By Charlotte 

During the spring semester, 2014, I had the awesome opportunity to teach a Digital Storytelling class. I became inspired to do so last summer, when I attended a traveled to Cleveland for the 6th annual International Conference on Conflict Resolution Studies. 

One of the sessions I attended discussed digital storytelling as a means to render moments of social justice and activism. Listening and watching these short memoir pieces come to life with image, narration, and audio layers including music, I fell in love. I wanted to create such pieces and I wanted to lead other people through this process.  Even though I’d never worked with movie-maker technology before, I felt like this format could be a powerful and vibrant way to help writers find the right important moments to bring to the digital storytelling realm.

Despite the challenges with the gadgetry, and my bumblings as a first-time teacher of a new way of creating narrative resonance, it was a terrific success on many levels. We built community, we repeatedly discussed the power of storytelling, and we dove into our vulnerabilities with specificity and an eye for the way “turns” can evoke surprise and transformation. By allowing for an emotional shifts within the narratives, we discovered that our audiences felt more connected to the piece. To learn more about turns, we examined poetry with an eye for the ways a distilled piece of writing could include pivotal shifts.

We had frank discussions about technology—what worked, what didn’t, where one could turn for help with challenges. The students learned as much from each other as they did from me, and it’s been a gift to read their cover letters, including their advice to possible future students:

"You will learn much about the writing process, and about creativity, and about being a giver."

“Sincerity and honesty become easier as you get acquainted with yourself.”

"My parting advice is: keep your eyes open--to the beautiful stories surrounding you and the ones within you."

A digital story is a short memoir piece of about 200 words, augmented with visual images, audio layering (if desired) and music. That’s the technical definition. I think the emotional definition goes something like this: it’s another powerful means for connecting with others and creating coherence for one’s self.  For a look at my second piece, where I examine my role as a writer in the context of my family, click here: A Separate Gaze

By Melinda

“Ultimately, the embodied life would be one in which the physical body, feelings, and mind are being expressed creatively in congruence with each other and with the changing nature of reality.” –Diana Halprin

(Living Artfully: Movement as an Integrative Process, 1999)

The body possesses enormous knowledge and wisdom of which the conscious mind is often only dimly aware. In fact, the activities and awareness of the conscious mind represent only a tiny fraction of what is occurring constantly in the body in the form of automatic physiological processes, incoming information from the sense perceptions, and non-conscious brain activities. However, many researchers acknowledge that embodied knowing, while often pre-verbal and thus largely unconscious, remains no less real or powerful than other, more conscious forms of wisdom.

While a good deal of psychological research has focused on empirically measurable aspects of human mental phenomena, a growing number of psychologists working within humanistic, transpersonal, and depth-psychological frameworks have begun to seriously investigate non-conscious psychological processes. Similarly, researchers in the emerging fields of cognitive neuroscience and consciousness studies have acknowledged the important role the body and emotions play in psychological functioning and this emphasis on embodiment and embodied experience has also extended into theories of learning and education.

The theme of embodiment also finds a natural home within the fields of psychotherapy, transpersonal psychology, and expressive arts therapy. In my graduate work in creativity studies, I am exploring how psychological theories of embodiment relate to creativity, and how a deeper awareness of embodiment on the part of both researchers and practitioners can both support and enhance the creative process.

So, what does embodied creativity look like, and how can we put it into practice? The fields of art therapy and expressive arts therapy, as well as the contemplative arts disciplines rooted in Buddhist meditation, philosophy, and aesthetics, offer some intriguing possibilities. These disciplines have carefully considered the relationship between perception, sensation, lived somatic experience, creativity, and meaning, and have developed particular ways of cultivating creativity by encouraging imagination, artistic expression, mindfulness, and an enhanced relationship with the world via embodied practices.

Expressive arts therapy aims to foster a deep sense of integration and congruence between the individual and her or his wider webs of belonging through embodied creative practice and expression. According to Diana Halprin (1999),

To live in our bodies, in our families and communities on this planet with greater awareness and sensitivity to the sanctity of life is the goal of expressive arts therapy. In order to bring this vision to life, we must begin by developing a more creative relationship with ourselves and with the issues that separate us. (p. 133)

Expressive arts therapies employ a variety of different creative and artistic disciplines, such as visual art, music, dance, writing, and ritual to effect healing, growth, and transformation.

