It’s ok to be tired.
There’s so much messaging right now to scale back, take a break, or clear our plates. Which, like all advice, is good circumstantially.
Sometimes we can do that - cut out things that aren’t important or worthwhile and open up beautiful pockets of productivity or rest.
Realistically though, it’s just not like that most of the time. Some seasons are consuming. If it happens that you are in one of these seasons, I’m with you.
If you are fully booked with things that feel draining or negative, first of all, I’m sorry. Life brings all types of seasons and this is just one of them. Keep doing your best to see the small joys and care for yourself.
If you are fully booked with wonderful things, then enjoy them. Yes you may feel exhausted, but we can be both joyful and worn out.
Either way, try not to give in to complaining about your tiredness. Our culture would tell us us to wear our busy-ness as a badge, but resist the urge. Wear your joys - step into them fully and be present - but try not to elevate busy as the goal.
See if you can embrace even a small aspect of this station stop on your journey. Be present to the things that make you pause or smile and soak them up. Know that nothing lasts forever, so do your best to keep your eyes open and take in what’s around you as you walk through this very real but also impermanent season.
Finally, you may already feel that you have taken on too much, but that’s often when we give up and take on even more. Learn to draw a line even if you feel you’ve already walked too far. Keep practicing saying no when you really need to.
Hang in there. Stay the path. Bring yourself to the present moment.
A new season will be here soon.
When I started blogging regularly near the end of 2020, I was just looking for an outlet - I had just started my yoga teacher training, was teaching completely online, had no gigs to prepare for because of the pandemic, and more free time than I’d had in years.
It was great to have somewhere to flesh out ideas about teaching, yoga, being a musician - whatever was on my mind (the benefits of writing something I wasn’t sure anyone would read was feeling that I could freely take my choice of topics)!
I wasn’t sure if I would continue writing when things went “back to normal” (what is normal now, anyway?) - I was writing a lot during the time that everything was shut down.
As we all got busier again I realized that I didn’t want to stop writing, but I needed to give myself a few perimeters so I could stick to it (keeping up with the topic of last week’s blog here, I needed some constraints to keep writing creatively).
I settled on a weekly blog, published mostly on the same day each week, and for the most part that’s worked well with my schedule and lifestyle now that my calendar has filled up again.
One of the things that I wasn’t expecting to come from sitting down to write each week is the way my willingness to be open with others would change. By allowing myself to write out my teaching methods and philosophies, feelings about career choices, ideas about yoga and meditation, etc., I have been able to solidify concepts, ideas, and goals for myself.
Blogging has given me a space to practice talking about things that are important to me, which in turn lets me feel confident in conversations with my colleagues and students.
As someone who truly enjoys their privacy and solitude (only child here!), I’m still surprised at how much I’ve enjoyed making new friends online and putting myself out there a little bit more. It helped that I did it in a way that felt genuine to me - I love writing, and am sure I never would have considered or stuck to a video blog, YouTube channel, etc..
Beyond feeling like I’ve given myself more time to think about important topics in my work, the most enriching thing about engaging with other musicians has been learning the similarities of our stories. For all the ways we’re different, there are so many commonalities that come up in our training, performance, personal struggles, and interests.
I think as musicians we can often feel alone - most non-musicians have a hard time understanding our work hours, the types of jobs we have, and the pressure we feel around our performances and skills.
But I also think that as musicians we often tell ourselves we are alone - that everyone would judge us or disregard us for feeling nervous or debating a different career, that no one else feels those things or was a late bloomer musically.
The reality though is that it’s all in our heads. If we really start to listen carefully to others and open up to them in genuine conversation, it becomes clear that what makes us all the same is our humanness - we feel pressure, have fears, live for a great performance, question our choices, commit to doing something unique and demanding - and the way we reconcile that with our work and artistry.
I suppose I’m sharing all of this as encouragement - that if you feel like you want to share somehow or get to know those around you more, it’s worth it. Listen to your gut and find genuine ways to start putting yourself out there that aren’t just performances. There is so much to gain from enriching our lives professionally not just in performance, but in communication and building rich support networks.
