I’m excited to introduce a very special guest this week: Kirsten Voris, co-creator of the recently-released Trauma Sensitive Yoga Deck for Kids (North Atlantic Books). The deck of 50 yoga cards for kids aged 3-12 comes with a guide for trauma-sensitive facilitation that’s grounded in the evidence-based Trauma Center Trauma-Sensitive Yoga (TCTSY) methodology and the yogic tradition of ahimsa, or non-harming.
I met Kirsten through writing, not yoga—we were workshop-mates at the Tucson Festival of Books Masters Workshop a couple of years ago—and I’ve been a fan of her work ever since.
When she told me about this latest project, I wanted to hear more, both about the yoga cards and the role of yoga in Kirsten’s life. I know you’ll be interested, too, so I’m sharing our conversation here.
How did you first become interested in yoga?
The ﬁrst yoga shape I learned was headstand, and that was taught to me by a German boyfriend when I was in my twenties, so approximately 1992. Then, there was no yoga until I moved to Turkey in 2010.
In Turkey I wanted to swim, but there was no way to do so cheaply. There was a yoga studio close to my house, though, so I started going. I eventually signed up for teacher training, so that I could go even more often. I did my teacher training in Ankara, Turkey (Yoga Sala, Ankara, Turkey, class of 2012!).
What led you to trauma-sensitive yoga?
I was led to Trauma Center Trauma-Sensitive Yoga (TCTSY) because there were things that didn't work for me, in regards to how I was in my own body and how I was taught to facilitate yoga for other bodies.
How is trauma-sensitive yoga different from other kinds of yoga?
TCTSY was developed as an intervention for complex trauma (also called complex PTSD). It is most helpful for people recovering from disturbed relationships with their bodies and the lack of agency and/or trust that can come from surviving systems of chronic disempowerment or neglect.
We use the shapes (forms or asanas) from yoga to practice making choices and noticing sensations in our bodies.
In a TCTSY class, participants are 100 percent in charge of their own bodies at all times. The facilitator stays on his or her own mat, and rather than setting goals or correcting or adjusting participants, simply provides them with choices for movement and highlights sensations they may feel in each shape.
In order to help us keep the focus on our bodies, there is no music in a TCTSY class.
What principles of yoga are most relevant to trauma-sensitive yoga?
From Patanjali’s eight limbs of yoga, we focus on Asana, or the movement practice. And within the movement, Dhyana, or meditation.
In TCTSY we use our bodies and sensation in our bodies as the focus of meditation or mindfulness, as opposed to the breath. Instead of returning to our breath, we’re returning to our bodies when we get distracted.
I might invite a client to notice their breath if I know them well. However, in general we don’t work with the breath. For some people, feeling their own breath moving can be a very potent trigger.
Some yogic breath practices trigger anxiety and, with Pranayama (breath control), there is a goal involved: to become more centered, more calm, more energized. In TCTSY there is no outcome we are looking to achieve.
Ahimsa, which means non-harming, is a part of everything we do. We want to empower, not disempower. I am not someone who can teach others how to heal. I can be a witness, though, to someone’s healing. And I can hold a space for healing.
Judith Herman, a therapist, researcher, and author of Trauma and Recovery, inspired so much of what we do. She has another way of putting this. She wrote:
“No intervention that takes power away from the survivor can ever foster her recovery no matter how much it appears to be in her immediate self-interest.”
I love that. My body knows how to heal. So does yours.
How did the yoga deck project come about?
I met co-creator Brooklyn Alvarez in our 300-hour TCTSY facilitation training. We were assigned to be buddies. We spoke every week for nine months. We had both done some facilitation with kids with the available yoga cards and didn't like them.
One week in our supervision meeting we told Dave Emerson (director of the center), what we'd been talking about. He told someone at North Atlantic Books. Some time later, Dave announced that North Atlantic Books wanted to publish our deck of trauma-sensitive yoga cards for kids, which up until then, we had only been talking about. It was pretty mind-blowing how that happened.
