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Got Coaching Confusion?

It’s time to get some perspective and see clearly why coaching without niche focus is in need of close examining. With an increasing trend for getting a coach / becoming a coach, it?s hard to cut the wheat from the chaff. It?s not surprising as ?ambiguity? plays a growing role in what is increasingly a sales business (and not a coaching business).

Genuine Coaching

Genuine coaches have niche skills, expertise and real experience to share. Such individuals can be a one-time boon, an ongoing asset, or even a life changer to the corresponding individuals who seek/require it. Broadly speaking, there are two ?directions? of coaching: skills and mindset (and some coaches can offer a personal blend of the two). For example, some will coach a specific skillset e.g. product photography, bookkeeping for small businesses, vocal performance, personal styling, better gym technique, weight loss, financial planning, nutrition or how to un-bugger-up your Macbook. Others will offer mindset coaching, e.g. making and managing money, communing with nature, expanding creativity, improving business motivation, focus in athletic performance,  heightening self-worth in relationships, enhancing mind-body wellbeing, how to not bugger-up your Macbook in the first place. It is often a balance of guiding ‘how to do’ and ‘what to do’.

Coaches also typically focus their services to particular industries (or interest communities) like sports, business, theatre arts, publishing, wellbeing and so on. Some are very niche (I know someone who coaches on multiple orgasm and another who specifically coaches couples on ‘surviving their business and marriage’ ? and maybe these two should hold a retreat together 😛 ). Some veteran coaches will have a variety of niches they can cover – usually with a congruent message across them all and only after tremendous demonstrable experience.

Some coaches will blend their skills and mindset together and, really great coaches will take their clients on ?journeys? of personal development with measurable goals. Such coaches are definitely worthy of investing in if/when right for you – and you have a specific project in mind like getting in to sports competitions, writing that book, getting on stage, finding appropriate romance, starting or growing a business. Coaches also invest in themselves too – often collaborating with other coaches on complementary niches. This means that a good coach is always offering the best and the most they can to their clients. Self-esteem and client-esteem must be on a parity of esteem. Good coaches also invest their own money in good personal coaching – as continued professional development to improve their service (not just their sales!).  

Now, crucially, these coaches are a million miles away from the sales of what I?m calling ?conceptual coaching?.

What?s the Problem?

Every day on social media I see pushy ads for a plethora of personal coaching services that look and sound curiously like carbon copies of each other. Many of them actually suggest ?become a coach to become rich/ solve all your problems?. They appear to be merging as though spaghettifying in a black hole toward a singular point of sales. Where the advert is selling the concept of coaching itself as a business or lifestyle opportunity, I call this ?conceptual coaching?.

Furthermore, some (not all of course!) of the ads are looking a lot like multi-level marketing (MLM), showing excited people posing poolside, loudly quoting massive figure incomes, working from home as their own boss, urging us all to urgently sign up for a free something-or-other to kick start our ?dream? careers. They remind me of the 1990s Herbalife promotions of a smug guy leaning on a Porsche, who apparently sold milkshakes to his neighbours (something the teenage me dabbled in for about 5 minutes and got bored).

Caveat Emptor! The Problems of ?Conceptual Coaching?

What this means is that there is an increasing trend for people to ?buy coaching to become coaches? – and thus offer a rather opaque or confused service. What are they then going to coach? Coaching! and so on…

Lack of Niche Experience: The result is that there are business coaches who sell their coaching based on their current experience of running their business coaching business (they do not have a prior history of business success). There are life coaches who sell their coaching based on their recent experience of quitting the 9-5 and becoming a life coach.

Because there is often a lack of specific skills or knowledge, there is a real danger of a coach being ?a bit of everything?. I?ve heard of life coaches giving unsound advice on serious issues that require specialist training such as mental health disorders, family law and bankruptcy. Here lies the inherent problem where coaches sell their personal experiences and opinion* or their ?brand? as adequate and sufficient grounding for being a coach. It is important to acknowledge that coaches are not therapists nor financial advisors although they may be able to discuss such matters, spot a need and recommend appropriately.

*(I?d also hate to see a world where no one had any friends anymore and instead we paid strangers to talk to us and share their stories, life experience and opinions.)  

Life Coaching is definitely on the rise and in particular, leaves me with questions. It?s proponents state that Life Coaching ?is not therapy because, therapists deal with past trauma or experiences and by contrast, Life Coaching deals with the present  – in identifying and clearing obstacles  for future goals?. But this description is essentially what Cognitive Behavioural Therapy does. CBT identifies and breaks cycles and bad habits in the present and encourages good ones to facilitate future goals. It is also the most commonly prescribed therapy on the NHS. Furthermore, from what I?ve read (quite a lot), the basic starting point of a Life Coaching session is to discuss the ?origins of beliefs about the self? looking back in our pasts as early as infancy.

So… anyway… The service itself (coaching content, method and material) is ambiguous and often seems confused, increasingly so with each iteration down the line. Furthermore, if it is also MLM, then instead of physically selling diet shakes, essential oils or a wrinkle cream, it?s almost completely intangible. Because it is ?conceptual? it is increasingly easy for anyone to get on board without the need to buy and hold stock, provide clear services nor, appear to have/ need any credentials or experience in any particular field.

The encouragement for ?personal branding? also adds to the confusion because each may look ?unique? – and I?m sure the coaches believe it is too (after all everyone?s life story is unique) – but the iterative re-branding is possibly part of the sales process. A bit like buying bottled water, putting a new label on it then selling it on for the next person not to drink (because the bottle is actually empty, it?s ?conceptual water?) but to put another new label on it and sell it on. Ironically, no one is really drinking any water and any ?solution? will be diluted each time. Similarly, no-one is really gaining any personal coaching and is instead selling on a sales technique.

I have also noticed that Life Coaching and the newly emerging alternative, ‘Success Coaching’ is often presented like a watered-down version of (or mash up of) other disciplines such as the aforementioned Cognitive Behavioural Therapy (CBT) and Neuro-Linguistic Programming (NLP). 

Because I like metaphors, here is another: Many coaching businesses are like a row of quirky shops that turn out to be multiple doors to one big wall. Here is where the depth of the problem becomes very clear ? that it?s also a two-way financial ?funnel? and is an increasing problem for those who have their backs to the wall, thinking their shopfront is special.