Practitioners of expressive arts therapy create a sacred space in which clients can experience play, improvisation, and other creative explorations which can yield new insights and new ways of being in the world, as they grapple with suffering and trauma. Expressive arts practices emphasizing movement and dance specifically address how living in a fully embodied way can facilitate greater awareness about the wisdom of our bodies, as well as how our physical presence informs our engagement with life:

We can use the language of the movement arts to bring our separated parts together into conscious and creative relationship…We literally move throughout our lives, yet rarely do we pay attention to how we are moving and what we are expressing in how we move. Stored in our muscles, bones and organs, in each body part and body posture, are the imprints of our life experiences. The body is full of information about who we are, how we feel and what we think – a living body anthology. (Halprin, 1999, p. 133)

Expressive arts therapy thus utilizes techniques of creative embodiment to bring embodied experience and wisdom into conscious awareness for the sake of healing and greater integration.

The Buddhist contemplative arts, rooted in meditation practice and Buddhist philosophy, also offer time-honored techniques for working with the body and mind, using the breath and mindfulness practices, to facilitate embodied creativity. Indeed, according to Reginald Ray (2008), embodiment is inseparable from enlightenment, the ultimate goal of Buddhist meditation practice:

To be awake, to be enlightened, is to be fully and completely embodied. To be fully embodied means to be at one with who we are, in every respect, including our physical being, our emotions, and the totality of our karmic situation. It is to be entirely present to who we are and to the journey of our own becoming (Touching Enlightenment, p. xv).

In this context, Chogyam Trungpa has presented a path of dharma art rooted in Tibetan Buddhist meditation practice, which emphasizes the synchronization of body and mind, practices aimed at direct perception of the phenomenal world via the sense organs, and the principle of first thought, which cultivates non-conceptual mind. In Trungpa’s view, meditation practice supports our natural ability to relate with our sense perceptions and our direct experience. The dharma art path lays out a philosophy and approach to creativity that cultivates an appreciation of beauty and sacredness in everyday life, and pays particular attention to the process of art making and the state of mind of the artist, grounded in the physical body and perceptual experience.

Similarly, the Japanese Zen Buddhist tradition has developed a number of contemplative arts practices, such as calligraphy, gardening, ikebana (Japanese flower arranging), Chado (tea ceremony), and Kyodu (archery) designed to bring the meditative experience into everyday life. As John Daido Loori (2004) explained:

Each artist expresses through art his unique way of experiencing life. This is the essence of creation. Through our art we bring into existence something that did not previously exist. We enlarge the universe…The creative process fulfills our need to express our experience. And if the expression has been true, we will feel a sense of completion and satisfaction. (The Zen of Creativity, p. 84)

The Zen arts traditions thus cultivate creativity as a type of embodied, post-meditation practice which, in humanistic terms, nurtures the human drive toward self-actualization and wholeness.

Expressive arts therapies and the Buddhist contemplative arts disciplines provide examples for how embodied creativity may be put into practice, and for what purpose. My explorations of this topic so far reveal that creative expression based in fully embodied experience can facilitate the integration of unconscious and somatic material into conscious awareness for the purpose of healing, personal growth and self-actualization, transpersonal states of consciousness, and meaning making. In my view, an embodied approach to creativity opens up many possibilities for how individuals, therapists, and coaches may incorporate creativity into everyday life and practice, as well as how educators and organizational leaders may more meaningfully integrate creativity into classrooms and organizational settings.

