Showing posts with label performance poetry. Show all posts
Showing posts with label performance poetry. Show all posts

Monday, May 1, 2017

Cultivating Resiliency part 2

How can we cultivate resiliency? What is resiliency and is it a muscle we can strengthen? How does being resilient change our lives and the ways we cope with crisis?

Resilience is defined by the ability to bounce back after trauma, to cope with or to heal after a crisis. Resilience is not only coping or bouncing back or healing but change, growth, and transformation. 

The love of my life, Michael, was wild—gregarious, funny, warm-hearted, affectionate, honest—and he lived his life in a creative fury. But when his mood changed to unrelenting depression, he was diagnosed with bi-polar disorder. The next eight years were a roller-coaster of manic highs where he stayed up all night, disappeared out of state, and spent recklessly, and lows that sucked the air out of the room, when he spent all day in bed, unable to change clothes. I lived in constant fear after he told me he wanted to die. During this time I joined two writing groups, one a women’s poetry group and the other Write Action, a writing support group led by poet Joan Logghe. These would cushion my grief when he took his life.
     Michael’s death released me from the weight of care-giving and my own depression. A burst of creative inspiration uplifted me. My poetry group held our first public reading during Day of the Dead to honor those we had lost. I wanted to share a poem about Michael but felt too emotional to read it off the page. I needed the audience to support me, so I memorized it. The connection was gratifying as I shared my grief honestly in public. I opened hearts, and mine was comforted.
         I decided to memorize all of my poems. I self-produced a poetry CD, had a launch party, traveled to promote it, and honed my performance style, creating a career as a performance poet.
But tragedy struck, one I was not anticipating. When my younger son died, also by suicide, my life shattered. I was filled with anger--at myself, at him, at God, and a burden of guilt—that I hadn’t seen it coming, that I hadn’t tried to stop it. My voice was strangled. I was unable to pray or write. The spiritual practices that had guided me through mourning Michael were now silenced. At the memorial services, one in Minneapolis where he lived, and one in Santa Fe where friends gathered, I fell into dark despair.
As Thanksgiving approached, I wanted quiet—I didn’t think I could put on a façade for friends. However, I didn’t want to be alone and I decided to go to Christ in the Desert Monastery. The monastery is thirteen miles up a dirt road by the Chama River. I didn’t have a car, I don’t drive, and I didn’t have money for a retreat, but I contacted the guest master and asked for prayer. He replied that the monks would pray for me.
            Then, a small miracle happened. A friend had gone back to Mexico but slipped over the border and drove me out to the monastery. (Little did I know that here Thanksgiving was celebrated with a turkey feast with wine and the vows of silence lifted for the evening meal!)
            The next day the Abbot read the preface from the book The Thorn Birds: “There is a legend about a bird which sings just once in its life …it impales itself upon the longest, sharpest spine. And, dying, it rises above its own agony to out-carol the lark and the nightingale…For the best is only bought at the cost of great pain. …Or so says the legend.”
                As a poet without words, this seemed hand-picked for me.
                 I walked to the river where we scattered Sam’s ashes. I had chosen this spot because we camped here when I was pregnant with him and when he was a teen.  I hiked back through autumn leaves to the beach. At Earthwalks for Health retreats, we learned from the indigenous people how to listen to the river, the rocks, and the drum. I thought, The river wants to give me a gift, and walked to the water’s edge. Was it a special rock, a feather? Then I heard a voice saying, “You have all the pieces of the puzzle. Take all the pieces of your life and put them together. You must sing again.”
This visit to the monastery was a turning point. I came home to write on my own for the first time, recording my experiences of the week-end.

