Live Virtual Group Session: 6PM EST November 22ndย 2021ย 

Thank you to everyone who joined for this session!

For this session we close-read the poem A Map to the Next World by Joy Harjo, posted below.

Our prompt for this session was: โ€œDraw (with words) a map to a next world.โ€

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Take the Survey!

Please join us for our next session Monday November 29th at 6pm EDT,  with more times listed on our Live Virtual Group Sessions page.


 A Map to the Next World by Joy Harjo

for Desiray Kierra Chee

In the last days of the fourth world I wished to make a map for
those who would climb through the hole in the sky.

My only tools were the desires of humans as they emerged
from the killing fields, from the bedrooms and the kitchens.

For the soul is a wanderer with many hands and feet.

The map must be of sand and canโ€™t be read by ordinary light. It
must carry fire to the next tribal town, for renewal of spirit.

In the legend are instructions on the language of the land, how it
was we forgot to acknowledge the gift, as if we were not in it or of it.

Take note of the proliferation of supermarkets and malls, the
altars of money. They best describe the detour from grace.

Keep track of the errors of our forgetfulness; the fog steals our
children while we sleep.

Flowers of rage spring up in the depression. Monsters are born
there of nuclear anger.

Trees of ashes wave good-bye to good-bye and the map appears to
disappear.

We no longer know the names of the birds here, how to speak to
them by their personal names.

Once we knew everything in this lush promise.

What I am telling you is real and is printed in a warning on the
map. Our forgetfulness stalks us, walks the earth behind us, leav-
ing a trail of paper diapers, needles, and wasted blood.

An imperfect map will have to do, little one.

The place of entry is the sea of your motherโ€™s blood, your fatherโ€™s
small death as he longs to know himself in another.

There is no exit.

The map can be interpreted through the wall of the intestineโ€”a
spiral on the road of knowledge.

You will travel through the membrane of death, smell cooking
from the encampment where our relatives make a feast of fresh
deer meat and corn soup, in the Milky Way.

They have never left us; we abandoned them for science.

And when you take your next breath as we enter the fifth world
there will be no X, no guidebook with words you can carry.

You will have to navigate by your motherโ€™s voice, renew the song
she is singing.

Fresh courage glimmers from planets.

And lights the map printed with the blood of history, a map you
will have to know by your intention, by the language of suns.

When you emerge note the tracks of the monster slayers where they
entered the cities of artificial light and killed what was killing us.

You will see red cliffs. They are the heart, contain the ladder.

A white deer will greet you when the last human climbs from the
destruction.

Remember the hole of shame marking the act of abandoning our
tribal grounds.

We were never perfect.

Yet, the journey we make together is perfect on this earth who was
once a star and made the same mistakes as humans.

We might make them again, she said.

Crucial to finding the way is this: there is no beginning or end.

You must make your own map.

Encuentros virtuales en vivo: Sรกbado 20 de Noviembre, 13:00 EST (17:00 UTC)

Nos reunimos 6 personas, desde California, Nueva York, Alabama, y Espaรฑa (Islas Canarias).

Trabajamos sobre una coreografรญa, The Atletes ofย  The Gesture, de Sadeck Waff, con mรบsica de Woodkid. Creada para la ceremonia de clausura de los Juegos Paraolรญmpicos de Tokio como presentaciรณn de los siguientes juegos en Paris.

Por cuestiones tรฉcnicas lo vimos primero sin mรบsica y luego con mรบsica que nos ayudo a tener una experiencia diferente. Uno de los participantes destacรณ que nos fijamos primero en lo que no podemos hacer y no en lo que podemos hacer. Y que el vรญdeo se centra en lo que se puede hacer. Nos inspirรณ a mirar el cuerpo humano con ojos frescos. Para alguien supueso por primera vez mirar los brazos de una manera nueva.

Aparecieron las ideas de colaboraciรณn y comunidad. El camino de un deportista consiste en hacerse uno mismo pero depende tambiรฉn de otros. Todo se une para crear algo e inspirar algo. Da que pensar en la necesidad de comunidad que tenemos, del apoyo que necesitamos. Hay un director, un coreรณgrafo, pero se necesita a todos y cada uno de los participantes para hacer el todo, para crear el dibujo completo. A alguien le molesto que el coreรณgrafo ocupara todo el escenario, como si fuera el mรกs importante de todo y los otros quedan detrรกs.