Some of the things I’ve started doing over the last two years are still surprising to me, and might even feel a little silly, but it's hard to imagine not doing them now:
I hope that this leaves you a little inspired to try something new and find outlets for yourself. What are the ways you could explore your unique interests and skills to connect with others? I would, genuinely, love to hear about them.
I had a great conversation with a friend this week where we were discussing right effort, the way our thoughts shape our actions, and specifically, how we use our thinking to avoid challenges and challenging work.
It was a little light bulb moment for me about how what might feel like a persistent self-critical train of thought might actually be a sneaky method of avoidance.
Think about how often we make critical statements about ourselves in our thoughts. We see someone performing well and think we can’t, or we look at someone who is in shape and think we could never manage the self discipline. Perhaps when you are practicing you have thoughts that some aspect of your playing will just never be very strong.
In some ways these thoughts can feel helpful, even productive. It feels like we are identifying the places we are deficient, that we are creating a laundry list of ways we’d like to be better, and selecting things we will work on later (probably).
But are we really creating a productive task list? Or are we repeating a predictable, easy list of “things to do” that makes us feel like we’re getting somewhere, substituting it for actionable steps or objectives?
Being a good musician requires us to think critically, but the quality of the feedback we are giving ourself matters.
The next time you catch yourself thinking a generic critical statement in the practice room, see if you can catch it and challenge yourself to go deeper. Not just identifying what is bad, but really naming the specifics - what do you want to change and how you could do that. Even if you don't land on the right solution on the first try, which we usually don't, you're moving in a productive direction.
Do your best to keep seeing the moment in depth, and try to stop those generic critical thoughts from pulling you off track.
Have a clear intention for your actions and keep looking close to avoid getting caught up in generalities.
Of course this isn’t as easy as just saying something needs work and moving on like we regularly might. Our usual laundry list of critiques does serve a purpose - it lets us feel like we are accomplishing something.
Changing our habits and getting to the root of our critical thoughts doesn’t have to be painful, though. In fact, I think it should be the opposite. As we start to see the results of employing truly critical thinking, we’re motivated to keep up the good work. You might even feel less bad overall because you are no longer simply identifying things you don’t like about yourself or your habits.
Creating a healthier approach to critical thinking comes from right effort, curiosity, mindfulness, and a willingness to sit with some discomfort. By making our efforts more intentional we can have a more equanimous approach to ourselves and the things that are important to us.
Have you ever heard your teachers say their goal is for you to “teach yourself”?
It’s a common goal in music for teachers to discuss this concept, because at some point every student steps out on their own without a teacher they see each week to keep them on track. Although we can always choose to work with a teacher, no one knows us better than ourself. We all become independent learners at some point.
When we’re a student, growing the ability to teach ourself can look like taking our teacher’s advice about practice techniques, time management, listening, etc., and learning how to apply it appropriately in the practice room. During this time in our development, we still get to check in each week to make sure we’ve applied the tools correctly and are moving in the appropriate direction.
What about after school? We don't all go into teaching, but I've learned a lot about teaching myself from teaching others. I view my students very objectively - my goal is always to really see and hear what they are doing, notice what is holding them back, and find creative solutions that work for them specifically. (i.e. My mean inner critic never comes out when I’m listening to a student the way it does when I’m “teaching” myself.)
Beyond the reality that we are much meaner to ourselves than we are to others, there’s also the fact that we usually learn to guide ourselves at the same time we lose both our access to private lessons and the structure of music school. When it’s up to us to create our learning structure, that can prove a large hurdle in itself.
So when we really get down to practicing and improving on our own, how can we balance (or just plain shush) the inner critic who always has a lot of mean and distracting things to say but not nearly enough productive feedback to give?
I think there’s something missing from the whole process of the way that we are taught to approach teaching ourselves, and how we are taught to manage our fear and self criticism from the beginning.
