In his poem “The Waking” Theodore Roethke says:
“ I learn by going where I have to go.”
I used to have that poem by heart, helped by its cadence, repetition and form (something called a villanelle…another favorite example is Elizabeth Bishop’s “One Art”). But most days, I am still not sure what Roethke’s poem means. One of the lovely things about a poem is you don’t have to grasp it on a logical level for it to be part of your life. And that line, “I learn by going where I have to go” has become a kind of mantra for me. It is, I suppose, another way of saying, I seem to be an experiential learner…
If you had asked me five years ago whether I would be specializing in using poetry with older adults, I don’t think I would have told you that was in my plans. But in addition to the strange serendipity of connecting to working with people two or three decades older than myself (initially through a family therapy internship,) there is a very real way in which these writing sessions I’ve developed grow out of continual experiment—Each session I develop I try something new, large or small. Each session, through experiment, I’m experiencing what works best, what’s within my capacity.
My first exposure to people using poetry with older adults was through the Alzheimer’s Poetry Project. A PP MN specializes in engaging and enlivening older adults, especially those with dementia, through poetry and creating group poems. I’ve been very fortunate to have some wonderful mentors in learning about arts and aging, including Patricia Samples, Zoë Bird, and Rachel Moritz, all of who generously shared the ways that they successfully use poetry and writing and creativity with older adults.
I love their work. And I quickly realized the creating group homes probably wasn’t going to work for me. Since I’m legally blind, writing down peoples words on a big flip chart and then transcribing it later was a complicated task. Of course there are other ways to capture people’s words, but this difficulty, while no doubt surmountable, led me in a different direction.
It led me to working with older adults who Still have the capacity to create individual works, for the most part, their own writing in class. And ironically , through working with groups of older adults on their own individual voices and poems, overtime I found more ways to build creative community.
At first I saw my family therapy learning and work and my teaching artist work as very separate. But overtime I have brought more and more and more of my family therapy expertise around how people interact with each other to the work I do with poetry.
The writing groups are not therapy. That’s part of what I love about these groups. There is a certain kind of freedom in working In a “nonclinical” space. But my students teach me again and again how deep and meaningful the community of support and encouragement that people can create in a writing group can be. More soon.
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