Llamaba la atenciรณn que solo se ven los brazos. Que las personas desaparecen. Se ve el contraste entre lo que debe ser visto y lo que no debe ser visto. Hay cosas que no nos dejan identificar. La discapacidad no se visualiza. Solemos esperar que las cosas sean de una manera. No somos conscientes de la debilidad. Un participante se pregunto si el coreรณgrafo forma parte de la historia. Alguien noto que parecen pรกjaros en vuelo, parece que van a volar.

La propuesta de escritura ha sido, โ€œSoy รบnico pero con los otros.โ€ Escribimos sobre lo que no estรก, sobre el dolor, sobre el dialogo entre ser o no ser parte de todo. Sobre ser รบnico o no. Sobre la necesidad de tener una identidad valorada. Sobre el sentimiento de ser parte de una comunidad. Los textos nos mostraron el diรกlogo entre el yo รบnico y el yo en comunidad. Ser uno y ser/no ser con los otros.

Aquรญ, ahora alentamos a los participantes que si asรญ lo desean, compartan lo que escribieron a continuaciรณn. Deja tu respuesta aquรญ, si deseas continuar la conversaciรณn sobre las imรกgenes de Luci Gutiรฉrrez. Pero antes, les recomendamos tener en cuenta que el blog es un espacio pรบblico donde, por supuesto, no se garantiza la confidencialidad.

Por favor, รบnase a nosotros en nuestra prรณxima sesiรณn en espaรฑol: El sรกbado 18 de diciembre a las 13 hrs. o a la 1 pm EST (hora de Nueva York). Tambiรฉn, ofrecemos sesiones en inglรฉs. Ve a  nuestra pรกgina de sesiones grupales virtuales en vivo.

ยกEsperamos verte pronto!



Live Virtual Group Session: 12PM EST November 19th 2021

Thank you to everyone who joined for this session!

For this session we listened to the spoken word performance of the poem Forsaken Sea by Sekou Sundiata, posted below.

Our prompt for this session was: โ€œWe do not believe…โ€

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next session Monday November 22nd at 6pm EDT, with more times listed on our Live Virtual Group Sessions page.


  
Forsaken Sea by Sekou Sundiata

            Always go in low tide, high tide comes
            Always go in low tide, high tide comes
 
We always go it seems, we always go to the ocean
We always go to the ocean at low tide
 
We could walk, we could walk deep 
We could walk deep into the sea and never be
     in over our heads
 
We do not believe, we do not believe, we do not believe that 
drowning is for us
 
High tide comes out of the water the same way
     for the last billion years.
There is nothing new
We know when to swim, and when to wait
We know when to swim, and when to wait

           The waves come in and go back out
           For the last billion years
          The ocean still emotional, singing in our ears

          Always go in, always go in low tide, high tide comes
         Always go in low tide, high tide comes

High tide comes out of the water the same way for the     
 last billion years. There is nothing new
 We know when to swim and when to wait
 
In the car, in the car the road 
In the car the road murmurs beneath the wheels     
The ocean, so emotional, in our ears

We seek without looking
The smallest token, passes and settles
 into what music is about, music is about
 
You could say
You could say we are dancing
And from this one thing we know 10 things
From this one thing we know 10 things
 
We always go in low tide when high tide comes
We always go to the ocean
We always go to the ocean at low tide

         We see without looking at the music the water makes
         We know when to swim and we know when to wait
         We always go in low tide, high tide comes
         Always go at low tide, high tide comes

We do not believe
We do not believe
We do not believe
That drowning is for us
 
High tide comes out of the water
The same way for the last billion years
 
Yes, you could say, you could say we are dancing
And from this one thing, we know 10 things
 
We always go in low tide
High tide comes

Live Virtual Group Session: 12PM EST November 17th 2021

Thank you to everyone who joined for this session!

For this session we close-read the poem Study the Masters by Lucille Clifton, posted below.

Our prompt for this session was: โ€œWrite about dreams.โ€

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next session Friday November 19th at 12pm EDT, with more times listed on our Live Virtual Group Sessions page.


