoping he’d give me a ride home from school. Wondered why we needed to feed the cows every weekend, why his denim jacket was still over the chair, who would open the pool door, then that quiet voice—Oh. Wait. That’s when you remember. And music is a strange thing to lose, because of how it permeates our culture, how much joy and expression I still find in listening to it. I’ve felt a kinship with certain musicians, and like most kids of my generation (or just most kids?), music has gotten me through rough times. I’m not just talking about Alanis and I having angry girl scream-time over a terrible break-up, or Matchbox putting it perfectly:

Music introduced me to art, which introduced me to artists, which introduced me to some ideas:

a) Its normal to feel things deeply, analyze the world around you, and be sensitive and complicated and “emotional” and “touchy”

b) In fact, a lot of people feel this way

c) But are a bit “messed up”, and usually not accepted by the status quo

d) BUT they also make beautiful art. Also, you’ll get along with them.

e) All of this is perfectly okay, maybe not in society’s eyes, but in something higher—whatever made you this way, whatever source this beauty is derived from.

f) Anger & intelligence = depth &also =superattractiveness

There was that. And then there was music. Sounds. Lush sound that filled your ear in perfect interweaving harmonies and always reminded me of moving landscape. I can’t tell you how full my head is when any more than three notes are played, piano or orchestra, keys and chords that swell until light is pouring down behind my eyes. I had only two instrumental pieces for a long time, the Main Titles and Farewell of Spiderman, by Danny Elfman. I still find the synchronicity angelic, perfect rhythms and tempo lull me somewhere between meditation and heaven. Music is one of the few things, that experiencing it never caused me anxiety, and (until now) was never something I associated with my “weaknesses”—in fact, in my own pursuits as a musician, I pushed myself for four years straight. Every time I felt fatigued or achy or plain depressed, I made myself go to practice, stay late at pit, or play at home, memorize the music, cheer at football games, stand up straighter, lift my arms higher and get goddamn better at what I did. It was one of the few areas that, when I made mistakes, I didn’t panic for too long—I was simply happy to be doing what I was doing. I’d remember, each time I slipped up, No girl you’ve done that and it was wrong, remember? And then that was it.

But there was always something missing—I simply couldn’t get myself to pay attention to music at home for more than a half-hour at a time. My fingers lacked some quicksilver-gene, and my tone, while progressing, wasn’t much compared to my fellow section-leader, a “natural”. I know now that if I had just worked a bit more on those solos, maybe I could have graduated to harder and harder pieces, but somewhere along the line I gave up. I can’t stand playing by myself—without a band to play with, without community, music is just less to me. So in a way, I almost shouldn’t be grieving no longer playing my flute. I have no band, no time, and jesus Christ in heaven it makes my shoulders hurt.

But still, I walk past my piano bench and the music is still set out from last summer. I live in the house my grandfather built, sleep next to his bookshelf—This Old Barn, On The Trail With Luis & Clark, Airwar:Terror From the Sky. I cook in the same kitchen we gathered in the morning after he died, a shocked winter, the stovefront empty without his bustling. I suppose I could sell my flute, donate the sheet music, get a new iron skillet and redo the wallpaper… But this living alongside ghosts, is it really holding me back? Isn’t it pain that pushes us forward? How much do I need to keep in the cupboards so that I don’t forget the love and lessons that quiet patriarch and stubborn instrument have shown me?

Re-Stepping onto the Mat

My yoga practice differs greatly from many others, for both obvious and more subtle reasons. Most people in the West, if they delve deeper into their practice, it is to physically strengthen themselves, conquer asana (pose) after asana, maybe bringing some meditation/relaxation into the practice. Of course, when we clear the mind that opens a channel for change, and many people do find their lives—their selfs—changing greatly after taking up regular meditation. From what I’ve seen, unless someone possesses a great depth and, usually, a great trauma or hurt in their lives, they rarely take the time and thought to use the philosophy of yoga in conjunction with mat practice as a conscious tool for change.