WHAT I LEARNED ABOUT RESILIENCY: ASK FOR HELP
We live in a culture that demands we be strong and self-sufficient. Asking for help is a seen as a sign of weakness; asking for charity makes us dependent on others. But what I learned is that to ask for help is being resilient. After I learned of Sam’s death, I asked friends to make phone calls so I wouldn’t have to. I remembered from Michael’s transition how draining that had been. My friends threw fund-raisers. I asked for rides to the grief counselor, to pick up groceries, to the writing group. I asked the monks to pray for me. I had support from professional counseling, a grief support group, and a women’s group. People helped move possessions to second hand stores or storage. A friend took me camping. Another friend cooked meals. Alejandro escorted me on the plane from Minneapolis back to Santa Fe, I felt incapable of doing it alone. People gave me places to land, kept me connected.

Question to ask yourself: Where can you go for help? Is it professional: a therapist, counselor, or coach? Physical therapist, yoga class,  hot tub? Is it a support group or workshop or spiritual community? Is it family and friends: a listening ear or just company; an invitation to dinner; transportation: errands, to the doctor, to support group; a walk in nature together; help with de-cluttering or getting rid of things; or prayers, healing energy, and positive affirmation?  






     Sam's altar at the Santa Fe memorial gathering.


Monday, June 18, 2012

The Lord Have Mercy Show


A Mother's Grief.
A Mother's Love.
The healing power of words. 

After performing poems for 10 years in places as spread apart as Berkeley and Puerto Vallarta, Mexico, and in venues as varied as Banfill-Locke Center for the Arts in Fridley, Chicago's Green Mill Jazz Club, Borders Bookstores and BarB hiphop club  in Santa Fe,  I felt that it was time to take an artistic risk. I perform my poems by asking myself how the poem wants to be performed. I memorize it while considering the character I am portraying: is she feisty and bold, subdued with grief, bowed or uplifted by fate, moving and transformed, sensual and yearning, questioning, questing, affirming, contemplative, remembering? I accentuate the rhythm of the lines and language with movement, ritual, shawls, long skirts, aprons, and jewelry to bring attention to my hands as they gesture. There are the times when my ideas didn't work: the time the shawl wrapped around me and the mic, incapacitating my movements; the time I totally went blank even though I had performed the same poem to the previous English class; the awkwardness of my steps and my balance after hip surgery that was very different for me after being accustomed to heels, a passion for dance that led to late nights at the disco in my youth, and even rooftop bars in Puerto Vallarta in 2006.

But the nervous sensation of my stomach doing flips with worry that I will get it right, that I will connect with my audience, are no longer noticeable. Of course I still feel nervous, especially in a new venue and I still wonder if I will grab their attention but I know where the poems will take me. To the magic and the joy of communication. I will survive any mistakes, I do know how to create intimacy. I do land in my own skin.

I want to try something I have never done before and I want to finally transmute my deepest grief, my long journey to the underworld of despair and back. The Lord Have Mercy Show arose from a simple litany I find on my lips often: "Lord, have mercy!" This simple phrase had been a mantra as I moved four times in the past 6 years, from Santa Fe to Puerto Vallarta, from PV to Fridley, from Fridley to North Minneapolis to live with a dear friend, then when her job ended and she moved to Madeline Island, to Saint Louis Park with a housemate whom I didn't know. From the healing after my partner's death through the shattering of my son's, then the deaths of my Mexican husband and my sister, grown children of friends, my son's fiancee, dear friends and poetry peers. "Lord, have mercy" is simply a natural cry of anguish and a cry for help, while at the same time, a cry of fatalism mixed with irony. Life and death are part of the cycles of life and we can't avoid them. I want to allude to the contradictions, the mosaic, the understanding coupled with emotional incomprehensibility. I believe that Death comes to all of us and the anguish of losing someone is a measure of our love and their meaning in our life, that life is eternal and love never ends, yet healing is sometimes only "scotch-taped" over the "fissures of the heart" and the heart is permanently scarred. We never emerge unscathed. We can't stop the desire to keep our loved ones alive and near. We have to let them go and we have to face our own mortality.

There is also the irony or the black humor: What, again? Another time you are calling out to the Lord?
And what is His answer this time?