This is a recent realization for me, brought on by a truly inspirational session of George Mumford’s mindful athlete course. During that particular session, it came up for a few people that they still feel so much doubt or anxiety doing the things they are skilled at. That as we build skill and expertise, we can often feel even more susceptible to outer judgement, and especially to self criticism.
In these scenarios where we know that we are able to do something, but afraid to realize our inner masterpiece (as George calls it), we can feel paralyzed. How do we keep moving toward our goals without getting distracted from right effort by our doubt and self criticism?
When we’re really being vulnerable and pushing ourselves it can often feel like our faith or trust in ourselves, and what we’re doing, has vanished. We can be distracted by the difficulty and demand of what we are trying to do. What we need is to cultivate trust in ourselves, our performance, our message, and our ability to show up in the way we need to.
Personally, I can feel overwhelmed by perfectionist thoughts, and this understanding that the mental barrier is arising from vulnerability and trying something challenging makes it easier to address.
How do we address it exactly, though? How do we cultivate trust?
See the moment in depth:
* Either reflect back on when you challenged yourself and felt vulnerable or try to experience that moment deeply in real time.
* Were you scared the entire time? As you look deeper, you will realize that there is a lot more nuance to it than that.
* Are you self critical the entire time? Or can you look with more intention to see beyond the self criticism and notice all the ways you know to help yourself practice well and grow your playing.
* As you start to see the truth in depth, see your fear and your inner critic, and also see how they intertwine with the entirety of your experience.
As you start to become aware of the truth - the depth of your experience - you will become more relaxed and observant which allows you to move forward moment by moment, doing what you know to do. You can focus on right effort.
Teaching ourselves is an exercise in mindfulness - how are we speaking to ourselves? What are we paying attention to, and do we need to shift our attention? How are deeply are we experiencing the moment?
The objective is not to remove our doubt, but to make doubt the tool for learning. Know that doubt shows you where you can grow.
At some point during the same session of the Mindful Athlete George said, “when you want to learn something, teach it.”
What better way could there be to grow as a musician than to learn to mindfully teach ourself?
I have been reading, and thinking, a lot about time lately. Then again, doesn’t it always seem like we are thinking about time?
How much can I get done today, how much is left to do, there’s not enough time to cook or do laundry, how many more students could I teach, etc…
I’ve just started reading Four Thousand Weeks by Oliver Burkeman, and already it has made me reconsider the way we perceive time and how we’ve come to interact with time the way we do.
Just before starting this book, I had a conversation with my husband that I never imagined I would have - I actually said out loud that I would like to be less busy.
As musicians, we’re primed from an early age to know how to be busy successfully, and that to be busy is to be successful. But lately, as my plates continue to fill with activities that feel an awful lot like busywork, I’m wondering how much of that actually equals success?
If I am constantly teaching but never have time for the deep, intensive practice that is required to perform the way I want I am busy, and maybe successful? What if I consider the type of students am I teaching, how well I am teaching, and how much my performance abilities suffer - do I still feel successful?
If I never have time to sit down and flesh out new ideas for classes and workshops or to codify what I am learning from teaching and performing, I am definitely busy but what about successful?
If I can’t enjoy time with my family or doing activities I love because I am working so much, it’s possible I am both busy and successful, but not content.
All of these questions are very personal - we all want different things, and we've all reached varying levels of achievement to this point.
As I was reading Four Thousand Weeks last night, I came across two passages in the book that really made me pause:
“…you have too much to do, so you try to fit more in, but the ironic result is that you end up with more to do. The worst aspect of the [efficiency] trap is, though, is that it’s also a matter of quality. The harder you struggle to fit everything in, the more of your time you’ll find yourself spending on the least meaningful things.”
“The more firmly you believe it ought to be possible to find time for everything, the less pressure you’ll feel to ask whether any given activity is the best use of a portion of your time.”
I can relate to these statements at my core. I’ve had that feeling so often that time is slipping away and that I never quite get enough done to really treat myself to spending time on the important stuff.