Resources for Further Exploration of Embodied Creativity:

Csikszentmihalyi, Mihaly. (1996). Creativity: The psychology of discovery and invention. New York, NY: HarperCollins.
Daido Loori, John. (2005). The Zen of creativity: Cultivating your artistic life. New York, NY: Ballantine Books.
Damasio, Antonio. (1999). The feeling of what happens: Body and emotion in the making of consciousness. New York, NY: Houghton Mifflin Harcourt.
Haidt, Jonathan. (2006). The happiness hypothesis: Finding modern truth in ancient wisdom. New York, NY: Basic Books.
Halprin, Daria. (1999). Living artfully: Movement as an integrative process. In S. K. Levine & E. G. Levine (Eds.). Foundations of expressive arts therapy: Theoretical and clinical perspectives. Philadelphia, PA: Jessica Kingsley Publishers.
Levine, Stephen & Ellen. (1999). Foundations of expressive arts therapy: Theoretical and clinical perspectives. Philadelphia, P: Jessica Kingsley Publishers.
May, Rollo. (1975). The courage to create. New York, NY: W. W. Norton & Co.
McNiff, Shawn. (2004). Art heals: How creativity cures the soul. Boston, MA: Shambhala Publications.
Ray, Reginald. (2008). Touching enlightenment: Finding realization in the body. Boulder, CO: Sounds True.
Richards, Ruth. (2007). Everyday creativity and new views of human nature: Psychological, social, and spiritual perspectives. Washington, DC: American Psychological Association.
Trungpa, Chogyam. (2008). True perception: The path of dharma art. Boston, MA: Shambhala Publications. (Original work published 1996)
Varela, Francisco, Thompson, Evan, & Rosch, Eleanor. (1991). The embodied mind: Cognitive science and human experience. Boston, MA: MIT Press.

By Charlotte & Melinda

In business, success requires the ability to connect and resonate with colleagues, employees, vendors, and clients. The path to authentic connection begins with sharing our ideas and experiences, yet many struggle with the level of vulnerability needed for true connection, which can often be perceived as weakness in the professional context. We suggest that appropriate vulnerability can actually establish credibility and create opportunities for collaborative thinking and connection, as well as foster professional growth.

We understand the hesitation; we’ve been taught to adopt strict roles in the workplace, which emphasize a separation of the personal from the professional in order to be successful. However, emerging research in psychology and sociology emphasizes the power of storytelling and personal narrative to create meaning and connection, especially in the age of statistics and “big data.” For example, Brene Brown, PhD, who has spent her academic career studying vulnerability, courage, worthiness, and shame offers, “Maybe stories are just data with soul.” Furthermore, in recent LinkedIn article, Shane Snow (Chief Creative Officer for Contently), suggests that storytelling will be the number one business skill of the next five years.

At the 6th International Conference on Conflict Resolution Education, Mark Schulte, Education Director for the Pulitzer Center, offered a keynote address entitled “Telling Better Stories.” Mark began by sharing a short anecdote about a recent interview with the president of an international banking organization. He had asked the executive: “What is the number one trait that all people must have to be successful?” Much to Mark’s surprise, the response was “empathy.”

At the root of a good story is the power of empathy – the ability to create emotional connections that resonate between individuals and across the human experience. Indeed, current neuroscience research shows that listening to a story activates the same neural pathways that fire when one is actually experiencing the events of the story, literally creating the experience of empathy. Once a connection is made, listeners are much more likely to align with the speaker and to feel invested in the subject matter.

Melinda has found that when teaching or facilitating discussion groups, it’s easy to hide behind her “religious studies professor” title, which can end up creating a sense of separation from the group. However, when she steps beyond that role and begins sharing her own personal stories and experiences, the group in turn becomes more receptive and more willing to discuss their own. Her personal stories, especially of her own challenges and uncertainties, create an atmosphere of invitation and engagement that allows participants the opportunity to acknowledge and share their own difficulties. The dialogue then becomes more authentic and embodied rather than abstract and theoretical.

Charlotte, as Chair of the Creative Writing Department at Austin Community College, uses storytelling in both her classes and in her various positions on committees. Recently, while making a presentation on success equity to a group of higher education professionals, she decided to start by asking how many people in the room had actually attended a community college. Only about a fifth of the attendees raised their hands, including Charlotte. This question created an entry point for discussing the different experiences and resources students bring to their educational aspirations. “As a first time college student,” she shared, “I was looking for a reason to not belong – I was waiting for someone to tap me on the shoulder and tell me to leave.” She shared this experience in order to underscore the sense of inadequacy students might feel while attending a community college. Instead of talking about the data first, Charlotte grounded her presentation with the emotions she wanted to highlight. She also established a connection with those in the room that had not gone to a four-year university immediately out of high school—she found her education companions, so to speak—and this increased her confidence. In opening up and allowing a moment of possible vulnerability, she created a more resilient space for the presentation.