Since I’ve restarted, that’s kind of what I want from my practice—conscious change. When I first got into yoga, I went in to class blithe and enthusiastic—at first. I was overjoyed to find something physical to do that I truly enjoyed, and determined, finally, to accept, explore, and love my body for what it was. Who cares if I can’t touch my fingers to my shoulders? Who cares if I can’t straighten my arms, or if I collapse in downward dog, or can’t rest back on my heels? I went home every night ignoring the pain, relishing in finally feeling energy and tranquility flow through me in ways I couldn’t remember ever feeling before. Always, since childhood, I remember mostly feeling anxious and stressed—either too much in my body, (irrationally?) fearing for my well-being; or entirely out of it, head in the clouds or a book. Yoga equaled peace to me… Until I came down from the initial high and began to look around. The studio I went to did not have kind energy towards the physically unable, the intellectual, or the lower-middle class. It abounded with “kick my ass” suburban moms and twenty-somethings, and more middle-aged lean-serene-yoga-machinis, and had zero sense of community. I began looking around classes, seeing people older than my mother easily doing poses that made me shake and wince. I did remain optimistic, but the idea of my own youth, my own weakness chewed on my mind. Something is wrong here.

And then I was diagnosed. This was after I had finished yoga for the summer, and was off to live my first year at college. A week later I was on a toxic drug that didn’t help at all, had a rhuematologist’s card in my wallet—just in case—and was moved into a dorm with a full load of classes to tackle. Leaving home for the first time, adjusting to the big city, and being diagnosed with a crippling, incurable disease—rheumatoid arthritis— it’s no wonder I was miserable that autumn, though I didn’t realize at the time. I let myself wear sweatpants to class, something I had never done in high school, as I took school seriously. Looking around me, college felt like an extension of the yoga studio—everyone professional, exuberant, well-dressed and well-adjusted, while I sat in the back of my mathclass in stained sweatpants and slippers, aching everywhere despite the Plaquenil. I took a yoga class that semester but only learned, from my rather hippie professor, who looked like santa claus, that Bikram yoga symbolizes everything that is wrong with society today. We did the same slow 4 sun salutations every class, and my mind was usually elsewhere.

After some changes that made spring semester amazing—namely a new roommate, less lounge clothes, and more medication—I’m back home for the summer and at a new yoga studio. I work four hours a week in exchange for free classes, and am on good terms with the owners and a few teachers. I’ve had nine months to come to terms with the words chronic and dehabilitating, and am finally ready to consciously use my Self & yoga as a tool for change in my life. Trouble is, I’m not sure what to do. I never had an intention beyond “love thyself” in former classes, and the last few weeks I’ve spent getting reacquainted with yoga. But now I need an intention—I’ve never felt good categorizing or settling on a single thing for myself, whether it’s sexuality or religion or disease. I don’t want to devote myself to one thing, I want to experience them all, so the labels I do use are usually complicated—“Eclectic Pagan”, “sapiosexually panamorous”. I’m a poet—at least that I can settle on—I like words, I like descriptions, I was made to define and expand upon everything I experience. One word, one idea just won’t do it for me.

A yoga teacher, who’s classes I’ve been to before, described my practice to a mutual friend as pain. Albeit, her classes are Vinyasa (Flow) classes, and I’d say a 7 on the 1-10 Unofficial Difficulty Scale o’ Yoga. So yes,I was in pain during most of her classes—but I found her energy and style of teaching so uplifting I chose to take those classes anyway. I’ve thought about this, pain as a practice—am I causing myself pain by practicing? pain I have to work through? The teacher who made the comment continued, saying that I’d reach a point where the pain would no longer matter. I believe she referred to a change of consciousness, but when I first hear that I was undeniably pissed.

Anyone who has rheumatoid, fibromyalgia, lupus, etc, will tell you that one of the worst things to hear is “work through the pain”. This is not acute pain. This is not a stitch in your side trying to reach the finish line, or a cramped muscle, or a bleeding wound you can sew up. There is no before and after, this is chronic pain, this is waking and sleeping and breathing, pain is not a few moments but your life. By working through—ignoring—acute pain that you feel, you are probably causing irreversible damage to yourself. And I guess you can argue that with any pain, but then I think about the pain that signifies change, acute pain. Something that comes on all of a sudden, something you can forget about once in a while, something that will fade. The death of a loved one, breaking a bone, building muscle. That is the pain we need—the kind that allows growth. Chronic pain, I believe, causes damage without growth (as we were not meant to live in pain), and arises when we hold on to things and refuse to accept what is. When we refuse to surrender and accept the thing that caused the pain, that is what damages us. (And of course, to be explored another time: what I am I not accepting that has manifested into RA?)