The Lord Have Mercy Show is a multi-media monologue, with poetry, story telling, dance, music, visuals, video, shadow play and audience interaction which I hope to develop as time goes on with grant funding. (I am thinking of several grants and will also post a kickstarter or USAprojects campaign later this year.) But why wait, why not begin with an excerpt? This is a work in progress and I will present an excerpt as a way to judge audience interest and get moving. 

I am not trained as an actress but I have acted as I performed poetry. I am not a playwright but I have interconnecting poems and a story to tell. Soloist Rachealann Haasken and dancer Linda Lundquist will accompany me at Patricks' Cabaret next month to present a 15 minute excerpt of poetry with music and dance. If you live in the Twin Cities, I hope you will come and ask questions after the show. Let me know what you think and if you believe in the power of words to heal and transform our stories of painful memories into stories of courage, hope, resiliency and love.

Friday, January 20, 2012

After the Memorial

Today I awoke to snow gently falling. After a dry brown winter and a freezing day of below zero temps yesterday, it is a relief to see snow. I sit with hot coffee in hand and think of yesterday’s memorial for Joan Calof. Despite the weather, the synagogue was packed. Joan was a dynamic, vibrant, active woman who passed away three days after her 84th birthday. She had been a social worker. After she retired, she became a performance artist, singing, dancing and telling stories on stages wherever she would find them, from cabarets to nightclubs in exotic locals.

We met at a workshop soon after I moved to the Twin Cities and Joan introduced me to the Twin Cities Women Writers & Poets. Other opportunities branched out from the women in this group and from Joan, the nudge to check out Patrick’s Cabaret. We read together for my book launch of transparencies of light at True Colors bookstore this last spring and her story about the women’s Turkish bath complimented the poems I had chosen about the Middle East. Her poems making fun of aging never ceased to delight me. She made me laugh even after I had heard them many times over. It was Joan’s dynamic, sparkling personality that infused her poems and made them come alive. Lately I have had an inspiration of bringing fast poetry into local businesses, a quick poem and get-away, and I think Joan would approve.

At her memorial, her books, The Lyrical Curmudgeon and Tales of a Well Seasoned Traveler, were given away. For some reason, this struck me. I felt its poignancy: the blessing of her books, labors of love, a message sent to us, remaining for us to hold her close. As I read her poems, I hear her voice and see her small compact body moving and dancing. Like me, she had hopes of selling them at her performances. I thought about the box of my books in my basement. If something happened to me, they would also be given away, a wonderful tribute to my creative force, a way to remember me when I am gone. But that of course is not what I want.

It is difficult to walk that spiritual path between letting go and letting God and wishing with all of my heart for the golden ring of acknowledgment, success, and adding to my income so that I can continue on my journey of creative inspiration. It is hard to admit that at times I just want to be as famous as Billy Collins or Sharon Olds, or OMG, Lawrence Ferlingetti, whom I heard read in a small venue years ago. I want to be noticed and loved for my work and I also want the communication that happens between the poet and her audience, her readers, her fans. As a woman who has been silenced for years, I yearn to have my voice—MY voice—heard.

The silencing came from years of communal living and being told that my opinions didn’t matter and it was vain to think they might, followed by living with a man who was bi-polar and incessantly analyzed his traumatizing past, his turbulent present, and his frightening future. I fell in love with him because we could talk about anything but as his illness progressed, the dialogue became a monologue. He told me that he didn’t want a conversation, he just wanted me to listen. He woke me up at dawn to report every thought he had had for hours before I got out of bed to make us coffee, make his breakfast and head off to work. His death was a relief from the grueling care taking and a deep sorrow of knowing that no, love cannot cure everything. Only those who wish to heal can be healed.

Is it gluttony to now want more? I have performed poetry 13 – 20 times a year in various locations such as cafes, bookstores, galleries, schools, churches, cultural centers, cabarets, and even once in a parking lot, from here to Mexico, from NYC to Berkeley. I have collaborated on poetry events with other local poets and musicians, I have created bilingual events. Forty people at Tribes Café with Word Dancers and a standing ovation, thirty people at the gallery in Puerto Vallarta for my Día de los Muertos performance, 200 in the audience at Patrick’s. I have achieved my dream of bringing poetry to unique venues, to present poetry to people who don’t think they like poetry, to be accessible. I have heard people in the audience weep, hold their breath, laugh and sigh, holding me in their attention as I shared my journey through words.