Vulnerable People are Targeted: Whilst the shopfronts of my previous metaphor are trying to engage new buyers (Business to Customer, ‘B2C’), there is another level of sales also going on behind these quirky doors (Business to Business, ‘B2B’). Real people are being persuaded to part with real money and real hope, in becoming coaches. Here, target audiences are those who are vulnerable from personal crisis such as redundancy, single parenting, mid-life ennui, heartbreak, illness, injury and other forms of loss. This is ground zero of the sales/recruitment. Ironically, hardship stories are often used as ?rags to riches? sales tactics suggesting overnight success is just a download away. Caveat Emptor. 

Those who have earnestly invested in their shopfront (their ?unique coaching business?) are increasingly paying for more bricks to hide the real business behind it all. When their businesses don?t attract the 5+ figure incomes nor queues of rich exciting clients (many are at a loss without hope of any return on investment) and so they are persuaded to invest in? you guessed it! More Coaching! If your own coaching business isn?t ?attracting? paying clients, you need to be coached on ?how to attract paying clients?? and so on. Sales of B2C and BTB simultaneously.

In this case, the real money is being made from selling business coaching as a business; and life coaching as a lifestyle. There is some deep irony here. Once you have invested several thousands to ?become a coach?, you are more likely to keep spending than cut your losses. This is the classic cognitive bias for ?loss aversion? that marketers have used since wo/man could shop. This is why coupons and ?limited time offers? work so well ? you get FOMO. This ambiguity of promised potential gains hides the reality of actual loss and encourages this aversive behaviour. This is also why there is always an urgency to signing up for a free seminar or download. 

Why is this trend emerging?

I think that people are genuinely seeking revenue and/or meaningful work through enhanced personal identity. In an increasingly impersonal world of ?celebrity salespeople? (social media influencers, reality stars – those who are generally famous for being paid to endorse big brands), it is easy to be become seduced by social media as a platform for personal income, psychological and emotional validation. Unlike investment eras of the past, online personal coaching disbands with the need for an office, social permission, academic credibility, experience or stock.

About 10 years ago I noticed the rising trend for everyone to have a personal trainer or ?PT? and be showing off their results and lifestyle changes online (including the need to post photos of angled or mood-related salad portraits) and I predicted that the next thing would be for that same proverbial ?everyone? to want a business/life coach so that they felt they were investing in their own psychology and wellbeing beyond tighter butt-cheeks. Furthermore, that a large proportion of this ?everyone? would come to see themselves as being ?qualified? to be those very coaches. Why not? With the increasing flexibility for working at home, on the go, in the car/caf?/gym, via ready-made platforms of social media and without the need to carry any product or stock and without the hours of academic training or hard physical graft of becoming a PT in a gym (which had probably crossed their mind at one point), it?s easy to see why ?becoming a coach? is very appealing. There is no personal investment needed – just all your available money.

Outlaw of Attraction – My Own Experience

Forever the professional ‘maverick’ or so I’m told, I celebrate the diversity and atypical of body and mind. From burlesque bodies to paranormal minds, my specialism is probably best summed up in the field of transpersonal psychology (where we holistically explore human experience and development through mind-body connections and consciousness work). I work mostly with people who find themselves to be ‘atypical’ in some way.

As someone who has been involved with psychology, the arts and wellbeing for 20 years it has been interesting although frustrating to watch this sales trend emerge. In the past year or so, I have also been approached by a few life coaches (one still in ?training?). They asked me to explain:

  • ?how? I come up with my material,
  • ?how? I get my experiences
  • and ?how? I attract clients.

Truth is… that there is no ?how?, I just ?do?.

I?m curious by nature and I take positive risks in life, then reflect and take insight from the experiences. I then have the compulsion to share. Some people love the atypical (and even potentially trend-setting) work that I have done (including being a leader of the burlesque movement, creating a kind of ?cat yoga?, presenting snakes in schools as social learning guides, investigating alleged paranormal activity and developing techniques for increased sensory perception? and so on), and as a result, want me to be involved personally with their own creative development. They pay me for my time and insight and thus I am a ?coach?. 

However, I didn’t became a coach by design nor even desire. Instead I began coaching 10 years ago because someone requested that I be their mentor in burlesque. The thought of being a coach at that time was very daunting to me as I never felt ‘qualified’ – until it became apparent that I was wanted because I had a lot to share.

I still experience self-doubt like everyone else but I am eternally grateful to that first coachee for having faith in me, as I found my ‘calling’. I am someone who creates and delivers new unorthodox materials to support personal development. To also work one to one with others is so special, sacred even.

I also didn?t choose or ‘find a niche’, I have sort of defined my own niche: ‘creative personal development’  and this has been achieved through subverting the mind-body norms of our culture over the course of my life. I believe that new work needs to be created by each individual in order for transpersonal progress to occur.  

On a one to one coaching level, I therefore help others express themselves authentically from a holistic conscious perspective. We explore and present their ideas and identities in new ways. From stage performers, coaches, speakers and content creators to people transitioning in their private life e.g. gender, spirituality or career. I help my clients ?find their light?. (This reference to ‘light’ is key as it brings us back to the idea of trans-cendence and trans-personal work.) 

For me, the success of this concept is highlighted in nurturing self-expression of personal ideas, values and identity. This has occurred gradually over years, through experimenting on myself, being radically honest in reflection and the act of creating of the aforementioned materials, that people want and are willing to buy.  I still deliver my ?branded? material myself and have taught others to deliver it in their studios, schools etc too. I intend to make these courses available online soon too.

>>Pitch Alert!<<

Perhaps you have something to say but can?t find the words, or it?s your time to shine but feel stuck in the dark, or maybe? you too want to be a coach and lead others in your unique way but can?t find your direction. I call this Creative Personal Development and it?s a process of self-discovery, creative output and self-determination.

There is no template or formula for this that can bought and sold – because it is genuinely individual. You can read more here about one to one personal coaching with me.

My Totally Free Coaching Advice! LOL

Finding a coach: Look at old school coaches and think… would I pay for my child to have a football coach who hasn?t played football? Would I see a therapeutic coach who downloaded their (very interesting I?m sure) course but has zero hours of supervised practice? Would I take business advice from someone who spends their time touting for business?

Don?t fall for it – look for credibility not the long emotional sales pitch about overcoming hardship to Ferraris and dream homes, perfect lifestyles and ?abundance?. Beware of anyone who calls them self a legend or guru – these are terms other people apply to their mentors. They are by definition earned over time and not an egoic # for sales effect.

