About

Approach

A foundational observation of my approach to life and work is that cultures are in fact bodies made of bodies. Because of this, individual change and collective change are necessarily embodied processes that have a fractal relationship.

The ancestors and other intangible presences our cultures speak of are actually beings that live in the ‘cultural nervous system’ of our ‘cultural somas’.

One of the great benefits of this kind of ‘cultural-somatic’ approach is that it shows us that everything we learn about our own somatic process can be applied to an understanding of how to work with collective change and vice versa.

If you are interested in learning more about this approach, you can read this article that goes into more detail.

Background

Here are some of the lineages my practice of life and work draws from:

  • Schools of modern creative and somatic therapies such as dance movement therapy, somatic sex education, Hakomi Method, and expressive arts therapy (which I am certified in through Langara College and is my main training). I acknowledge that these lineages of modern therapy derive much of their healing resource from the traditional practices of cultures of color as well as European folk cultures.
  • Asian/Japanese ancestral embodiment lineages from energy medicine to martial arts that I have immersed myself in through self-practice and research (I am a fluent Japanese reader/speaker). There is a great ocean of knowledge here but people who have been particularly influential are Kenji Ushiro, Hideo Takaoka, and Corky Quakenbush (Please note that I am not a practitioner who can explicitly instruct on the arts I draw from).
  • Animist-indigenous ritual and ancestral healing, a lot of which I have absorbed through my ongoing work with Dare Sohei as well as my personal research of Japanese folk animism. Other inspirations for animism in my work include Sobonfu Some, Malidoma Some, and various writings on Wetiko (an Algonquin word for a cannibalistic spirit).
  • Street dance, particularly ‘popping’, an umbrella term for mechanical street dances that emerged from black and brown communities of the West Coast of Turtle Island during the early 1970s.