And yet—the desire to leave a lasting legacy is on my mind as I ride the bus home from Joan’s memorial. Joan is remembered for her chutzpah, her kindness, her ability to draw people out and connect them with each other. There is a resonance between our souls; we are soul mates. Joan always told me she admired my transparency on stage. Joan, you see, made up characters to inhabit but I embody my own experience, my emotions, my confusion and grief and joy and passion. I create an intimacy with my audience that brings us heart to heart, if you are willing to go on the journey with me. The reason I prefer intimate circles to the bright lights of a stage.

Joan, if you are smiling down from Heaven, what do you see?

Wednesday, August 11, 2010

Heal the Earth: a celebration with poetry and music



Heal the Earth
a celebration in poetry, music and dance
of our connection with Mother Earth
with musical interludes by Eunice Collette,
a blessing by healing facilitators
Chrisma McIntyre and Kristin Burich,
and poets Wendy Brown-Baez,
Nancy E. Cox,
Didi Koka, Nicole Lynskey, Margareth Miller,
LouAnn Shepard Muhm, and Zilla Way
featuring original artwork by Laurie Langer
and a dance by Amy Sabrina

Saturday Oct 9 @ 3:00 pm
St Paul Central Library
90 West 4th at St. Paul, MN 55005

Tuesday, March 31, 2009

Join us for an evening of extraordinary performance art!














An evening of multi-cultural, dynamic, cutting edge performaces
by 6 talented women:
Dance and story-telling Xpression-Inspiration by Maia Maiden
Performance poet Wendy Brown-Baez in La Noche del Amor
Dance Textured memories by Renee Copeland
Spoken Word by Deja Stowers in Black Girl, one world
Stand up comic Farheen Hakeem
Dance by Aneka Mcmullen

Patrick's Cabaret
3010 Minnehaha Ave S Mpls
Friday April 3, Saturday April 4

Wednesday, March 11, 2009

New Mexico poetry reading

with Nadia Giordana, editor of Mississippi Review,
which has one of my poems in issue 8 at my publication party

Friday, February 6, 2009

publication performance party


Ceremonies of the Spirit
love poems sensual and celestial
from Plain View Press
Publication Performance Party
Friday February 27th at 7:00
followed by wine reception & book signing
at Homewood Studios
2400 Plymouth Ave, Minneapolis, 55411
or
to order signed copies http://www.wendybrownbaez.com/
to order by credit card: Plain View Press
sbpvp@sbcglobal.net
$15 plus $3 S&H
"… That’s what Wendy does, she connects us with words and wraps us in the safety of a shawl so we can fall in love with poetry once again."
- Gary Glazner, Founder of the Alzheimer’s Poetry Project

Wednesday, September 24, 2008

Join us for Edgy, experimental, improvisational, culturally expansive, socially relevant, politically charged, entertaining, provocative chutzpah


Patrick's Cabaret
3010 Minnehaha Ave Minneapolis
03 & 04 October 2008
8:00 PM
http://www.patrickscabaret.org/

Featuring an Eclectic evening of:
Laura Littleford: an excerpt of "Romeo and Juliet in Winnipeg"
"Night Visions" by John Gustav-Wrathall
Wendy Brown-Baez: "Hitch-hiking the Cosmos"
Joan Calof reading and/or singing poems from her chapbook, The Lyrical Curmudgeon. There will be a sing-along.
and Music by the Witherspoon TrioMore
Wendy Brown-Baez takes you into her vibrant, colorful world with sensual imagery, elegant rhythms and poignant stories. Traveling from Mexico to the Middle East, from homelessness to hope, from infatuation to grief, she voices the relentless pursuit of the human spirit for connection and joy.
"… That’s what Wendy does, she connects us with words and wraps us in the safety of a shawl so we can fall in love with poetry once again."- Gary Glazner, Founder of the Alzheimer’s Poetry Project
"An iconoclast by nature, Wendy Brown(-Baez) defies classification. But she has been called a performance poet, which is an apt description....Mark States of Poetry Express says people adored her the last time she performed at Priya, convincing him to feature her again....She works the room with maximum theatrically, drawing those who are transfixed on the drama before them into her vivid, vibrant world." ----Natasha Nargis, East Bay Express