Becoming a coach: It may seem like a lucrative opportunity but ultimately, the conceptual coaching bubble will burst. It will burst because quite simply those involved in this iterative coaching sales business, are creating their own competitors, with nowhere to climb. Furthermore, because the sales are based on outlandish claims of wealth, status and success that very few actually enjoy, a sense of ennui and failure will take over and lead the backlash just as it has done many times over for MLM.

Remember whilst there are huge amounts of money being made through the selling of coaching, this is where the trap is.  It is easy to be seduced thinking you can be one of the makers. The reality is that you are very likely the buyer. You only make money if you make something that people want to buy. No one buys a theatre ticket and expects a role in the show or a cut of the box office. No casino has ever gone bankrupt because the gamblers were too good at gambling.

OK… now moving on to the exciting bit.

Doing it for real is so rewarding. I know loads of people who would make exceptional coaches in their niche areas of expertise and interest. So if the idea of sharing and helping others excites you then I think that coaching probably is a realistic option for you too.  I’d be excited to hear all about it.

So let?s have a think? here are some things to ponder and ask for help on.

Do you have a niche? Do you have direction? Can you communicate your expertise and personal story? Can you create and develop your OWN content? Are you willing to share your true and honest self with others?

If you are thinking of becoming a coach, first of all you need to know why and what it is you are coaching specifically. Otherwise it?s a bit like when a youngling states that they want to grow up to be a celebrity. A celebrity what? Sadly, there is a cross over here too where some become online coaches that simply sell their ?brand? – a personal brand with nothing tangible behind it. It?s another way to validate wanting to be an ?influencer? without having anything to offer other than sales influence. 

Content is key and if you don?t have it, you need to create it ? not buy, borrow, or rebrand what you bought from the last guy in the chain. Share good material from others of course, but with appropriate credit given. When you honour the minds of others you honour your own, and those of your audience.

If you can?t (yet!) create any content off your own experience, then train in some niche area of interest and work on yourself from there first. If you need help establishing this, get a bona fide coach to guide you. The primary question anyone should be asking themselves is ?how can I genuinely help others?? rather than ?how can I sell my brand??. Any genuine brand will sell itself, and you have to build it first. Additionally, it is so important to learn how to coach not just what topics and there are endless techniques, theories and methods to explore. It’s a matter of exploring across as many areas of interest as you can and see what you enjoy using and what you find effective. It doesn’t matter what someone else advocates, it is a matter of personal niche, personal service and personality. 

I?d further suggest that those interested in coaching examine and enhance their individual creativity so that they might ?come up with? their own adventures then take it from there. The ?secret? to my experiences and material and clients? It?s simple – follow your own nose in life, not a carrot dangled in front of it. If there is one being dangled, notice it and look to see who is dangling it – then avoid those people and return to your own path. Certainly don?t then let them sell you carrots and sticks to dangle in front of others.

Be curious, take risks and try new things beyond your comfort zone. Reflect. Share. Share for free. Share because you can. When someone asks you to share with them, you become a coach or a friend.

Or both.

 

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Do Not Search for Love…


In love, never seek someone to be your ‘better half’ or to ‘complete’ you – be the whole person you already are. YOU are The One.

Only when two whole people come together can lives be truly shared. You both need to have an existing life to share in – not be out to share in someone else’s out of personal lack.

We tend to seek out others romantically with notions of wholeness yet also individuality at the same time.

Ironically, we think we love them but actually it’s how they influence how we feel about ourselves that counts. Finding someone with whom we appreciate ourselves better is the aim – not someone with whom we will always feel inadequacy or anxiety. Or be in search of the ‘one’ based on criteria that can never be fulfilled.

In order to share a life with another we first need to have one to offer – not assume we will share in theirs and become fulfilled. Two halves don’t make a whole. They remain two individual halves forever bargaining and compromising for their own empty half to be filled and ‘completed’. Instead, be the whole you are and accept that only a whole other is suitable. Otherwise, what is there to share? How can you ever grow?

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Average is a Mean Illusion


What does an average mind or body look like? Where would we find one?

All our notions of ‘normal’ and ideal are illusions – in many cases ones we all collaborate in! Averages are concepts that only exist because of human VARIETY – how ironic!

Statistics are a great tool to understand populations or groups – but they do not define any one person in any way! This is where we often get ourselves all wound up.

Thinking we should tend toward any ‘average’ or ‘mean’ leads us in fear and to think unkindly about ourselves (and sometimes others too). The mean or average of any set is more like a numerically derived guesstimate of what’s there – and actually is less likely to apply to anyone involved!

When we ‘deviate’ in some way from the typical, or average… we are simply demonstrating that we are all individuals that can not be accurately charted.

So celebrate being a deviant! It’s natural and ideal!  

Every Body, Mind, Beautiful.

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Perfectly Presented or a Work in Progress?


Why do we all worry about perfection and presentation? Because we think everyone else is achieving it? Or that despite not being perfect themselves, they will judge imperfection?

Well… if they do, let them. If they are seeking perfection in you… it’s because they lack so much more in themselves.

Focus on being REAL. On being exactly who you ARE. This is TRUTH. Being authentic doesn’t require competition or validation! I for one am excited to be a continual work in progress and would shudder at being considered ‘finished’ – and up for consumption like a Barbie doll!

Real women aren’t immaculately presented in boxes, tied in place by the shackles of consumer demand and waiting on the shelf for false liberation.

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Dis-Comfort Zones

What if your perceived comfort is the very thing that creates your discomfort with your lot in life?

There is an uncomfortable truth lurking in the shadows of our comfort zones: they are more self-made prisons than the personal playgrounds or protective bubbles we like to think.

Despite its name, your ?Comfort Zone? isn?t necessarily a comfortable or happy place. Some people are comfortable residing in a space of intolerance, anger or self-pity; others even seem to thrive in an environment of high stress. Many refuse to leave such spaces despite being miserable.

So, why does recognising the boundaries of our comfort zones matter? Self-esteem.

We are not born with self-esteem, we grow it through positive risk-taking adventures. Through babyhood, childhood, teenage and for the rest of our lives.

As babies, children and young adults we need to be nurtured – ?encouraged to grow?. We need to be encouraged to take those risks to reap the rewards of discovering our own abilities and to do so knowing that we have support, such as going to nursery for the first time, making a new friend, holding a scary snake or petting a big dog for the first time, auditioning for a play, trying a contact sport, riding a bike and so on.

So the same for adults – we need peer and familial support and new positive risk-taking adventures.

When we are not nurtured or simply refuse to be nurtured as many do, and put up barriers or ?defences?, we end up walled in to a comfort zone of fear. We think the walls protect us but they simply keep us captive to our own demons.