Not only do vulnerability and storytelling create connection, they can also transform individuals, relationships, and organizations. As Brene Brown observes: “vulnerability is the birthplace of innovation, creativity and change.” We communicate our vulnerability through sharing our stories, and we all have stories to tell. As Charlotte often tells her students, stories are the great denominators; they evidence our shared humanity.

While this may all sound compelling in theory, how do we decide which stories to use in a professional setting? When considering whether to weave a personal moment into a work presentation, we suggest asking yourself these three questions:

1)    What common foundation do I have with this group? Thinking about the points of connection with a group/client can create an opportunity for empathy and resonance.

2)    What emotions do I want to inform this session? A careful consideration of the emotional bedrock of a meeting/presentation can greatly increase the success and power of the associated outcomes.

3)    Why am I telling this story? Considering why is key. Without an understanding of why, we might easily get off track and/or veer into victimization rather than creating connection.

Once you have done some thinking/talking/journaling about the why of a specific story, it’s time to consider what story to tell.

Here are a few guidelines for weaving a story into the professional setting:

• Know the essence of your story. Think about the universal emotions of love, loss, joy, anger, shame, and grief – what is the emotional resonance of the story?

• Key details create connections – what sounds, smells, tastes, or touches, informed the situation? Our stories live in our bodies, and it is through the visceral you will create resonance. Remember, use a light touch here; just a couple of sensory details can transport an audience into a moment.

• Don’t tell the most recent story. The brain, body, and heart need time to process, and sharing your most recent vulnerabilities may undermine your professional aims.

If you’re looking for resources to deepen your own connection to the power of storytelling, we suggest listening any of these shows: Radiolab, The Moth, and Ira Glass’ “This American Life.”

If you’re interested in diving into your own stories in a supported environment, join us for our Storytelling for Life workshop on Sunday, February, 23, 1:00-4:00 at Soma Vida, 1210 Rosewood Ave, Austin, Texas 78702

By Melinda.

I just returned from the Spring 2014 Saybrook University Residential Conference in San Francisco. Each semester of my Ph.D. program in Psychology / Creativity Studies begins with such a gathering; it is a time for students and faculty to come together to share knowledge and research, to network, and to bond. This was my second residential conference, and I attended seminars on Buddhism and healing; positive psychology and film; and dreamwork, including dream poetry and dream theater.  

During the conference, I had the opportunity to give a presentation on Holocaust Art, based on my recent trip to Eastern Europe with my friend and mentor Jake Lorfing. We had planned the trip to explore the possibility of leading a contemplative arts retreat for photography and writing at Auschwitz. While visiting the camps at Terezin (Czech Republic) and Auschwitz (Poland), I was struck by the prevalence of art and creativity under unimaginable circumstances, prisoners’ efforts to remain connected to their humanity. Most heartbreaking to me were the exhibits of children’s art, including drawings dedicated to “Maman” and “Mutterlein” (“mother” in French and German, respectively), and the stark realization that 1.5 million Jewish children were killed in the Holocaust. Feel free to email us if you’d like to view the PowerPoint slide show I created for the Saybrook Presentation.

Also at the Saybrook conference, I had the pleasure of co-facilitating a workshop on “Embodied Creativity” with my friend and colleague Michael Brabant of Integral Awakening, who will be in Austin this week to lead a “Culture of Connection” retreat (February 7-9). Michael and I will also be offering an expanded version of the workshop we presented at Saybrook, called “Embodying the Muse: Where Creativity and Spiritual Awakening Converge” on February 6th at Soma Vida. In an intimate and inclusive setting, we’ll be exploring how movement, breathwork, and deep listening can reconnect us with our bodies and sense perceptions, thus enhancing our everyday creativity.

I am looking forward to my courses this semester, particularly “Perspectives on Creativity” with Dr. Steve Pritzker, and “Personal Mythology and Dreamwork” with Ruth Richards, M.D./Ph.D. I feel energized and inspired by the synergy between my academic studies of creativity and my work with Syncreate. I am particularly eager to explore the connections between my coursework for this semester and our upcoming “Storytelling for Life” workshop (February 23rd), as well as our spring“Deepening Your Creative Life” retreat (April 4-6). Every day seems to bring new creative insights, connections, and cross-fertilizations between my studies and my professional work.