Study the Masters by Lucille Clifton

like my aunt timmie.
it was her iron,
or one like hers,
that smoothed the sheets
the master poet slept on.
home or hotel, what matters is
he lay himself down on her handiwork
and dreamed. she dreamed too, words:
some cherokee, some masai and some
huge and particular as hope.
if you had heard her
chanting as she ironed
you would understand form and line
and discipline and order and
america.

Live Virtual Group Session: 6PM EST November 15thย 2021ย 

Thank you to everyone who joined for this session!

For this session we close read an excerpt from the novelย Bewilderment by Richard Powers, posted below.

Our prompt for this session was:ย โ€œWrite about what was enough because you saw it.โ€

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next session, with more times listed on ourย Live Virtual Group Sessionsย page.


Powers, Richard. Bewilderment. (2021) (p.183) New York: W.W. Norton.

I TOLD HIM ABOUT THE PLANET MIOS, how it had flourished for a billion years before we came along. The people of Mios built a ship for long-distance, long duration discovery, filled with intelligent machines. That ship traveled hundreds of parsecs until it found a planet full of raw materials where it landed, set up shop, repaired and copied itself and all its crew. Then two identical ships set off in different directions for hundreds more parsecs, until they found new planets, where they repeated that whole process again.

       For how long? My son asked.

       I shrugged. โ€œThere was nothing to stop them.โ€

       Were they scouting out places to invade or something?

       โ€œMaybe.โ€

       And they kept dividing? There must have been a million of them.

       โ€œYes,โ€ I told him. โ€œThen two million. Then four.โ€

ย ย ย ย ย ย  Holy crow! Theyโ€™d be all over the place.

ย ย ย ย ย ย  “Space is big,โ€ I said.

       Did the ships report back to Mios?

       โ€œYes, even though the messages took longer and longer to arrive. And the ships went on reporting, even after Mios stopped responding.โ€

       What happened to Mios?

       โ€œThe ships never learned.โ€

ย ย ย ย ย ย  They kept going, even though Mios was gone?

       โ€œThey were programmed to.โ€

       That gave my son pause. Thatโ€™s pretty sad. He sat up in bed and pushed at the air with his hand. But it still might be okay for them, Dad. Think of what they saw.

ย ย ย ย ย ย  โ€œThey saw hydrogen planets and oxygen planets, neon and nitrogen planets, water worlds, silicate, iron, and globes of liquid helium wrapped around trillion-carat diamonds. There were always more planets. Always different ones. For a billion years.โ€


Live Virtual Group Session: 12PM EST November 12th 2021

Thank you to everyone who joined for this session!

For this session we close-read the poem Deer Dance Exhibition by Ofelia Zepeda, posted below.

Our prompt for this session was: โ€œQuestion…โ€

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next session Monday November 15th at 6pm EDT, with more times listed on our Live Virtual Group Sessions page.

Deer Dance Exhibition by Ofelia Zepeda

Question: Can you tell us about what he is wearing?
Well, the hooves represent the deerโ€™s hooves,
the red scarf represents the flowers from which he ate,
the shawl is for skin.
The cocoons make the sound of the deer walking on leaves and grass.
Listen.
Question: What is that he is beating on?
Itโ€™s a gourd drum. The drum represents the heartbeat of the deer.
Listen.
When the drum beats, it brings the deer to life.
We believe the water the drum sits in is holy. It is life.
Go ahead, touch it.
Bless yourself with it.
It is holy. You are safe now.
Question: How does the boy become a dancer?
He just knows. His mother said he had dreams when he was just a little boy.
You know how that happens. He just had it in him.
Then he started working with older men who taught him how to dance.
He has made many sacrifices for his dancing even for just a young boy.
The people concur, โ€œYes, you can see it in his face.โ€
Question: What do they do with the money we throw them?
Oh, they just split it among the singers and dancer.
They will probably take the boy to McDonaldโ€™s for a burger and fries.
The men will probably have a cold one.
Itโ€™s hot today, you know.


Ofelia Zepeda, โ€œDeer Dance Exhibitonโ€ from Ocean Power. 
Copyright ยฉ 1995 by Ofelia Zepeda.

Live Virtual Group Session: 5PM EST November 10th 2021

Thank you to everyone who joined for this session!