We cling to our comfort zones typically because therein we have familiarity and predictability. Even if what is familiar and predictable is uncomfortable – anyone who has been stuck in an abusive marriage for years will tell you exactly that… they were ?stuck?.

So some force is needed to overcome the stuck-ness. This is why the decision to take a risk is crucial. The risk is the force needed.

Everything and everyone we love changes or leaves at some point or at many points, and so do we. From leaving a job, town or relationship to changes of career, lifestyle or mindset. So why stay ?stuck? expecting things to remain familiar? Surely this only can lead to anxiety and resentment? Loss is difficult but also a necessary part of growth beyond those comfort zones. Read more on how loss creates space for gain.

There is a difference between being uncomfortable and being in discomfort. Bring uncomfortable suggests there is something with agency poking at or harming us in some causal way and to be in discomfort suggests a lack of that which comforts us. Ironically, they both hold space for the illusion of a comfort zone. 

Until we move, take a risk and see what?s beyond our boundaries we won?t recognise either the agency responsible or what we lack, and we will continue to be our own captors.

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Preaching to the Subverted

Last Winter I was invited to speak as part of a panel discussion on the topic of transgender, hosted by Rev. Michael Hampson of the Church of England, at St. Margaret’s Church in Hornby. My contributions were drawn from my long experience in both burlesque theatre and in advocating psychological wellbeing.

My ‘angle’ overall was on the positive lineage of gender satire in theatre and my aim was to advocate the burlesque world being an ally to those trans people whose voices are often diminished beneath controversy and misunderstanding.

Here are some thoughts from my address. Parallels between church and theatre are drawn with a call to all to practice what they preach.

Gender-blending in Burlesque:

Like gender itself, burlesque is subject to a lot of myths.

Burlesque theatre is not a recent trend (although there is a resurgence of enthusiasm) and it is not an American form per se. It is also not equivalent to striptease nor even ‘posh stripping’ as some lazy newspapers (and even producers!) have expounded over the years. In fact, in equivocating burlesque to ‘stripping off’ for the sake of stripping off, they misrepresent a joyful sparkling jewel of historic satirical theatre. Besides, striptease is an artform in its own right, too!

Historically and in its contemporary form, burlesque is a multi-faceted genre of diversity one that includes and challenges societally perceived gender and body norms – although I feel today it has more room to grow than ever. Burlesque actually has a 2500 year history going back to Aristophanes in 500BC and just as it was then, true burlesque theatre still rocks the status quo through the very powerful medium of satirical humour. Essentially, performers work in detail to set up, present and then subvert perceptions of propriety/normality. It most often targets gender norms and seeks to question notions of acceptable behaviour e.g. how we ought to conduct ourselves according to our assigned gender identities.

In particular over the millennia, burlesque has dealt with how WOMEN ought to behave, in any given era, often throwing out anachronistic absurdities and double standards that still dictate today. Here is where stripping does fit perfectly – both historically and with modern relevance – because any amount of public nudity is still taboo for women, but not for men.

Double Double Toil and Trouble:

There is a prevailing, undeniable double standard that shames women’s bodies. E.g. On a hot day men can be publicly topless (regarded as distasteful at worst) yet women quietly and even discretely breastfeeding their babies, remains controversial and an ‘outrage’ to many resulting in women having to actually determine official ‘breast feeding friendly zones’. There’s an app for that.

Women are subject to staggering expectations of grooming, weight and genetically determined body proportions that men are not. There is an automatic sexualisation of women’s bodies that encourages shaming – both for the nature of being sexual and for their ‘adequacy’ of sexual attractiveness, whatever that means at any one given moment. Furthermore for the trans community, they also have to contest with a new form of critique – that of being regarded as ‘passable’ (whether or not they could, would or do ‘pass’ as a believable man or woman), which kind of be implies a default status of ‘failure’ as an identifiable being. The fear ignited by the ambiguity of such subjective impressions is where anxiety and self-loathing blossom. In theatre, the three graces (of the classical era) became a trio of ugly and necessarily ‘evil’ witches – an idea that prevails in our modern ‘culture’ where women are admonished over the unattractiveness of ageing or wisdom. There is too, an increasing concern for young men today who are also being emotionally targeted over body shame (typically for commercial financial gain, e.g. grooming, weight and muscle building products and services) in a similar way, but the long term prevalence of women’s oppression is undeniable.

As the Western marketplace for health and beauty has been directed by white straight male privilege for as far back as advertising has existed, the resulting notions of ‘appropriate’ gender roles and bodily ideals have been perpetuated by a communal participation – to the point of perceived ‘fact?’. Of course, like many ‘facts’, gender and body norms are entirely subjective and are in-fact subject to a changing landscape of belief.

As liberal as the world of arts is considered to be, it too is not without such biases of its own or as enforced by the status quo; there are often venue rules that only apply to female anatomy e.g. no nipples to be seen on stage (but male nips are fine). An irony is now raised in asking whether such rules apply to women or only to those with assumed XX chromosome pairings, per se. What of transgender women’s nipples? What of transgender men’s nipples? Or are these nips in some sort of policy limbo? As a producer I have yet to get a straight answer on this from venues.

Gaze, Gays and a new Craze:

Our cultur’s backdrop too, has the eponymous ‘male gaze’ in paintings, the arrests of Victorian music hall performers, the imprisonment of homosexual writers and the selective recording of history that has relegated herstory to bit-parts and supporting roles at best. The theatre was also constrained by male privilege for so very long (arguably still is), yet interestingly at the same time it was a relatively safe place to be subversive. Such subverting artists gradually affected change because there was a costume department and stage with a fourth-wall that permitted the suspension of belief and a sense of separation from audience participation. Here there were thinkers and risk-takers ready to write or perform and to sneak their ‘dangerous’ ideas in the stage-door (which is usually the back-door) and on to the public platform for consumption.

Burlesque theatre in itself is actually where we see the first women take up lead roles on stage – but they did so, in the male lead roles (let’s face it, all lead parts were male parts and you needed well, male parts to be allowed to play any part even if you were pretending to have female parts). Crucially however, these male roles came with an almighty opportunity for women to be heard and not just seen – for the first time, women had speaking parts with which to address a captive and willing audience. Dressed as feminised male icons, villains and heroes (e.g. Don Giovanni, Henry VIII, Robinson Crusoe, Bluebeard…), led the shows mocking the patriarchy of their day with their ribald speech, song and gender-blending figure-hugging modus-operandi. See Eliza Vestries and Lydia Thompson for some 19th Century gender-blending fun.

