Kristi Magraw
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Identities: How We Find Them

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Picture me as a little girl who had just lost her smile, in a hospital setting with a large, heavy bandage around my head and other children in various states of injury and disability arranged around me. In front of us are the musicians and singers—able bodied and smiling broadly. They sing we listen. They talk we are silent. I feel the separation and decide in my child’s mind that I will never belong on that stage. This was a heart break for my singing self.
Most of my life I have spent chasing after, trying to own, the identities of singer, guitar player, songwriter, writer and musician while actually believing that I was only a “helper, listener, worker”.  Those latter identities were and are important but there was a problem: the artist in me always seemed to get a back seat and certainly not a seat at the table. She did not get the effort and attention she deserved. This was connected to the implicit beliefs/rules in society (and in myself) that someone who did not look ‘normal’ (eg facial disability) could not own the identity of performing artist. This was the fallout of the decision/perception of the traumatized child in the hospital. For many years I wanted this identity more than anything. I did achieve it for a brief period but could not rest in it and unconsciously felt I was on borrowed time-- which was true in part because I had an undiagnosed condition of spasmodic vocal dysphonia (emerging out of that medical trauma) making my singing voice randomly disappear.
Still, layer by layer I became myself, shaped by the questions I asked, the questions I refused to ask and questions I never thought to ask. I suffered through the fiery crucibles of experience then rose up anew: purified of the ‘not me’ strengthened in the ‘me’. Maria Hinojosa in her memoir, I Once Was You, looks deeply at the issue of identity, including the identity (or we could also call it an aspect of self) of survivor. An important step in the formation and re-formation of myself was owning my disabilities. I relaxed when I could say yes I have microtia and dysphonia—I am a survivor of hospital trauma. 
I am also an artist according to the following definition: An artist expresses from a dimension just beyond the senses and inspires others to see life symbolically.
 I did pivot to guitar playing after losing my singing voice for the third time but was stopped by the fear of failure generated by the leftover heartbreak of failing at singing my own songs. I did believe in my songs but I abandoned many of them. I often would hire other people to record them and then for sure I would leave them in the dust. Eventually the songs stopped coming even after I developed a way of writing them in my head (not being able to sing them).
The pandemic seemed to stir up my ability to create again. Because I couldn’t default to my favored defense system of overwork, I had time to write. I wrote two songs and resuscitated two old ones. I wrote and collaborated on some tango instrumentals. I began to develop a way of speak-singing. (my speaking voice was less affected by the dysphonia). This was all good but the ghosts kept haunting who I was becoming (more confident). My identity of writer began to suffer because my self-published book came out at the same time as the pandemic and I couldn’t find the steam and skills to promote it. The truth is that after all the years of being brave and strong and fighting the definitions of what an artist was supposed to be, a part of me was giving up.
Then I had the following dream. “I am running barefoot through an airport to catch a plane. I am carrying a large disintegrating box with my mother’s ashes in it. I trip and fall spilling the ashes. I lie there collapsed in a sense of failure until I hear voices around me saying, “What is the matter here?” And a man with kindly eyes says “Don’t give up---ever”.  I listen to him and receive the help they give me—new ticket, shoes, a small secure box of the ashes. I am able to fly.”
I didn’t understand my dream immediately but when I saw the last episode of Colin in Black and White, the inspiring story of Colin Kaepernick’s struggle to become what he wanted to be (a quarterback against all odds) where he says, “To all the overlooked…..trust in your power.” In that moment I got it.
My interpretation of the dream: I am trying to go somewhere (out in the world with my art) without the proper grounding and preparation (shoes). I am carrying my mother’s remains in an unboundaried box that is making a mess—yet still feel responsible, as I did with her depression pattern. I am falling into failure feelings and my own depression. However, out of this crucible of suffering I manage to listen to the ‘help’ that arrives. I am cared for and realize that the care is there if I ask and receive it. Feeling unworthy I often don’t think to ask for help even if time and again it works out well.
Here’s to all of us who struggle to find our identities. even in the deserts of non-representation.
 You can find more explanation of photos here.