I also recently completed a Shambhala Art Intensive and Teacher Training program in Los Angeles. Shambhala Art emphasizes direct, fresh experience of the world using the sense perceptions, a contemplative approach to creativity and art making based in meditation practice.  I will be officially co-teaching my first Shambhala Art program at the Austin Shambhala Meditation Center on 19-20, 2014.

It is incredibly gratifying to me to simultaneously study, witness, experience, and facilitate the transformative power of creativity, and I look forward to a year filled with creative explorations. I hope you’ll join us for one of our upcoming creativity events!

By Charlotte 

Recently, I had the opportunity to meet Danish writer and editor Simon Fruelund. We have both recently been published by the Santa Fe Writers Project, and we did a mini book tour together to help support the release of our work. Over the course of our travels, we spent much time together, discussing writing, family, and teaching. Simon met my husband Dreux briefly twice, and on the way to the airport, Simon expressed how drawn he was to Dreux, remarking that he possesses a quality of being that is both alluring and pensive. “I believe that certain people carry ancestral pain,” Simon offered, and it struck me how very true this is of Dreux. There’s a bit of hesitancy about my husband, a sense of brooding usually offset by his lively sense of humor. Perhaps the humor masks the deep ways his spirit is still figuring something out. 

A few days later, I was in Maryland with Dreux’s parents for another book gig, and while we looked at and discussed the family Bible, I told them of Simon’s comment. My father-in-law, a scientist through and through, simply nodded his head. “That makes sense.”  Dreux’s mixed heritage—Swedish, Saponi, Cape Verdean, African—tells a complex story of intense loss and violation, as well as joyful celebration of family and connections. It surprised me that Simon’s comment resonated so much with Dreux’s parents, that they immediately understood the power of this possibility for their son. Given Simon’s comment and the conversation with Dreux’s parents, this article caught my attention: ‘Memories’ pass between generations. In this study, researchers explored the ways genetic memory may pass from the sperm and egg to the fetus.  The article got me thinking about how we might all carry ancestral pain and/or genetic memory. 

Right now, Melinda is at Auschwitz, bearing witness to the losses and pain perpetuated there, as well as connecting with her Jewish roots in Eastern Europe. Today, she posted on Facebook about the 1.5 million Jewish children killed in the Holocaust. In the post, she included drawings made by children in the camp, including simple, powerful expressions of love. Those hearts, confined in imprisoned bodies, must, on some level, still be a part of our world, and for some of us, those hearts reside in the blood, the memories housed in our cells. 

The link across time is not merely imagined—it is a compelling aspect of our personalities, and a powerful way to encounter this link is through the creative process. Familial messages run deep, and artists must contextualize their work within a potent backdrop of both spoken and silent beliefs, many of which have been passed down through the generations. Exploring our habits, self-talk, and generational patterns, while giving breath to the imagination, are essential to the creative process—to connect to legacy and meaning, we must listen to our deepest selves and see what messages, directives, and impulses may be waiting there, ready to guide us to our most meaningful work.

By Charlotte and Melinda

At Syncreate, we’re interested in what the brain has to teach us about how to grow connections, transform communities, and foster adaptability.  So far our investigations have lead us into discussions and presentations about the neuroscience of creativity, and the ways in which educators and leaders can strategically build creative communities. As community college professors, we are currently exploring the ways neural pathways grow, strengthen, and become pruned.  

We constantly keep these questions in mind:

• Can educators take inspiration from neural networks to create relational links that weave students and content more tightly together?

• If we encourage students to see themselves and their peers as resources, could we create a buzz within learning communities that encourages new and meaningful connections between people, ideas, and real-world challenges?

• How can play, ritual, and community-building exercises create new neural pathways through kinesthetic, embodied learning?

We don’t necessarily have all these answers to these questions, but we believe asking the questions may reveal the path to becoming more effective, engaged, and collaborative in our educational work.