Dave read through the pamphlet and helped us in so many different ways with ideas for content and questions around language and feedback on the cards and the pamphlet. He let Brooklyn and me have our own process when it came to resolving issues that came up during the creation of the final product. He was our first editor. I'm really happy to be associated with him in this way and to have him associated with us and the cards.
How do you envision the yoga deck being used?
Lots of kids love to move. This is an opportunity to harness that and provide kids with the opportunity to experience choice—in their bodies. And maybe notice sensation in their bodies, to help them ground in the present moment, which is the only place we can feel a sensation.
I'd like the cards to be used by people who love kids who have been through terrible things. Anyone can help a child heal. TCTSY practitioners who are therapists can use cards in session with their clients. Foster parents can use the cards to engage with kids in their care. The cards can be a supplemental activity or the main attraction. The pamphlet comes with ideas for group activities involving the cards and practices for one-on-one facilitation or small-group facilitation.
And all of these are suggestions. What is important is creating a sense of connection and safety for children. Caregivers can do this by practicing along with the kids in their care, not asking kids to do something and then standing back and watching. Yoga card time can be family time. Time to put down your phone, turn off the TV, and practice being in your body. Everyone practices together: the youth, the moms, the grandmas, the foster dads. Each person noticing their own bodies.
How has your own yoga practice evolved over time?
My yoga practice started out as anxiety management through overdoing it. I was in class every day and it was vinyasa or ashtanga class. I wanted to stand on my head and balance on my arms. I wasn’t interested in learning to be grounded in my body. Or still. I could not tolerate savasana, or rest. I kept my eyes open. I didn’t like being adjusted or touched.
Then, I began to get injured. I have healed-over hamstring tears. I have tendinitis in my left deltoid. In the wake of that particular injury, I couldn’t raise my arm over my head for one year.
I discovered the limits of self-medication through exercise. I started to slow down—out of necessity. My favorite teacher in Turkey had a Yin Yoga class that I began attending. It was very difficult for me to hold shapes for long periods of time and give myself over to them. But listening to her guide us through it, as she talked about all the different muscles and meridians we were touching though our practice, helped. (I dedicated my yoga cards to her.)
Eventually I began to notice and feel my body and realized that, before I got injured, I couldn’t feel my body at all. And because I couldn’t feel it, I couldn’t make good choices for my body.
After graduating from teacher training, I went to a week-long Yin training with Bernie Clark, who introduced me to the idea that adjusting people based on our idea of how a shape needs to look can hurt people. Everyone needs to find their own shape.
Since moving back to the US, my yoga is mostly at home. Learning and facilitating TCTSY has made it even more difficult for me to find yoga classes I like, because now I am super-empowered to say what I don’t like (I don’t like to be touched or adjusted or told what to do), and I now know there is a kind of yoga that doesn’t require me to do that to other people.
For the past two years I have been involved in an Open Floor Dance community here in Tucson. This is a conscious dance practice. You dance however you want, and you stay with yourself. I’m still learning, and this is the scary leading edge of my evolution as a human being. And it wouldn’t have been possible, without TCTSY.
Anything else you’d like to add?
Trauma Center Trauma-Sensitive Yoga is very new and very special, and the community is not that large. It has felt amazing to create something that I believe so strongly in, in concert with other humans who are equally passionate about the innate power we all have to help ourselves heal from terrible things--without having to talk about those terrible things. Through movement.
The Trauma-Sensitive Yoga Deck for Kids can be ordered through independent bookstores, IndieBound, Penguin Random House, and other online booksellers. ISBN: 9781623173289, $25.95
More about Kirsten and her co-creators
KIRSTEN VORIS (RYT-200, TCTSY-F) is a former secondary school teacher and adult educator who completed her initial yoga certification in Ankara, Turkey. Her interest in yoga as a tool for personal integration led her to Yin Yoga and the research-based Trauma Center Trauma Sensitive Yoga (TCTSY). She has facilitated TCTSY for volunteer aid workers in Cusercoli, Italy and brought TCTSY to therapists through PESI trauma training retreats in Sedona, Arizona. In addition to facilitating TCTSY for private clients in and around Tucson, Arizona, Voris has been the TCTSY provider for youth and children through a tribal health service in Southern Arizona. She offers an introduction to TCTSY to fourth year medical students and medical residents at the University of Arizona Center for Integrative Medicine.