Burlesque was (and when authentic) still is essentially, a kind of adult pantomime with a socio-political undertone. In my opinion, what was really shocking about burlesque in Victorian Britain was not the fact that ladies had ankles (two by Jove!) and were in fact bipedal like their male counterparts, but more so that they were literally wearing the trousers and these garments symbolised power. They had for the first time, a public voice and they used it for derision. Whatever would be next? Opinions on things? Financial independence? The vote?

Not a far cry of “he’s (or perhaps she’s?) behind you!?” or even a gender neutral? “they’re behind you!!?” that we still see in pantomime today where young women play feminised lead males known as the principle boy (think Buttons, Peter Pan or Prince Charming) and in contrast to everyone’s favourite the outrageous Panto Dame – usually the local vicar or policeman. Again the subversion of gender and societal norms is clear: On stage we are allowed, permitted, to empower those without male privilege whilst we emasculate those who traditionally hold all the male-dominated community power. Underneath all the twinkling tat and titillation, lies a rather potent inverted power-dynamic.

Transpiration!

Burlesque was and is a playful form of exploring transitions – often we see performers transition in character and/or costume as their backing music and lighting jump dramatically between styles – from fully clothed to nude, from male to female and vice versa, from timid to bold, from repressed to liberated. Always in the positive direction of freedom.

Now more than ever, we see the same stages hold space for transgender expression but the stage is an oasis of relative safety amidst the real world of gender-driven power dynamics, fear and redundant social conventions. Through performance art we begin to really appreciate that our notion of ‘male or female’ gender itself is arguably a complex performance with no one defining aspect – a performance that each and every one of us is playing out, right now. We do it every day, from the moment of birth, as we learn and play, at home, school, work, and online. Whether ever on stage or off, it is one life-long personal interpretative dance sequence.

The trick is in learning to play and perform together, not as segregated by conceptual differences. We must share our props and costumes – and to not only allow all people to move and adapt the roles they were randomly assigned as babies, to encourage play, develop and perhaps even to move to an entirely new role that is more suited to their unique being. In the school play of life, some of us get the part of the prince and others the princess but most of us are cast as generic genderless, mute townspeople or background trees. The roles assigned may seem important at the time – but in reality they are all equal starting points for our individual progress because they don’t ever define us as people.

In Other Frocks:

When I first received Rev. Hampson round for tea and cake as a new resident of his parish, I was concerned that he might not embrace some of my ideals as exemplified in my decor choices; namely the multitude of pagan icons on the walls, the pet pythons, the morbid collections of Victoriana and our Holy Toilet of Wonder. This is the tiniest room in the house – a downstairs loo festooned with rosary beads, crosses, reclaimed church apparel, dancing 3D religious images, Buddy Christ (from the film Dogma) resting on the toilet brush, choral music playing from a light up nativity scene and portraits of myself as “Mary Dragdalen”, my other half as “Jon the Baptist” and our friend smoking a roll-up as the “The Virgin”.  I was delighted to hear him laugh heartily from the confines of this unusual confessional and I knew I was on to a different breed of cleric. After much discussion about art, humour, comparative religion, gender, metaphor and the power of provocation, I was excited to become involved in his Peace and Justice Week of panel events and to learn of his own story of controversy within the CofE itself – where he has tirelessly championed for the inclusion of gay marriage services.

From having participated in the Peace and Justice Week it is a breath of fresh air to be able to see that there are many such enlightened clergy today challenging their own institutional status quo, their direct contemporaries and congregants in order to support the inclusion of all, regardless of sexuality or gender identity. This is no mean feat considering the staggering history of church-led persecution and its mercurial (often ironic) interpretation of scripture to exclude, punish and create a culture of fear and intolerance of various groups of people. Colossal mistakes of the past are to be learned from and clerics today have more autonomy to lead effectively and in line with the core message of their faith – one of universal love. For example, Rev. Chris Newlands (Lancaster Priory) went all the way to the General Synod to pose a motion for services to recognise gender transition. The result was that the Church of England has created new liturgy meaning that trans people (who had been baptised or Christened in their former gender and name), are able to ‘re-introduce themselves’ to their community and to God.

Regardless of how absurd it may seem to some (in either camp) to draw parallels between burlesque theatre and the Church, if we can all put our trendy or moralistic prejudices aside and see the people, there is hope for ever more celebration of our collective and individual being, regardless of whether you believe in creation or cabaret.

In in the spirit of moving forward together, we need direction. We must let go of misdirected anger, grudges and prejudices that we often levy at aspects of the perceived patriarchy – perhaps the church, the government or even society itself. Yes, there is history (and herstory) and it is to be learned from. We all could practice what we preach and it seems that burlesque theatre and the church might just be singing from the same sheets – albeit if it’s in a cat’s choir.

A further theatrical parallel is clear when contemplating the whole point of the church is in being a host to and also representative of Jesus, often described as ‘the Host’ that ministers to the community. Successful variety shows rely on a great host  – one with commanding skills of influence, through grace of wit they offer the audience ‘the way’ to engage on both sides of that invisible 4th wall or ‘realm’ .

Hosts with the Most:

As In the variety show that is the church (it’s not always a media shit-show), some churches have ditched the dogma and where Jesus is referred to as ‘the Host’ – he is still regarded as a renegade going against the status quo of his society… and from what I’ve read in wider terms, he seems to be all for pan-sexuality and gender equality. Perhaps now,  the church, can introduce people to one other as souls beyond gender and encourage more gracious support for each other, applauding each other’s performances, however uncertain, and with however much room still to improve; both there in the theatre of the church, and out here in the world.

Our burlesque show hosts always encourage the audience to give in to rapturous applause and to make as much noise as they can – to whoop, cheer, encourage and ultimately to show Love. We often joke that we need the applause because performers are rather needy people.

Big laugh… but there is truth in this.

Keeping the Faith:

It is important to recognise that needing a show of support is not a sign of weakness. It is in fact a request for solidarity because to get on stage in front of strangers (especially those who have paid hard earned money) takes guts. In fact, it takes more than guts – it takes a special kind of Faith. Faith in others to understand or at least, to listen. Like all people secretly do, performers openly crave acceptance and praise – but they know the risks and are willing to take them to be heard. Even in acts who do not use their audible voice, being heard is about the sharing of ideas, a fundamental truth about the self – an encoded message sent out in to the dark in the hope of some kind of response.