New insights into neural architecture, (also known at the connectome) such as the work of Dr. Van J. Wedeen of the Martinos Center for Biomedical Imaging at Massachusetts General Hospital, reveal the deeply interwoven quality of the brain’s structure (see “New Discoveries in Brain Structure and Connectivity”). In addition, current neuroscience research offers exciting insights, such as the brain’s incredible ability to artfully enhance helpful connections or prune away unused pathways.  Every synapse creates a connection and the more times a neuron fires, the stronger a synaptic connection becomes. In other words, the brain changes with every new experience and nothing exists in isolation. We’d like to suggest that with every experience in the classroom (and within the institution itself), the student’s brain, thinking process, and understanding of the world changes. Educators who embrace this idea become empowered to skillfully plan classroom lessons, discussions, and activities to facilitate more powerful and lasting connections.

Each student is part of the classroom “brain,” if you will. It’s not that teachers stand in the front of the classroom and transmit ideas; instead, teachers can facilitate connections and pathways between students. However, in order for this to work well, we first have to acknowledge the creativity, unique perspectives, and resiliency of each student present. If we don’t, we might unwittingly “prune” the student from the necessary pathways he/she needs to connect, comprehend, and succeed. For example, the website Mindfulness Starts Here states, “Neural pruning is the process of removing neurons that are no longer used or useful in the brain.”  For those students who don’t have a positive family history or positive personal experiences with school and/or higher education, the figurative neural connection to the classroom may be shallow or tenuous, and therefore it only takes a few experiences of isolation to “prune” the student from engaging in the classroom.

Educators interested in enhancing connection can welcome a sense of play and associative thinking by conceptualizing the classroom as a type of extra-neural network that fosters meaningful connection, encourages empathy, honors student well-being, implements strategic collaboration, and emphasizes creative problem solving. At the heart of the neural classroom is a faith in creativity to forge new pathways and to connect students in meaningful ways so that each person is woven into the fabric of the learning environment. Many teachers already do this by encouraging students to work together outside of the classroom on collaborative projects. Learning to work with others isn’t just a social skill; it’s essential in both drawing out the strengths of each student and interlacing individuals to ensure the resiliency of the entire classroom.

We suggest that promoting creative/associative thinking can teach students how to value their own ideas and learn to enjoy the process of thinking. How to Think Like Leonardo da Vinci author Michael Gelb offers many creativity-enhancing activities, including an exercise of comparing two seemingly unrelated items or concepts. Taking this into the classroom, teachers can ask students to consider what two disparate ideas have in common and write all of their answers on the board. Students thus learn to take risks (for example, a bird is like a typewriter because they both can involve pecking; the array of typebars is similar to a bird’s rib cage) and create connections to other students who resonate with their analogies. If educators can prioritize a portion of teaching time to making creativity a daily exploration, students learn courage, adaptability, and collaboration. Indeed, Linda Smarzik, author of The Mind of Thuse!! Thriving With Effortlessness, observes, “Taking small risks, and doing so consistently, shifts us out of our comfort zones into the process of creativity.”

Additionally, the instructor who emphasizes collaboration, active listening, and dialogue might, in fact, be using neural mimicry to weave together a classroom that breeds student success. Creativity can enhance neuroplasticity (the dynamic process of brain rewiring), which can serve as a classroom strategy for reaching all students and weaving them into the fabric of engagement and success.

If you find this concept worthy of further exploration, please vote for our proposed “The Classroom as a Neural Network” topic at the 2014 SXSW Education Conference (SXSWedu) PanelPicker forum. It will take about two minutes of your time. Voting opens Monday, August 19 and closes Friday, September 6, 2013. Thank you for your support!

By Charlotte

In the creative process, so many challenges arise, and as a writing teacher, these challenges seem to boil down to two essential cries of the critic:

1)    what you want to create has no value, and/or

2)    you don’t have the skills to deliver on the idea that has come to you

What I have learned to live and learned to teach centers on this concept: since the idea has come to you, there is no one other than yourself to birth the message to the world. It is through your own five senses that you will be able to bring forth the vision–it is the air you breathe, the road under your own specific feet, the smell of cumin in the Israeli souq that epitomizes your year in Tel Aviv—it is these exact things that will bring forth the idea that has been born within your private landscape. There is no other filled with the sense of this specific story, this specific sculpture, this painting. What you sense is worth bringing forward has arrived singly to you, and it is this singularity that both thrills and terrifies us.