BROOKLYN ALVAREZ is a clinical psychologist-in-training (doctoral degree expected 2021), certified Kripalu yoga teacher, and avid student of Buddhist psychology and mindfulness meditation. Alvarez's personal and professional experiences have inspired in her a fervent aspiration to specialize in the treatment of developmental trauma and, ultimately, to disrupt systemic hegemony.
DAVID EMERSON is the founder and director of Yoga Services for the Trauma Center at the Justice Resource Institute in Brookline Massachusetts, where he coined the term "trauma-sensitive yoga" (TSY). He was responsible for curriculum development, supervision and oversight of the yoga intervention component of the first of its kind, NIH funded study, conducted by Dr. Bessel van der Kolk to assess the utility and feasibility of yoga for adults with treatment-resistant PTSD. Emerson has developed, conducted, and supervised TSY groups for rape crisis centers, domestic violence programs, and residential programs for youth, military bases, survivors of terrorism, and Veterans Administration centers and clinics. In addition to co-authoring several articles on the subject of yoga and trauma, Emerson is the co-author of Overcoming Trauma through Yoga, (North Atlantic Books, 2011) and author of Trauma-Sensitive Yoga in Therapy (Norton, 2015). He leads trainings for yoga teachers and mental health clinicians in North America, Europe, and Asia.
The bearded man with the gray ponytail sits at a table, alone and looking like he wants to keep it that way. When he speaks, it's to talk about a time in his youth when he decided "I should not befriend new people, because they're likely to die." Even now, he goes on to say, "I still don't get too close to many people."
Flash forward to another scene. Same man, same beard and ponytail, tattoos visible on his forearms, but now he's prancing around in a red tutu over striped pants, sporting a red nose, a pink ball cap and an oversized, polka-dot tie and yukking it up with a gaggle of kids and a bunch of other burly guys who are just as outlandishly attired.
What accounts for the shift between scenes? The man in the red tutu is 71-year-old Vietnam veteran Mike O'Connor, who summoned a different kind of bravery to take part in an experiment in humanitarian clowning, traveling to Guatemala with a group of other veterans to spread smiles in hospitals and orphanages. In the process, he and the other Vets stepped out of the "suffer zone" into a more playful, loving space.
Clownvets, a program of physician Patch Adams's Gesundheit! Institute, is the subject of a documentary film-in-progress, and in a bit I'll tell you how you can help the filmmakers finish, distribute and promote the film.
But first, a bit of background. I first heard about the Clownvets project from my neighbor Mark Kane, a licensed psychologist who has seen from his work with veterans how trauma affects the mind, body and spirit. In fact, it was Mark's exposure to Vietnam veterans as a conscientious objector working with the American Friends Service Committee years ago that prompted him to become a psychologist.
"Post-traumatic stress, in a variety of names, has been with us since the beginning of time," says Mark. "It's not really a disease like polio is . . . It's normal people reacting normally to very un-normal circumstances."
Statistics on the impact of post-traumatic stress disorder (PTSD) are sobering. In the U.S., more than twenty Veterans commit suicide daily. Many more experience physical and psychological symptoms that ripple out to affect their families and communities. As a step toward relieving some of that suffering, Adams and the Gesundheit! Institute came up with the idea of introducing Vets to humanitarian clowning.
Known for his work with warriors experiencing PTSD, Mark was asked to help recruit Vets for the Gesundheit! project. All he knew about Patch Adams at the time was that Robin Williams had depicted him in the eponymous 1998 movie, but Mark quickly learned more about the clowning physician and got onboard with the project.