It’s exactly how I was feeling when I said I’d like to be less busy (it’s still seems weird to say that out loud!). Isn’t that why we work so hard in the first place? Not to add more to our plates, but to be able to choose what’s on it in the first place.
Even in just the first few chapters of Four Thousand Weeks, Burkeman makes the point that as we get more skilled and gain more resources our culture does not reward us with time - it rewards us with more to do and higher demands.
I feel a strong urge to release things right now - even some good things - to have space. Space to be still, to sit and think, to practice and not be rushed.
What would it be like if we weren’t constantly chained to exterior time keepers like the demands of others and the sense that we need to be everywhere and everything to be worthwhile? I think it would feel luxurious, and probably also incredibly challenging because it would require directly opposing the cultural norm: busy = value.
Isn’t it interesting, too, that just talking about doing less sounds lazy, selfish, and entitled? Or at least that’s how I’m feeling talking about it. Not to mention the financial factor here - there’s only so much we can choose not to do before the bills pile up, so some of this is daydreaming for sure.
And still, I’d like to cancel a few things this week. Free up some time to practice, to plan, to write…maybe even to do nothing.
Is there a way to shift how we relate to time in our current culture? I’m not sure, but it’s fun to think about.
We are all aware that nothing is perfect. Logically, we know this is true and yet we continue to strive for perfection anyway. The dissonance this creates can be pervasive for musicians - we desperately want perfect response, performances, stage presence and technique even as we are fully aware that absolute perfection is impossible.
This disconnect between what we want and what we know is possible can leave us with a distinct dissatisfaction; a nagging feeling that we are not capable of what we hope to achieve.
So if we’re not really striving for perfection, what are we working toward?
In Terry Orlick’s book “The Pursuit of Excellence” he emphasizes connected focus. In a solitary sport or pursuit, this means being fully connected to the task at hand. But there are a variety of layers to this - in chamber music, it could be connecting to your fellow musicians; in teaching it might mean to focus on fully connecting with your students through what you are teaching. It could even mean focused listening when you are the audience and not the performer.
Having this connected focus in mind has proven incredibly helpful for me in tying together elements of mindfulness and yoga with my musical practice and performance, and particularly helpful in learning to work with and through performance anxiety.
Last weekend, I hosted a big event for around fifty flutists. Beyond organizing and coordinating, I had three performances spanning across the entire day - one in the morning, one in the afternoon, and a concerto performance in the evening. My biggest anxieties about the day were tied to my ability to maintain my focus with so many important things happening at once, and how my attention might hijack those performances.
Leading up to the day I made sure to stick to my regular meditation practice because I knew it would help me to manage racing and distracting thoughts (among other benefits), but I also made an added priority of connected focus. I imagined the ways I would connect with attendees, focus on the message of the music or the other musicians I was performing with, and how I would stay present to the overall message of the music and the day. When the big day finally arrived, I did my best to do all of those things in the moment.
Were my performances perfect? Absolutely not. Neither was the day. But they were both meaningful, connective, and engaged. I rolled with the punches in both performance and coordinating as best I could and focused on the desired outcome that a connected focus would bring.
Overall, I had an easier time accessing my focus and accepting the things that did not go as well as I might have hoped.
Of course I’m still a human (and a musician), and after the fact I found myself ruminating on some of those imperfections even though I was managing my emotions better than I might have in the past.
In the days following the event I was reading “Think Again” by Adam Grant, and in one of the chapters he talks about embracing imperfections - even going as far as to acknowledge or advertise them. (The book gives the example of applying for a job and not camouflaging things that you know might be viewed as detriments). Grant’s point is that by acknowledging weaknesses and getting them out of the way we can focus on emphasizing our strengths fully.
This connected with my recent experience in a small light bulb moment. I don’t have to get up on stage and announce my weaknesses to the audience, but I can take Grant’s advice when preparing for or reflecting on this situation and future events and performances.
If I acknowledge my weaknesses, noting what could have been better and, most importantly, what I can learn from them, I can move forward with more ease and more growth toward my goal of connected focus.