Monday, August 18, 2008

This is not a poem

Sometimes the world is achingly beautiful.

We are crammed in the bus, just crammed, and the night air is sulky and sweet, summer winding its way around our throats, a silken caress to soften our scowls.

While waiting at the bus stop, I notice the neighbor sitting in his lawn chair drinking a beer and listening to music and you can just feel his happiness radiating out to the street, kicked back on a Friday evening.

The Latina girls giggle on the bus in their tank tops, red and orange and green, and the black girls get on with their bangley earrings and gold sandals, while the bus lurches through the dusk falling on us like a tide of good wishes.

People on the bus are glued to their cell phones. Like the people who talk to themselves in Central Park in New York City, sitting on the benches with nowhere to go, unable to imagine getting out of the city or away from the voices in their heads. We all have voices in our heads these days.

And a man wearing a grey jacket with thinning hair gets on the bus, trailing a scent of cigarette smoke and bitterness. At first I am not listening but then I can’t help it, his voice is low but intrusive. He is saying, Where is God in all this mess? There is no God, look at the way he lets us suffer. If I met God, I would spit on him, I been suffering for 30 years, can’t eat what I want, go where I want. I have no life, just pain, man. What more can God do to me, huh? Only thing else he can do is kill me, and I wish he would and just get it over with, man. And I can’t tell if he is talking to the man slouched in his seat across the aisle or just into the air of the bus. The dark-skinned man in his dirty t-shirt and broken sneakers whose bowed back told his tale of woe, says, Where the love, man? Can’t you give us some love? and reaches out a hand to shake his.

The blonde couple across from me with the chubby, bouncy baby ring the bell. It’s my stop, too, and we get up to get off. I almost turn to the man and say, Look, God came to see you today. Look at that man shaking your hand and that baby giving her smiles away for nothing. That’s God, man. Wake up. But I don’t.

I climb down the steps of the bus and think about how God once deserted me and how it almost killed me. But didn’t. And I walk away to a party where I know no one but will have a swell time anyway, just happy those days are over. And I think, I sure hope that man finds out someday that he was wrong.

Monday, April 7, 2008

Jugar con fuego, bilingual poetry event

Jugar con fuego:
a celebration of Spanish Poetry
Jugar con fuego,
una celebración de la poesía española

The students of El Colegio Charter School and poet Wendy Brown-Baez invite you to Jugar con fuego, a bilingual poetry performance, featuring their original poems as well as works by famous poets. We welcome you to celebrate the rich heritage of Spanish poetry as we play with words and build bridges between the past and the future. We will interweave Spanish and English translations as we present poems in a vivid dramatic way.

Los estudiantes de El Colegio Charter School and poet Wendy Brown-Baez les invitan por Jugar con fuego, un espectaculo de poesia bilingüe donde presentarán sus propios poemas originales, así como la poesía de las poetas famosos. Les damos una bienvenida para celebrar la herencia rica de poesía española mientra jugamos con las palabras y construimos los puentes entre el pasado y el futuro. Entretejeremos traducciones españolas e inglesas mientra presentamos poemas de una manera viva y dramatica.

Thursday May 29th at 7:00 PM
at El Colegio’s Theater
4137 Center for Independent Artists
Bloomington Ave S, Minneapolis
free, gratis

Funds for this activity are provided by the COMPAS Community Action Program through a grant from the McKnight Foundation .