Getting Vets into tutus and rainbow wigs isn't as crazy an idea as it may seem. The nonprofit Gesundheit! Institute bases its holistic brand of medical care on the notion that the health of the individual is closely tied to the health of the family, community, society and world. A leader in the development of therapeutic clowning, Gesundheit! has been sending trained volunteers around the world since 1985 to clown in healthcare settings and distressed communities. They soon learned that it wasn't only the people on the receiving end who benefited from silliness and "spontaneous, interactive play." The clowns themselves—even those who'd started out depressed—came home happy.
In 2015, the first cohort of Clownvets traveled to Guatemala, and the experience was transformative.
"They saw that they could be part of the solution, instead of causing devastation," says Mark. In the film, several of the Vets, including Mike O'Connor, reflect on the experience.
"I never thought that I would interact with people the way that I did," Mike says. "It's probably a good thing for me, because I do like to isolate, and I couldn't there. It brought me a little bit out of my shell and helped me to interact with people once I got back home."
When the first group of Clownvets returned, they helped recruit volunteers for a second trip in 2016.
That's when Chilean filmmaker Esteban Rojas, a longtime friend and collaborator of the Gesundheit! Institute, got involved. What Esteban saw "blew his mind," to quote from an online write-up about the project. "Listening to their life stories, hearing the horrors that they went through, but also seeing how their faces changed while trying the clowning, convinced him that this story needed to be told."
A month later, Esteban traveled to West Michigan to film Mark and some of the Vets in their daily lives and interview them about their experiences. Mark took on the role of producer and has been working closely with Esteban, co-editor Luis Bahamondes, and executive producers Charlotte Huggins and John Glick on the film, which includes material filmed by a different camera crew on the 2015 Veterans clown trip. Veteran Mike O'Connor has signed on to the film project as a consultant.
Another friend of ours, Eldon Howe, is also involved with the film. In his day job, Eldon is owner of Howe Construction, a company that builds ecology-based, disaster-resistant homes all over the world. But he's also a talented singer-songwriter who expresses himself musically through guitar compositions. Some of his music is included in the film's soundtrack—the perfect accompaniment to footage of our West Michigan environs.
I had a chance to view an early version of the film, and to say I was impressed and moved is a huge understatement. Though I had talked with Mark on many occasions about the Clownvets project, I never quite grasped the enormity of its impact until I saw on screen how the Vets and the people with whom they interacted were lifted up through clowning.
Wearing silly hats, splashy costumes and of course, red noses, the Clownvets and Gesundheit! staffers gently coax smiles out of children and adults who are living with serious physical and emotional conditions. They hold hands, play with puppets and blow bubbles and kisses.
As Mark puts it, "the red nose works as an excuse to connect these men and women with love, compassion, laughter and friendship, things that for these heroes seemed forgotten."
"Clownvets" is well on its way to becoming a high-quality, 90-minute feature film, but it has hit a roadblock. Funding has run out, yet there's still more work to be done: filming additional scenes and interviews, finishing the editing, tending to other technical details.
That's where you can help. First, view the movie trailer here. Then, please consider making a donation in support of the project. Visit the Gesundheit! Institute's "Donate" page, and under the heading "How would you like to support our work?" select "Support the Veterans Clown Trip Film Project."
You're also invited see a preview of the film and meet some Clownvets in person at a "Fun-Raiser" this Friday, November 17, 6-10 p.m., at Ferris State University's University Center, 805 Campus Drive, Big Rapids.
Short of cash? Too far from Big Rapids to make the preview? You can still help by spreading the word about this project on social media. The Clownvets will reward you with a slew of heartfelt smiles, and maybe they'll even blow you a kiss.
* Photos: Gesundheit! Institute
It was the Friday before Memorial Day, that gateway to the good times of summer, and I was anticipating the weeks ahead. Sunny days for hiking, bicycling, kayaking, diving into household and outdoor projects, and just plain getting out and doing things without having to negotiate snow and ice.
My mind was so occupied with such leisurely thoughts, I hardly noticed the ache across the top of my foot that morning. Around the time I was ready to leave for that afternoon's trek with the Wander Women, the ache asserted itself more aggressively, and I considered skipping the hike. But it was such an ideal hiking day—blue-skyed, cloud-fluffed, warm but not hot—I couldn't resist. And anyway, my foot felt much better in my hiking shoe.