In the heat of performance this approach of accepting imperfections while maintaining connected focus helps me to release the past and stay in the present with my mind on the right things. When I’m working with a student it allows me to do a better job of staying a curious listener that is engaged in what they are saying and experiencing.
The most valuable thing we have to gain is the ability to see ourselves as musicians with more perspective and balance. To see both the things that need work as well as the things we do well. To have the opportunity to make sure that we are learning from both our imperfections and our strengths equally.
“If I’m suffering, there is something I’m not mindful of.”
Dan Harris said this on an episode of the Ten Percent Happier Podcast this week and I actually said “Oh,” out loud when I heard it. One of those moments where it feels like the author or speaker had you in mind when they thought to say this particular thing.
I want to clarify here that Dan Harris was talking about suffering in the Buddhist sense, not the type of human suffering we see in war or medical illness. In Buddhism, suffering (also called dukkha) is thought to exist because of dissatisfaction we create for ourselves - because we crave or desire things we don’t have and look past what is in the present moment. Not being open to change and trying to hold on to the past or an idea of the future can also cause dukkha. (This is paraphrasing, of course, and this is an interesting concept worth exploring more).
I’ve spent this whole week feeling tense and jittery, and also preoccupied with some big performances that are coming up.
All week I kept trying to push those feelings away thinking, I’ve worked SO hard on my mindset and focus for the last two years, why do I still feel like this? I am preparing well and I’m not unhappy with how I’m sounding, I’m meditating and paying attention to my mindset around performance, and I’m doing my best to maintain my sleep hygiene and eating healthy meals.
As I listened to this particular episode of the TPH podcast, it occurred to me that, yes I have done a lot of work, but there were so few demands on me as a performing musician during the early part of the pandemic and it was the least work I’ve had to do I the last, um, almost twenty years. So, although I feel like I’ve sorted a bunch of stuff out, I’m still human.
What was I not being mindful of that was leading to suffering? My suffering this week was coming from the expectation that I would never be frazzled again because I’d done some work (even typing that seems totally ridiculous!).
I wasn’t being mindful of the situation - yes I am applying things I have practiced, but in a completely new set of circumstances.
With a little perspective, it seems appropriate that facing my first concerto performance since the pandemic might feel a little stressful even if I’m mindful and focused.
So now the task at hand is applying the things I’m learning to do better while allowing myself to feel the stress.
It’s not bad to feel nervous or concerned - what matters is my ability to flip the focus around to the right things. To allow the emotions to come up and pass away because they are just emotions - not facts.
I have typed and retyped the beginning of this blog so many times. This week feels heavy.
Even outside of world events, two years of all kinds of uncertainties, and general unknowns, it feels heavy.
Beyond my own concerns about my personal life and work life.
Working with students means constantly thinking about their futures. It means I go home thinking about the things that weigh on them, the expectations they put on themselves, their social pressures, and how to show them that learning is a worthwhile pursuit.
It’s impossible not to take it home at the end of the day. It all goes with me. Their trials and tribulations and my own…waking up in the middle of the night thinking about that student who is struggling and whatever is already weighing on me .
All week I have been thinking about the in between of teaching - not knowing the right answer for how to help a lot of the time, but knowing that whatever requires that we keep going to figure it out. I will have to continue being present and holding space.
Or, maybe that’s the answer after all. To be here. To hold space. To make room for my students.
Have you ever noticed yourself gearing up in a huge way for something - taking a shot in basketball, playing a high note or fast passage on your instrument, taking a really important test - only to not reach the outcome you wanted despite the intense amount of effort and energy you’re expending? You might have been tensing, bearing down, holding your breath, overthinking, etc..
This tendency shows up in lots of our activities, and often in the ones that are most important to us. Although I think it often feels like over-exerting, I’ve come to identify it as reaching.
If I relate this specifically to flute playing, I see it in my students (and myself) physically as lifting the shoulders, leaning forward, gripping or pressing too hard, or overblowing. It might also show up as predictive failure before an attempt is even made, or playing cautiously instead of really going for it.