For this session we closely looked at two photos Knowing the Way to Tomorrow and Who Knows Tomorrow by Aida Muluneh, posted below.

Our prompt for this session was: โ€œWrite about the possibility of tomorrow.โ€

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next session Friday November 12th at 12pm EDT, with more times listed on our Live Virtual Group Sessions page.


Knowing the Way to Tomorrow
Who Knows Tomorrow


Live Virtual Group Session: 6PM EST November 8th 2021

Thank you to everyone who joined for this session!

For this session we close-read the poem Baruch Spinoza by Jorge Luis Borges, posted below.

Our prompt for this session was: โ€œIn the margins of the manuscript, leave a message for the philosopher.โ€

More details on this session will be posted, so check back!

Participants are warmly encouraged to share what you wrote below (โ€œLeave a Replyโ€), to keep the conversation going here, bearing in mind that the blog of course is a public space where confidentiality is not assured.

Also, we would love to learn more about your experience of these sessions, so if youโ€™re able, please take the time to fill out a follow-up survey of one to two quick questions!

Please join us for our next session Wednesday November 10th at 5pm EDT, with more times listed on our Live Virtual Group Sessions page.


Baruch Spinoza by Jorge Luis Borges

Bruma de oro, el occidente alumbra
la ventana. El asiduo manuscrito
aguarda, ya cargado de infinito.
Alguien construye a Dios en la penumbra.
Un hombre engendra a Dios. Es un judรญo
de tristes ojos y de piel cetrina;
lo lleva el tiempo como lleva el rรญo
una hoja en el agua que declina.
No importa. El hechicero insiste y labra
a Dios con geometrรญa delicada;
desde su enfermedad, desde su nada,
Sigue erigiendo a Dios con la palabra.
El mรกs prรณdigo amor le fue otorgado,
el amor que no espera ser amado.
Baruch Spinoza by Jorge Luis Borges

A haze of gold, the Occident lights up
The window. Now, the assiduous manuscript
Is waiting, weighed down with the infinite.
Someone is building God in a dark cup.
A man engenders God. He is a Jew
With saddened eyes and lemon-colored skin;
Time carries him the way a leaf, dropped in
A river, is borne off by waters to
Its end. No matter. The magician moved
Carves out his God with fine geometry;
From his disease, from nothing, he's begun
To construct God, using the word. No one
Is granted such prodigious love as he;
The love that has no hope of being loved.
         


Spanish; trans. Willis Barnstone

Laboratori Di Medicina Narrativa: Sabato 6 Novembre dalle 16 alle 17.30

Siamo stati molto lieti di avervi qui con noi!

Abbiamo studiato il quadro, ยซMistero e malinconia di una stradaยป del 1914 e una replica tarda degli fine anni sessanta, entrambi eseguiti da Giorgio De Chirico (allegati al termine di questa pagina).

In seguito, abbiamo proposto il prompt: “Scrivi della strada che รจ di fronte a teโ€ฆโ€.

Condivideremo ulteriori dettagli della sessione nei prossimi giorni; vi invitiamo a rivisitare questa pagina nei prossimi giorni!

Invitiamo i partecipanti del laboratorio a condividere i propri scritti nella parte “blog” dedicata alla fine della presente pagina (“Leave a Reply”). Speriamo di creare, attraverso questo forum di condivisione, uno spazio in cui continuare la nostra conversazione!

Stiamo raccogliendo impressioni e breve feedback sui nostri laboratori di medicina narrativa su Zoom!

Questo breve questionario (anonimo, e aperto a chiunque abbia frequentato almeno un laboratorio) รจ molto importante per noi, e ci permetterร  di elaborare sul valore dei nostri laboratori e sul ruolo dello spazio per riflettere e metabolizzare il momento presente. Vi preghiamo quindi di condividere le nostre riflessioni con noi!


โ€œMistero e malinconia di una stradaโ€ (1914)
โ€œMistero e malinconia di una stradaโ€ (circa fine anni sessanta)


Encuentros virtuales en vivo: Sรกbado 6 de noviembre, 13:00 EST (17:00 UTC)

Asistieron 8 participantes desde Argentina, Chile, Espaรฑa, y Estados Unidos. Tuvimos una sesiรณn muy divertida en espaรฑol.