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The Truth of Crying

11/15/2023

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Reveals the possibility of a deeper connection with ourselves and others


“Laughing and Crying it’s the same release” Joni Mitchell Peoples Parties

This line struck me as being emotionally true during the time I was learning to cry consciously in my early twenties. Though I am sure I cried as a baby and toddler, up to that point I had been very shut down after a traumatic operation when I was nine. I would cry only if I cut myself. I was uncomfortable with the sound of babies crying. But I had a bad pain in my shoulder that would only release when I cried. I thought this was interesting so I pursued the act of crying using my body pains as an entry point. I would press hard wherever I could reach until I felt the sad feeling and was able to reach a sobbing release. I noticed that after crying I seemed more relaxed and in touch with myself. I was gradually finding my ‘truth’ through the vulnerability of crying.
 
Now I see the Joni Mitchell lyric as being true in a physical way as well. The muscles we use for deep crying and laughing are much the same: the diaphragm, the intercostals between the ribs the throat and facial muscles. Often people will laugh until they cry (a great feeling) Less often people will cry until they laugh. However, if the above muscles are loosened by deep crying, laughter will also become deeper and more easily accessed because we no longer have to hold them tight in the fear of ‘falling apart’. We have already done it and survived.  I am grateful that I unlearned fear and shame feelings around the act of crying.

Eventually I called my freedom around crying ‘living from the gut’ and felt proud that I had the courage to do it. I tried to teach other people to cry. Sometimes it worked and sometimes it didn’t. What I didn’t know at the time was that humans need to feel a certain level of safety before we can access our grief. Even though I could cry, I often wouldn’t cry about my most vulnerable topics. For example, I was struggling with dissociation from c-ptsd about my voice. (See my book Note by Note for the full story). Because I couldn’t cry or tell anyone, I couldn’t face the truth of exactly what my voice was and wasn’t---even when I was taking lessons. I remember shutting down what could have been valuable feedback from teachers because I just couldn’t face the grief involved in the truth.  Now part of my vocal rehabilitation involves making crying type sounds.

When I trained in bodywork and later the Havening™ technique--which is a method that promotes safety in the nervous system through self soothing--I observed that during sessions my clients had all the signals of Vagus nerve activation. It is a nerve that helps to increase relaxation responses. These signals were yawning, breathing deeper or swallowing. Often, shortly after this signaling, they would access their sadness and have accompanying insights: “Oh that is what I have been upset about.” Or “So that is what I actually need” I also observed that in the increased safety that comes with relaxing, they resolved their sad feelings quickly and thoroughly and became more socially engaged and cheerful.
There are negative aspects of crying. These mainly occur when a person is not socially connected enough. Crying can be problematic when:
  • we use crying to manipulate or shame (ourselves or others)
  •  it is stuck or repetitive
  •  there is not enough internal safety for the person who is crying or in their environment
  •   crying is habitual or a displacement of the actual emotion (crying when actually feeling angry)
  •  Grief unmoored can turn into melancholy, depression or inconsolable sadness.
Balancing our crying with humor, laughing and silliness can re-establish the flowing nature of sadness. Connecting with an empathetic witness can bring us back to the transformative power and ‘truth’ of crying.

Now I watch Korean netflix series. I like them because the writers write characters with vulnerabilities and the actors cry deeply and naturally. Few characters say, “Don’t cry”---they just hug. When I see them I feel comforted too. This is not everyone’s experience. For some people, their own or others’ crying brings tension, anxiety and resistance.
 
​If we can cry with someone safe in a safe environment, with our body in a safe state, it activates the social engagement aspect of the Vagus nerve (Ventral Vagal). Also, if someone close invites our crying (makes it safe in an appropriate way) we feel more ourselves with them. The relationship can grow. Another positive aspect of crying is that it releases various muscle and fascia systems: the chest and ribs, the diaphragm the jaw, cheeks and eyes and wherever else we have been storing/resisting the experience of grief.

In my book I write, “The key to having a positive grief experience is connection, with self, with others or with spirit. This aspect of connection helps sadness to flow and have its natural peak and resolution. But connection does not mean being intrusive to yourself or the person you are witnessing. The emotion of sadness needs room to breathe---a quietness and non-interference that allows it just to be”  My early conception of “living from the gut” if I could cry, has been confirmed many times over watching myself and others come ‘alive’ as they cry, sharing their sorrows and the truths that come with them.
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    Kristi Magraw is known for having developed a unique synthesis of Eastern healing (Five Element theory) and Western ways of working with the mind, called the Magraw Method, which she established in 1979. This method uses metaphoric language and release techniques to help people heal physical and emotional pain.

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