What all of these ways that we over-exert or reach have in common with each other is that they pull us physically up out of our bodies and into our heads. They demand a lot of physical work from us, and trick us into feeling like we’re doing something productive. If we are reaching in a mental capacity, it makes the mind busy and gives us plenty to think about including all the ways we could fail.
If you don’t play the flute (or another musical instrument), and even if you do, you might relate this to gripping the steering wheel extra hard in traffic, leaning close to your desk to take a test, or clenching your jaw when you are stressed.
None of these actions make a particularly positive impact, but they can placate our nerves and give us a sense of working toward achievement.
In my own playing I see myself reaching when I am stressed or nervous, when I am putting a lot of pressure on the outcome, and especially when things are changing.
Over the last few years I’ve got through a growth spurt in my playing. (Yes, I believe this can happen any time in our playing careers - after all, we are always learning!)
After experiencing some intense performance (and subsequently some general) anxiety, I was reaching in a lot of places in my life. I was operating in survival mode which lead to some playing habits that were not in line with my desired goal of neutral ease.
Meditation, yoga, and especially understanding and shifting my mindset have helped tremendously for me. I see my playing changing and the mental fog lifting - no growing pains last forever. I still catch myself reaching, but it’s an exception instead of the norm way more often now.
So, what are the ways we reach?
Signs you might be reaching:
This list is not comprehensive. There are a myriad of ways we reach and overthink. Some of them are subtle, some are relevant only when we perform a specific action. Some of them may only be relevant when we play a specific passage or note.
As always, you know yourself best. You are probably already aware of these places where you consciously or subconsciously put on the armor of extra tension or thought. Observe yourself and let your own body and mind point you to places where you can let go and look for a neutral path.
My journey toward not reaching in my music actually began while I was still a student.
I was so fortunate to study with Jean Ferrandis, who is an incredible musician, but also a master of neutral. Jean’s way of teaching and playing the flute is built around using the body in a neutral and easeful way.
Even before I started practicing yoga and mindfulness meditation, I was learning to observe myself and become grounded from my lessons with Jean. When I find that I am reaching in music or life I am always drawn back to what I learned studying with him.
Below are some of my favorite ways to take things I am reaching for from effort to ease. They come from my studies with Jean, my practice of meditation and yoga, and my own experience pulling it all together. They work for flute, for music, and for day to day life.
Be On You: This is something that I heard again and again from Jean. It is the foundation of not reaching. He always insisted that we must remain who we are when we play the music, and that we physically stay on ourselves. No pretending, leaning, pulling, or reaching.
Don’t Search: Have a clear picture of what you want. In life, from a note, in a performance, from a conversation. If you know with vivid detail the color, texture, and feel of what you want the result to be your chances of obtaining it are much better.
Enjoy: This should be self explanatory, but when we are reaching we are rarely having a good time. We are incredibly lucky to have the opportunity to understand and make music and to communicate through it. Even when we are working hard, we can enjoy.
Don’t Force: If you only think about blowing and you blow with aggressive force to create, the air will destroy your sound and phrase. The music and your air are one and the same. Move the air lightly and freely while keeping the music in your mind. Think ahead to where the music is going and hear it before you play it.
Right Effort: This is a term that I learned from George Mumford and I think of it often when I catch my mind reaching. If we’re allowing our thoughts to take over and run wild we are not in the present moment, and we’re probably not doing our best. We can be attentive to what our thoughts are doing and remind ourselves to come back to the present and make right effort.
Trust: Do the work to understand the music and yourself. Freedom comes from that work and understanding. Trust the work you have done. Trust yourself.
Your Concentration Must Be Large: These are Jean’s words, but this could have just as easily come from Mindfulness Meditation teachings. The overarching idea being to see the whole space of the mind, or the whole scope of the music, so that we are able to be discerning, stay present, and keep going. If we focus on any one thing too hard (a note, an audition, a conversation) it overtakes everything and becomes so important that we lose our ability to have equanimity.