Extending the theatre as a metaphor for life, by virtue of their own courage, transgender people are exposed on the world stage. Every day in the media, at their workplaces and schools, at home and in play. They cannot escape to the green room – because they are not actors. They have emerged beyond performance, the masks are off and they are the authentic jewels.

It’s time that burlesque theatre reminded itself of where it came from, so that it might continue toward a more inclusive future. One without the body and gender shame for all. Striptease, pinup glamour and political whimsy are entertaining but hardly addresses the patriarchy, the pound or the potential for change with any power. It is time to revel once again in the taboo and play dangerously with those matches and mismatches – that just might ignite a revolution.

Enlightenment:

The Church of England are, rather ironically, making like an ecdysiast – the serpent and the stripper. They are shedding their skins. Peeling off their once oppressive robes and stepping out into the light. We can all take inspiration to lose our dogmas and be bold in the simplicity of individual freedom. As ecdysiasts with a sense of humour, we need to scale up our operation.

Whether we go to church in the morning or cabarets at night, we all stand together in our vulnerability. Just as a performer can be naked and fierce in public they are yet gently bathed under a lighting rig’s colours to flatter or augment their realities.  Stained glass images can be beautiful to behold, we must not forget to go outside and see the source that makes them possible – that one true light that shines on all of us equally.

As a producer I am calling for more trans performers to get in touch – for both stage and/or for coaching.  Visit or apply to join the Ministry of Burlesque mission here. 

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Loss(t) in Space

Loss occurs in many ways. It hurts, but must we always Iose?

In the past year I?ve seen friends and family experience different losses – the loss of loved ones (through death, dementia, divorce and even unresolved dispute), the loss of personal ability and opportunity as changes occur in health, job position, home or career move, others have gained in beautiful ways (having children) and yet lost a sense of their own identity. It has me wondering? 

What is loss? 

All losses involve some sense of a loss of control. Loss always takes the form of an event (or series of events) in time, that marks significant change, generally creating anxiety or/and sadness. So, in spite of all the anxiety and sadness, what opportunity does loss create?

It occurs to me that maybe in thinking of loss as an event in time, we take it to be one that reveals ?space?, creating opportunity for growth.  The old space-time continuum conundrum of life. I can think of times when this has been true – the freedom felt after the break-up of dysfunctional relationships,  in not gaining acceptance to one thing we are often led to more original projects and so on. In each case, we have been granted space (or had it thrust upon us) to reflect, because of a loss.

Why space? 

When we lose someone or something, we often feel a sense of space on a scale – either vast or restricting. For example, we often feel lost, afraid, vulnerable, alone, empty, that we might float away in silence to some forgotten zone of nothingness. But sometimes, it?s the opposite and we feel trapped, crushed or suffocated? Either way we become overwhelmed by ‘space’  – in either direction by the amount of space we perceive. Too much and we are lost in the vacuum or, too little and we are crushed.

Either we fear the loss (of control) and have too little space to breathe or we fear the loss (of control) and we have too much to stay anchored. Sometimes we swing from one to the other. Either way, we ultimately feel we won’t cope and might not survive the event.

Perhaps the person, pet, role or circumstance we have lost was in fact ?holding space for us?, whether we knew it or not. To put this expression in context, therapists often ?hold space? for their clients and this means that they take on a role of being a ?container? that holds empty space – like an empty bucket in to which the client can pour their feelings and thoughts (without judgement). The feelings and thoughts are thus ?contained? within the space (and time-slot).  

Sometimes we feel overwhelmed day to day and need another person, role, project or outlet to pour our overflowing selves in to. Those special people, roles and outlets are our containers. When they are lost or taken away, we have nowhere to pour. Or, contrastingly perhaps we were the containers, holding space for others who have gone e.g. a friend or relation who needed us in their sunset, communities or projects that gave us a sense of purpose, identity and so on.

Having the ?wrong amount? of space. 

So, when our losses occur, it can feel that our personal space has been compromised. 

Resolve can come from acknowledging and managing our mental and emotional volumes, by adjusting our perception of the space we occupy we can feel more comfortable just being with our emotions and, where there is overflow be willing to pour in to new containers – art, sport, animals, meditation, others, community groups… 

Space is not a tangible asset that comes and goes. It is a perceived concept formed across our senses and emotions. Someone or something departing cannot take space with them, nor all that you poured in to it nor can they take away what they shared, when you held space for them. When a loss occurs, the space does not go with that person or circumstance.

The grieving party can therefore choose either: to avoid the space or explore it.

Our losses can lead to our most precious gains.

We create our spaces as we project ourselves in to them. By exploring, we expand into that space, fill it and grow. Space is created by us as we perceive it.  Just as when we pour in to those containers, we are projecting into and filling that space.  The space is never lost.

Ultimately, when we lose we also have opportunity to gain. We may lose our ‘containers’ and grieve or be angry for this but if we move in to the space that was held, we grow.

 

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Aspire to be without Ambition

Ambition is rather IFFY….

It is often seen as something to be proud of – or a personal quality that would ensure ?success?, whatever that is… but it?s all so hypothetical and future-dwelling. 

I say it?s time to put ambition on hold and be inspired in the moment.

Ambition involves competition and therefore comparison to others, with that comes fear of not being ?first?, resentment, envy and self critique hammering on self esteem the success of ambition is measured through unhelpful comparison to the perceived superiority or inferiority of others and their achievements.

Contrastingly, aspiration dispenses with the external yardsticks and focussed inwardly on personal potential and  the realisation of growth.

In moments of mindfulness, we can uncover how we really feel, now in the present and see what we want. The answer will likely be far less complicated than that ambitious road or destination fraught with limits set by others. It might look simply like ?I want to feel I contribute to a better community? or ?I want to express my creative ideas? or ?I want to be a dedicated parent? or ?I want to provoke change in my area of interest? and so on. It is a place of harmony within yourself and not some convoluted series of comparisons with others. 

How much time do we spend in comparison – driven by ambition –  when we could already be breathing in our inspiration and breathing out as we aspire? 

Breathe in, Breathe out… is literally to inspire, aspire…

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Why burlesque could be good for you.

Why burlesque could be good for you.

Shadow of the Mind. ?K. L. Allan

In the face of ever-evolving social and artistic controversy over burlesque as a form of entertainment, I?d like to volunteer my tuppence-worth on an overlooked aspect of participation. ?As someone who has meaningful experience in both the promotion of burlesque theatre and mental health interventions, I believe that burlesque can be more than just good fun ? it can be good for your mental health.