Hicimos una lectura atenta de una fotografรญa con el tรญtulo, โ€œDos Dimensionesโ€, de Andi Halil, Indonesia. El carรกcter multifacรฉtico de la fotografรญa despertรณ mรบltiples lecturas en los participantes. Lo primero que notamos fue que era en blanco y negro, que la falta de color nos hace reflejarnos hacia adentro. Detrรกs de cada imagen hay algo mรกs, algo que nos llama a preguntar el significado verdadero de lo que estamos viendo. Mirando la foto mรกs de cerca, no sabemos si las dos imagines son de la misma persona (chicos). Una participante notรณ que la primera imagen en la fotografรญa es de un espejo o una foto trucada. Otra persona mencionรณ que es como si fuera un fenรณmeno de metaforizar la ilusiรณn de ver algo, que es compuesto y con dimensiones o relieves, aunque puede parecer como una construcciรณn superpuesta. Notando el espejo, alguien comentรณ que ahรญ tenemos la razรณn por el tรญtulo era โ€œDos Dimensiones.โ€ Un participante mencionรณ que mirando a las dos partes rotas, una parte no concuerda con la otra. Asรญ que posiblemente estamos viendo a tres chicos o al menos la foto del niรฑo (si es que es barรณn) estรก cortada de forma que no se puede juntar.

Consideramos las diversas dimensiones de la fotografรญa. Una participante hizo la analogรญa que analizando esta foto es como mirando a una radiografรญa, hay que mirar a ambos lados o ambas imagines. ยฟQuรฉ se ve? ยฟSufrimiento u otra cosa? Muchos participantes pensaron que vieron sufrimiento que los chicos no pueden contar o expresar. Otro participante comento que quizรกs la imagen muestra una parte de la vida, infancia rota por lo que se ve la mirada seca; no hay brillo en la mirada de la niรฑa. ยฟQuizรกs un reflejo de los problemas sociales del paรญs/zona? La niรฑa mantiene el silencio, pero el niรฑo no, aunque no estamos seguros si la imagen de atrรกs es una niรฑa; muchos pensamos que si era una niรฑa. Esto puedo ser por los roles estereotรญpicos de los gรฉneros.

Un participante mencionรณ que veรญa muchas caras en la misma persona. Y otra dijo que solo vemos el lado izquierdo en todas las imรกgenes. Con toda la fragmentaciรณn, se ve una personaโ€”una persona que sufre. Nos recuerda que hay que tener compasiรณn para el prรณjimo. Estuvimos de acuerdo que podrรญamos debatir sobre esta fotografรญa todo el dรญa.

La propuesta de escritura fue โ€œEscribe sobre lo inexpresableโ€.ย Algunos participantes compartieron sus textos que hablaban de lo que siente uno tan personal, por lo que es propio, vivido, y real. Sin saberlo, un participante escribiรณ una respuesta a otra participante en su escritura. Otra participante comentรณ que le recuerda a la fotografรญa y algo que una persona le habรญa dicho recientemente, que en vez de tener empatรญa hay que tener compasiรณn. Muchas veces no se necesita palabrasโ€”con un abrazo es suficiente. ยฟQuรฉ es inexpresable? Se necesita complicidad, se necesita el otro para expresar lo mรกs difรญcil para compartir.

Aquรญ, ahora alentamos a los participantes que si asรญ lo desean, compartan lo que escribieron a continuaciรณn. Deja tu respuesta aquรญ, si deseas continuar la conversaciรณn sobre el poema de Claribel Alegrรญa. Pero antes, les recomendamos tener en cuenta que el blog es un espacio pรบblico donde, por supuesto, no se garantiza la confidencialidad.

Por favor, รบnase a nosotros en nuestra prรณxima sesiรณn en espaรฑol: El sรกbado 20 de noviembre a las 13 hrs. o a la 1 pm EST (hora de Nueva York). Tambiรฉn, ofrecemos sesiones en inglรฉs. Ve a  nuestra pรกgina de sesiones grupales virtuales en vivo.

ยกEsperamos verte pronto!


โ€œDos Dimensionesโ€ de Andi Abdul Halil