Once a person can accept that the idea, the vision, is worthwhile, he or she has to come to terms with the reality that the necessary skills may not be available in one’s current tool kit. I would offer that it is only through time and practice that one can find the insight necessary to birth the message.

More specifically, I am thinking of my friend Amy, who lived for a year in Israel, working for a time at the Diaspora Museum, the Museum of the Jewish People. She lived in an apartment that held a sentinel tree in the courtyard and a door barred by a large piece of furniture. One night she decided to re-arrange and moved the wardrobe. To her surprise, she discovered a small room and in it, a box of letters from a woman to her brother, both political refugees from Russia; the sister resolved to be part of the Jewish settlement in Israel, and the brother went to Paris to cultivate his screenwriting/directing (and when the Nazis invaded he had to flee France, being on a list of most wanted of theirs. He made it to the US and finally to Hollywood where he continued his career).

I won’t give away all the electrifying details, but Amy’s discovery of that box has led her to meet new people and to know the world through an important, altered lens, and yet, the book that is waiting to be born remains unborn because Amy needs to arrive—to the place within herself that understands process, the development of skills, and the power of drafts. There is no one else to tell this story, and I firmly believe she is only one to bring this story to the world.

Like so many of us, Amy struggles with her faith in her ability to do justice to the story. Perhaps we sometime confuse humility with doubt—perhaps there’s more comfort in discounting our ideas because we sense the amount of learning we will have to embrace. Amy’s experience is profound and worth sharing; I only hope she comes to the point where she allows process to teach her what she needs to know about the story, about the nature of the human experience.

I’m ready to read the book of her experience. I’m trusting she will write it when both the confidence and the faith in process combine to give her the courage to pen the story.

By Melinda

Have you ever felt so connected to a story you read or heard that it changed the way you think about your life? Have you experienced the cathartic process of journaling, such that the act of writing about a trauma or challenge allowed you to release and transform it? I remember when I moved to Austin from New Orleans after Hurricane Katrina, and then experienced the traumatic breakup of a long-term relationship; around that same time, I had the good fortune to come across Pema Chodrön’s book When Things Fall Apart. Reading Pema’s story about how her own marriage ended under similar circumstances, as well as her advice for sitting with difficult emotions, helped me through the panic attacks and allowed me to start rebuilding my life. I began practicing meditation and journaling about the anger, the betrayal, the hurt, and the sadness, until slowly my world opened up again, allowing me to live in a fuller and richer way than ever before.

In recent years, scientific research has demonstrated the profound effects of writing and storytelling, both on the people who share their stories and those who receive those stories. Storytelling, perhaps the oldest distinctly human pastime, allows us to make meaning of the events of our lives, to teach and transmit information in a compelling way, and to share our experiences with others. Writing, a newer and more sophisticated human invention, helps us to solidify our learning into memories and makes it possible to address a much wider audience over a broader span of time than oral communication alone.

Recent studies have shown that storytelling (rather than simply relaying facts or bullet points) exerts a powerful influence on our emotions and thoughts, and helps us relate to others. When we hear a story, our brains activate as though we’re actually experiencing the events of the story firsthand. Writing your story and reading others’ stories can also have a calming effect on breathing, blood pressure, and anxiety. For example, a study published in 2011 showed that medical patients who listened to others’ stories of similar health problems received benefits in the form of lowered blood pressure. And the benefits may go well beyond the physiological: a National Public Radio report also from 2011described how end-of-life patients encouraged to write down their life stories often find new meaning in their lives and create a legacy that they can pass on to their families.

Dr. James Pennebaker at the University of Texas, has spent his academic career researching the effects of writing on health. In one study, he asked trauma survivors to write about the traumatic events they experienced. Those that did were able to make sense of their experiences in new ways, leading to healing and long-lasting health benefits, even years after writing about their traumas. Dr. Pennebaker’s website offers helpful instructions for writing about traumatic events to improve your physical and emotional health.

Syncreate embraces transformation through the creative process; this is one of our major areas of interest. Have you experienced the physical, mental, and emotional benefits of writing and storytelling? We’d love to hear your stories!