As any wellbeing practitioner and therapy-frequent flyer will know, most of our statutory and established practices for overcoming and managing ?common mental health problems? (including depression and anxiety) are based on a ?CBT approach? – that is an approach that is rooted in evidenced-based ?cognitive-behavioural therapy?. As the name suggests CBT focusses on the relationship between a person?s cognition (their thoughts and thinking styles) and their behaviours (what they do and equally what they are not doing).

Many people experiencing low moods and worry tend to get stuck in vicious cycles where negative and intrusive thoughts collude with harmful habits (or inactivity) ? to form a symbiotic relationship of emotional distress and psychological turmoil.

Note: For the purpose of this blog, I?m taking a simplified CBT model as the basis of good self-help practice and is intended for reader relevance i.e. those a) experiencing lower levels of anxiety or depression and b) those who might be interested in the celebration and exploration of gender and body confidence. It is not aimed at those currently in?crisis or experiencing severe psychological distress or psychosis. Please consult your mental health professional or?approach your GP for advice, if you suspect you are in need of help. This is an article of personal experience and not based on any official advice or guideline.

In the case of anxiety, there is an underlying unyielding intolerance to uncertainty ? a desperation to feel in control of that which we can?t even predict. This leads to ?checking behaviour? all the time ? checking things are safe, checking how many ?Likes? we have on a FB post or Instagram image, checking that we haven?t upset our friends (by repeatedly asking obscure questions to the point of irritation), checking our email has sent and was word perfect, checking that our multiple alarm clocks are correctly set, our doors are locked, and so on? I?m sure I am not the only one to have had the very modern compulsive need to check the on/off switch of a suspect pair of hair straighteners – ?that are sure to explode killing everyone, when you least suspect it?. (If you want to know my solution to this? just ask, it?s ridiculously simple.)

Experiencers of depression and anxiety typically hold a low opinion of themselves and of their personal ?worth? as a member of their wider community (often by unhelpful comparison with others). Consequently, they experience excessive worry (or even obsessions) about what others think of them. These emotional states and negative thoughts are often confounded further by feelings of guilt about self-care and doing anything ?just for me?. Ironically, in not doing anything for themselves they have no way to gain a positive self-appraisal or consider their worth as a contributing member of their community.

They feel that their worth is defined by others ? either in comparison to (?I?ll never be as a good as Jeannie McTwinkletits??) or, in service to the needs of others (family, work, village hall and so on). As a result they find themselves avoiding self-care and cease any investment in the self. They stop going out socially and, where their mood ultimately takes a nose dive, they also disengage with their own hobbies and interests taking on a sense of general pointlessness (and worthlessness).

In theatrical terms it?s a lighting cue for a fadeout to black.
Exit: The leading lady?
Enter: The shitty understudy.

Unlike most theatrical practices, burlesque ?breaks the fourth wall? and in a beautiful metaphor for mental health awareness, it allows the protagonist to call out directly to the audience and tell it like it is – as the hero(ine). This is what burlesque is supposed to do ? give a voice to the voiceless, the repressed and the misunderstood through the medium of satire.

Well, I can lend testimony to this as my personal motivation to perform was born of a desire to challenge my own body anxiety. Of course, most would not think that turning oneself in to a public spectacle of ironic nudity would be a natural solution to this issue, but here is why I say it is so…

Over 15 years ago I started a performance company (Ministry of Burlesque) on this very same wellbeing hunch ? of directly challenging negative self-perceptions with ?positive risk-taking?. This (then considered bewildering) mission of mine helped at least in some small part, to launch a beautiful movement. Now looking back I can clearly see that my intuition on this was not just personal recklessness, wishful thinking nor a spurious justification to ?dance? around Glasgow in my oversized frilly pants.?Nor was it part of my ?secret sex-worker agenda to pay my University tuition fees? as The Sun* unhelpfully misinformed the public at the time. Oh the anxiety that caused.

Mal Magazine cover

So? in briefs, here is a quick outline of what I have observed. I hope it is interesting and perhaps it might fuel a bit of discussion, debate or even experimentation?

Performing (or even attending as a purveyor) burlesque hits all the marks for a good piece of CBT homework, if done with positive intentions and sensible judgement. Doing so challenges your thoughts, prompts you to do something different or, to do or look at something familiar, differently.?After all, it is in our differences that our individual beauty is reflected.

 

Performing burlesque involves the following:

  • Positive risk-taking.
    Not reckless risk taking! But intentionally taking positive ones calculated with reason – which can be scary and new to us all the same. In taking risks, we create opportunity to reap rewards and expand our own boundaries. When we don?t push ourselves out of our comfort zones, we don?t learn anything new about ourselves. It is ok to try burlesque and decide ?it?s not for me?, in fact this is just as good an outcome as deciding that you love it. Either way, you grow.
  • Challenging your own preconceptions.
    Challenging your own long held ?NATs? (negative automatic thoughts) about body shaming, gender roles, nudity and social propriety is essential to growth. These are the miserable or nasty thoughts that seem to just pop up and plague you, as though they come from somewhere outside yourself like ?women shouldn?t wear so much make up it looks tarty?. They often come with ?should? and ?ought to? statements in them?)
  • Accepting uncertainty.
    On stage and off stage. Will it be all right on the night? From Costume malfunctions to tumbleweed responses, you will build resilience to the uncertain nature of the world in which you live. The onstage is reflected offstage too and not just preparation, backstage and online but in your regular life aspects too, what once seemed like uncertain terrors might now be put in to perspective. What’s the worst that can happen? Really? Is that likely? Find out what is the best that can happen?
  • Social Engagement and Acceptance.
    You can make friends within a bustling community that celebrates body and gender differences, at a pace you can manage. You can take dainty toe-steps or you can wade in both on the ?scene? in clubs, expos and meetups or, online. These people too share something in common with you and are happy to accept you as you want to be – yourself or even as an ?avatar? or stage-persona, allowing you some breathing room behind a costume or alter-ego. The caveat to this though is to remember that you are doing so and that others may be doing the same. You may not be making genuine authentic friends with anyone, as you are still in many respects ?performing? in a fantasy world. Taking to extremes, this can be an issue ? but that is for another blog.
  • You will be an outlier, a heroine, a pioneer!
    You are part of a movement that challenges the status quo. Being an outlier with a purpose means that you are making a massive contribution to the community ? be at the arts, social or political. You will in tandem become more resilient to criticism and, can better deal with the world?s jerks and trolls.
  • Quick gains.
    Burlesque as a performance form is very inclusive and accessible that doesn?t have prerequisite skills or training to start.
  • Physical exercise.
    Exercise like dancing helps to tackle body confidence issues with toning the muscles and of course benefits your body and mind from improved cardiovascular function to endorphin release. You get those happy hormones and lasting feel good effects 🙂
  • Enhanced Creativity.
    Flexing your creative muscles in creating an act involves as much or as little time and effort as you want to put in. Having this purpose gives you permission to take time out to do the following:

Listen to music to be inspired?
Watch old movies?
Go to the theatre?
Design and make costumes
Shop
Write?
Dance, sing, play etc
Learn new skills – clowning? Aerial? Singing? Make something disappear somewhere interesting?
Research beautiful, weird and wonderful things – all guilt free!