Unless you have gone through chronic pain, do not tell me to work through my disease, my pain. Unless you have said disease, an in-depth background in physiology, or are my mother/best friend, you probably don’t understand what you’re saying. (And if you are my mother or friend, you still probably don’t, but we understand each other). When I leave the classroom, the mat, the job, I’ll still have this ache or that flare. My immune system doesn’t sleep, my fingers will not reform when I leave your presence. Getting out of bed is working through the pain. Living is working through the pain. If my practice is pain, then so is my life, as terribly cliché as that sounds. But then, aren’t we supposed to extend our mat into our everyday life, and act from a place of love and acceptance in our mundane encounters and not just in yoga class? I suppose this is why I’m having a hard time “deciding” on an intention for my practice, because to me ife is part of my mat and vice versa. My only “intention” in life is to do my best, to act from a place of love, to strive to be closer to the Divine—that is, happiness, eudemonia—in all that I do. It unnerves me to bring such a vague concept to the mat, for if it isn’t a specific intention I find my mind wandering. I still get a spiritual experience, but not as strong as I’d like. (Or perhaps, not as strong as I feel I *should* get. Hmm.)

Four times now in the past year I’ve drawn Medicine Cards in reference to my yoga practice, and always gotten the same two—Dolphin and Turtle. Dolphin signifies mana, or life force, and connecting to that life force through the breath. Turtle signifies the bounty of mother earth, and using one’s boundaries properties. So before my stretch class tonight I drew Turtle, for the second time, and read it again—I realized, especially after beginning Susun Weed’s Healing Wise, that one way to abundance is through surrendering to the Mother Earth, who in turn surrenders to you. I’ve had a lot of problems with energy and feeling constantly drained/numb, and also have always had issues with security and trust. The idea of giving away physical things has always scared me, I remember identifying so strongly with the things I owned and took into me (food) that disrupting any of that—losing things, giving things away, sharing—made me extremely anxious and hostile. I remember around 8 ot 9 struggling to feed myself, analyzing and planning my meals for maximum nutritional affect, but feeling guilty for eating any more than my sister because I knew we were on a tight budget. The idea of dying and no longer being “me” has kept me up at night as long as I can remember. I’ve gotten a lot better since it was shown to me, again and again, “you get what give”. The generosity of the Universe only extends as far as you do. So tonight in stretch class I gave everything to the Everything, selflessly, but with the faith and trust that S/He woud love me right back. I gave away the new opening I could feel in each muscle, the discomfort, the tingling energy rising up. And she gave right back—I breathed a little deeper into each pose, the idea for this post slowly surfaced in my mind. You eat me, I eat you. The teacher, a kind woman, leaned over to correct my pigeon toes and there were silver turtles dangling from her wrist.

Kestrel Poetry

While trying to decide whether/what psuedonym to use for this blog, I considered the first: Kestrel. A name I went by for four of the hardest years of my life, with people that knew nothing about me, and where I first found my love of community--and long before I was ever interested in animal medicine. It reminds me of fire, that high when you're doing something you love.
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Kestrel, feathered ferocity, the gutteral feminine winged thing, kess-trulll...
If oak is storm embodied then you are wind breathing in down and talons: the dive and rise, scooped wing and soft call, feather and claw, feather and claw.

HOW TO BUILD A KESTREL
After Kathleen Lynch's "How to Build an Owl"

Gather grassland feathers: storm hues. Brown black cobalt blue. Moon's cream. Make sure they rustle; sing folk songs.

Assemble in layers: slim bone, knife sharp feathers, agile as air herself.

Palms together now, eyes to the sky. Whisper, prey.

Feed ballet slippers, running shoes--try the diet of grace yourself and the wind will still catch you but not her, not your raptor womanly as mountains. Ferocity comes last, polished into every edge, especially the unsharpened.

The breeze is her jess and storms leather bells, please Mother, let her lift off. Do not watch for which tree she lands in. There are none here, none that you can see.