Until about three miles into the hike. Then it really started to hurt. I limped the last mile and a half, drove home, iced the foot and brushed aside Ray's suggestion to visit Urgent Care. It didn't hurt that much. Not enough to interfere with our weekend plans.
After hobbling through the weekend and holiday, I finally admitted the foot wasn't getting any better. An x-ray revealed the reason: a fracture of the third metatarsal. I was fitted with a clunky walker boot, given a referral to an orthopedic surgeon and sent home to contemplate this turn of events.
Clearly, summer would not be quite as I'd envisioned. I didn't waste time moping, though. No siree, I sat down and made a list of things I still could do: writing, reading those piles of accumulated books and magazines, answering email, calling friends, making phone calls and writing letters in support of causes, creating collages, meditating, planning our fall vacation, organizing and editing photos, even shooting new photos of critters from the back porch.
Good for me! Lemonade from lemons and all that, right?
Yeah, about that . . .
A few days after making that upbeat list, I got restless and pulled out the list for inspiration. All those housebound activities didn't seem nearly as appealing as when I'd written them down—especially when another sunny day taunted me just outside the windows. Plus, I'd realized that the list of things I still could do also included things I'd just as soon not: paying bills, cleaning out files, and performing a surprising number of household and chores. B-o-r-i-n-g.
Then I moped. But moping got boring pretty quickly, too, so I figured it was time to give myself a pep talk on adaptability and making the best of a disappointing situation. Fortunately, My Self is something of an authority on the subject, having had ample experience with subverted summers: three previous foot fractures and a spinal fracture over the past 24 years, each one occurring sometime between Memorial Day and mid-July.
I'd even written a magazine article about the summer I broke my back—the summer we'd planned a month-long motorcycle trip through the Blue Ridge Mountains, as well as weekends of Rollerblading and bicycling in the park. The summer with a few definite plans and plenty of room for following whims.
As I wrote in the article:
When I thought about happenstance, of course, I was envisioning the merry kind that brings opportunities and delights. But when serendipity stepped in and made choices for me, it knocked me flat . . . What I didn't realize was that fate, in fact, had intervened to give me the break I had longed for—not exactly the way I had imagined it, but a break all the same. With my choices suddenly so limited, life had to get simpler. Time had to slow down.
Then, as now, I occupied myself catching up on articles I'd clipped and saved to read when I found the time. One, on the unlikely topic of the benefits of poor health, made the point that having to step off the treadmill of everyday life and let things go on without your participation can be a chance to reflect and make needed changes.
That I did. I reflected on the work I was doing and how I'd like it to be different—a train of thought that led to a new, more creative way of working. I also used the time to experiment with various kinds of writing and explore visual arts in ways I'd not had time—or nerve—to try before. In the process, I learned to care more about satisfaction than accomplishment, to let interests drive me more than ambition—lessons that set the stage for the kind of life I'm living now (or trying to).
Back then, I was stepping away from a hectic, deadline-driven life. This time, the treadmill I'm stepping off moves at a significantly slower rate. Still, the shift in activities and expectations should offer a chance to reflect and consider new directions. I wonder what I'll discover this time and where those discoveries will lead.
Meanwhile, my change of summer plans also means changes of plans for HeartWood. I had envisioned gathering blog material in trips to festivals, friends' gardens, local labyrinths and other points of interest. Some of that still may happen, but for a while at least, I won't be venturing out as much as I'd imagined I would.
That's where you come in. I hereby deputize all HeartWood readers to be official correspondents. If, in your summer ramblings, you have experiences you'd like to share in words, pictures or both, I'll be happy to give you space to do that here at HeartWood. Just get in touch and we'll work out the details. I hope you'll take me up on the offer!
Written from the heart,
from the heart of the woods
Read the introduction to HeartWood here.
Nan Sanders Pokerwinski, a former journalist, writes memoir and personal essays, makes collages and likes to play outside. She lives in West Michigan with her husband, Ray.