Of course, there are always risky-risks involved in any risqu? risk-taking and so here are some practical guidelines to make it as positive as possible.

Your issues laid bare?

Kittie by Jessica Dougherty

I?m sure we have all heard someone comment on /scoff at a performer who appears to be ?working out their issues on stage?. This is not necessarily a bad thing, in fact the process may be cathartic or experimental for them. Just like all other areas of artistic expression, mental health is a huge motivation, inspiration and influence. However, this needs to be considered with some caution as laying bare your soul can make you very vulnerable to the interpretations and criticisms of others – others who do not know you, your story nor understand your intended sentiments (which let’s face it, might not be as clearly expressed in dramatic form, as you intended). We all grow and refine our expression over time whether it’s burlesque, writing or painting, so be kind to yourself and keep your stage message simple and clear.

  • Therapy.
    If you are in professional therapy, then it?s important to discuss your interest in burlesque/ intention to perform with this professional and what might be involved for you to participate. For example… you may need to consider gradual adaption to new behaviours or gradual exposure to triggers is advisable, e.g. If there are body issues then nudity might not be the best first port-of-call. If there are social anxiety problems then a crowded backstage might not be good for you to dive in to.
  • Teachers.
    As therapeutic as performing burlesque might be, that doesn?t make burlesque teachers ?therapists? in any way. It is important to have good guidance not only to maximise your personal potential in performing but in gaining wider opportunities for personal development. Therefore it is crucial that you do your homework on teachers. As a fairly new and largely nonspecifc genre interns of skill sets, many teachers are riding the bandwagon and have made up their accolades. I am aware of two who have built up seemingly credible businesses based on careers they have fabricated and awards that don?t exist/were never given to them. Good teachers don?t need/or want to do this. They will be honest with you about their own experience and limitations – it?s about what they can and can?t do for you. Be wary of those who talk a lot about their amazing careers. If it?s genuine, and exists why do they need to tell you? Also be wary of those who talk about ?empowerment? and self-esteem. Very rarely are dance teachers also qualified therapists. Good teachers won?t waste your time talking about themselves nor try to recruit you in to newcomer showcases /contests (how could they possibly know what?s right for you before you even begin?) Sadly I?ve seen women damaged by so-called teachers (who had no business selling burlesque never mind burlesque as some sort of therapy), bullied them in to tassel twirling and stripping at their ?graduation shows?.
  • Filming.
    Often these performances are filmed without consent and put online (this is not ethical but many don?t or won?t see the problem). Such videos can go on to create more anxiety e.g. With work colleagues and family members seeing it. Public comments can be cruel and often those who were bullied might draw their persecutors attention again… relationship problems etc
  • Competitions.
    These talent contest format events are generally not healthy. For a number of reasons but most obviously that in taking part, you are permitting strangers to judge you. Why would you give anyone that power? On what authority is ANYONE to judge you? Is this fun?
  • Bullies and trolls.
    I?ve been on the hot and pointy end of this stick many times, especially in the first 10 years. The rumours spread have been astonishing ? from my use of ?mind control powers? over the best performers and my ?manifesting? myself as a ?dark spirit? in to the bedroom of a detractor, to my ?hiring assassins? to wipe out other promoters?. You wouldn?t believe it, although incredibly, some people did!
    My experience was on the extreme end of things. I had death threats, harassment and have been stalked ? even by my own customers who have since set up as teachers and promoters of burlesque (caveat emptor). But then, I was a visible figure at the forefront of something interesting creating something (MoB) that others desired to be part of. I couldn?t please or include everyone and those I didn?t please felt justified in bullying me and copying my work to the point of direct imitation. That?s life – life through a jealous lens. ?Don?t be scared by the trolls ? if I can find this hilarious in hindsight, you can tread the boards already laid out for you, any bumps underfoot just remind you to keep it real.?This was the calculated risk I took – and for me it was worth it as I have also met amazing people who have inspired me and have been privileged to have been part of others? journeys; and I continue to meet people today with whom I?m honoured to coach.
    Here is my advice in another blog post, on dealing with dafty trolls and bitches:

    Gossip: A Bitter Pill – but only poisonous if you swallow it…


    or
    http://www.ministryofburlesque.com/faq-you-dealing-with-gossip/

In conclusion, I think it is fair to reiterate that it is important to recognise that burlesque is not in itself any form of therapy and its proponents are not therapists, however, embarking on your own burly adventure has all the capacity for therapeutic self-help.

A good example of what I term ‘creative wellbeing’, burlesque is an opportunity for personal development. ?Positive Risk and Reward? are positively correlated and that where reason and sense should be employed in safeguarding yourself against the pitfalls, the same sense and reason should equally be used to encourage a sense of derring-do. The key to wellbeing success in burlesque is to find creative ways to peel back the layers of self-doubt, to let your mind dance freely without restraint and your authentic spirit shine in the spotlight of your unfolding life.

*I refer to such publications as ?noise-papers? rather than newspapers as they scream out unintelligible obscenities from the gutter shelf, rather than communicate news.

Please note that help is available through the NHS to tackle issues of mood and anxiety, don’t suffer – start your progress today by talking to your GP. Many of us have been there already, you are not alone.

For anyone experience crisis please know that there is help available on many resources helplines and services including in presenting yourself to A&E:
https://www.nhs.uk/conditions/suicide/

 

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Anxiety – It’s Nothing to Worry About


Often when we are anxious, we worry about everything. But…. Everything of course, is no-thing in particular.

Furthermore, we fixate on our version of past events or future possible mishaps – and fail to see that the only time that ever exists is the ‘now’. Quite literally we worry about nothing.