To Miss Is To Be Free: It is actually desirable to miss or make a mistake because we are trying, taking a risk, testing an idea, or saying some thing honest.
A Powerful Center Brings Freedom: I have this in my notes from a class with Jean. He was talking about our physical core being active to allow the rest of the body to be free. We could also see this from a mental perspective, that a strong mental center brings freedom from our thoughts.
You Are Always Powerful And Full Of Energy: This idea has found a place at the core of how I play and also how I think about life. We have what we need - we have the capabilities, the awareness, and the ability to grow. In playing, our body is already full of energy - there is no need to create more.
Of course knowing all these things and understanding these concepts doesn’t mean that we are always able to integrate them. Even though I learned them a long time ago, I still sometimes catch myself reaching. Like mindfulness teaches us, the moment of noticing is mindfulness, not the absence of something. From that moment we can move forward with awareness.
The next time you catch yourself reaching, take a mental step back. Assess the situation, be “on you” and try focusing on the outcome instead of the effort. It’s ok if you miss.
Usually when I reach the point in the week where I write the first draft of the blog I share every Thursday (or Friday if I'm behind!) I have had something on my mind…about teaching, mindfulness, performance, yoga, practice…that I want to explore.
Something that I feel needs discussed, that would be helpful to me, or helpful to other musicians.
Everyone once in a while I have to fish around notes I have made to myself of things I was saving to explore on a rainy day.
And then (thankfully not very often) there are weeks like this week where I feel like I have absolutely nothing to write about, unless the internet would like to read my to-do list(s).
My brain is overflowing this week. Full. Completely stuffed.
And not with good ideas. Well, maybe a few good ideas. But it’s also full of emails that need written, academic hierarchies I don’t yet understand, organizational concerns and tasks, overwhelm at parts of large projects that are out of my control, music that needs learned, and practice time that is lost to immediate tasks at hand like remaining mentally present in lessons with my students.
This week I solved very few outstanding issues, did not make much headway on my own projects, and still owe a lot of people emails.
I bet this is where you’re expecting me to say that it's totally ok, right?
But it’s not (I like to keep things spontaneous around here).
I’d like to think that I’m doing my best to keep up with what I expect from myself (and what I need to get done) but I’m actually just hanging onto my life raft with one pinky toe and splashing wildly this week.
It’s been several years since I’ve had this type of demand on my time, and the reality is that I didn’t adjust accordingly. Some course correction is now required.
At some point this week I realized the thing that wasn’t working right was me. (Note that I didn't realize I can't do it, just that I haven't been.)
I have been asking my brain to switch tasks too often, putting off easy emails that could have been done days ago, overthinking things just long enough to not make any headway before I had to move on to something else.
Ouch. It’s painful to realize we are working against ourselves.
There’s no grand moral to this story, other than the fact that I’m grateful I’ve been cultivating awareness in my life because if it could have taken so much longer to level with myself and who knows how far downstream I would have been then, life raft nowhere to be seen.
Once I figured out that it was me in the way, and how I was slowing myself down, it got easier to make better choices.
I bought a cube timer so that I wasn’t relying on my phone or Apple Watch, which meant I could put those items down or change the mode.
Along those lines, I finally set the work focus on my iPhone (I have been using the sleep focus since it came out and love it - why did it take me so long to set it for work?!)
I started waking up just a little earlier each day. Definitely not to workout at 5am or practice before the sun comes up, but just enough to shower and have coffee earlier so that practicing and other important tasks could also happen earlier, etc.
None of these things are going to get me on track right away, but combined with an awareness of what I'm doing they will help. I’m also not suggesting that any of these solutions are right for your predicament. If you're lucky, you don't even have a predicament!
Hopefully, you are having an awesome week and totally killing it at absolutely everything you're doing. That just wasn’t me this week. It’s not really ok, but it’s also not the worst and it’s definitely not permanent.
Except for this being an adult thing - that is going to stick around.
Hi, I'm Morgann! Flutist, teacher, aspiring yogini, and life long learner figuring out how to create my way through life one crazy idea at a time.