Links:

Visual News – How Does the Act of Writing Affect Your Brain?http://www.visualnews.com/2013/05/28/how-does-the-act-of-writing-affect-your-brain/

The New York Times – When Patients Share Their Stories, Health May Improvehttp://www.nytimes.com/2011/02/10/health/views/10chen.html?_r=0

National Public Radio – Dignity Therapy: For the Dying, A Chance to Rewrite Lifehttp://www.npr.org/2011/09/12/140336146/for-the-dying-a-chance-to-rewrite-life

Weebly.com General Psychology – How Can Writing Improve Your Health?http://general-psychology.weebly.com/how-can-writing-improve-your-health.html

Dr. James Pennebaker – Writing and Health: Some Practical Advice http://homepage.psy.utexas.edu/homepage/faculty/pennebaker/Home2000/WritingandHealth.html

By Charlotte and Melinda

Syncreate grew out of Melinda and Charlotte’s weekly coffee meetings, where we felt continually inspired by each other’s ideas. Together, our individual interests amplified in an exciting and innovative fashion, and this synergy began to expand out to other people and the wider world, and so we formed Syncreate.

Our first offering, “The Art and Science of Creativity: Exploring the Path and Expanding Your Tools,” took place at Case de Luz, in Austin, Texas, with seven lovely participants. From the get-go, the room sparkled with a collective desire to take risks and explore how the neuroscience of creativity might enrich any artistic process.

Wanting to make the most of our time together time, we emailed the participants ahead of time, asking them to reflect on:

1) What engages and inspires you?

2) What assets do you bring to this experience?

3) What do you hope to learn or take away from this workshop?

These questions form the basis of Syncreate’s vision.  We want to help you ignite your powers of innovation, tap into your inner resources, and enhance your tools so you can radiate your contributions to an ever-widening sphere of positive influence.

The workshop explored the neuroscience of creativity, presenting several strategies for deeper explorations of artistic pursuits.  One key component of creativity is the ability to create connections between seemingly unconnected ideas and objects, also known as associative thinking.  Participants engaged in a personal exploration of what a necklace and a prayer might have in common, and then worked together to build upon the initial connections.  This simple exercise can reveal our individual perspectives, and how—with a little time and supported space—we can bridge seemingly disparate ideas. To increase our insights, collaboration can be an essential aspect of the process.

We encourage people to spend a little time each day considering how vastly different elements of our world have common characteristics. We believe that this kind of activity can both bolster creativity and knit together the social and neural pathways so that our work might move toward more clarity and precision.

Here are a couple of interesting links for more information on associative thinking and creativity:

The Handbook of Creativity, edited by Robert J. Sternberg – Chapter 7, “The Biological Bases of Creativity,” by Colin Martindale, touches on this topic:http://books.google.ca/books?id=d1KTEQpQ6vsC

“Being Creative with Associative Thinking,” by Thomas Cotterill:http://thomascotterill.wordpress.com/2012/09/25/being-creative-with-associative-thinking/

By Charlotte

I believe in the power of art to transform the frightened heart, the scarred psyche, the unquiet mind.  In the tradition of Spider Woman, I have been taught that the story is a co-creation woven by what we each bring to the circle, that to tell is as important as to listen.  Storytellers use the web of story to inform, educate, enlighten, explore how we might live as social beings, capable of inflicting the worst kinds of pain and dispensing the deepest moments of compassion.

I believe that humans crave narrative, and that storytelling offers a path for healing, growth, and clarity.  It is through the story we learn to know each other and to overcome our bigotries and our pettiness.  I believe art should be available to all, no matter a person’s education, class, race, gender, sexual orientation—any of those small-minded categories where too many of us get confined or lost.  I believe that art needs to remember to be humble, that accessibility is just as important as aesthetics, that the garbage man is just as important on the stage as is the senator.

Specifically, I believe art has taught me my most important lessons: to be patient with process, to keep an open heart toward all people; that to there is more risk in vulnerability than there is in intellectual posturing; that sentimentality is too easy.  Instead I want pursue the quiet moments of potential change that are housed in every moment of our lives; that stories are a certain kind of magic, one that we willingly seek out so that our lives might seem brighter, wholer, more intact.