In My Element, revised

There seems to be a lot of talk about “being in the zone,” especially in creative pursuits. I was humbled when my assistant John Grund, an artist in his own right, said after a class I taught “it was fun watching you in your element.”

Indeed, I have found teaching floral design ALWAYS puts me in “the zone”. Or “in flow”. Or whatever expression best captures the feeling of being one’s best self. Without self-consciousness. With energy and enthusiasm and genuine enjoyment of everyone in one’s sphere.

In the last couple of months I taught workshops to very different constituencies - at The Watermark Community, Women of Culture, the Livingston, NY Library, and Luminary. I was reflecting on the similarities and differences in spaces, participants, and energies, and what makes these sessions successful:

An intimate space is best: a place that makes everyone feel safe, without interruption from outside noise (not including NY traffic,) activity and conversation. I suppose that’s true of any teacher who wants students focused on what he/she is saying and what they are doing. So everyone can sustain their concentration. Not that I don’t encourage banter while working - that is for sure a sign of ease and connection between participants. Which is the best state for anyone in a creative endeavor.

Breathing is key: Even in a “noisy” space, the breathing, centering exercise with which I start every class truly brings everyone into a better, calmer, yet energized mode. This practice helps me sense the room and I can feel how the group, no matter how big or small, young or old, relaxes and comes together. And I always ask everyone to put their phones away until the end of class , which seems to relieve a great deal of anxiety (and sore necks.)

A relaxed approach: I always start class by saying “perfection is overrated” and that there is no “right way” to make an arrangement. Even in Ikebana, with its extremely strict rules, there is room for much personal interpretation. Think of how many ways musicians interpret Bach. I noticed (especially in corporate settings but really almost everywhere) in spite of all the techniques mentioned above, there are a few folks who are quite worried about how they are doing, if they’re making their arrangement “correctly.” I spend time with every student and offer answers to their questions and suggestions for new ways to consider their choices, but my teaching method is to point out what IS beautiful, what is working, and how he/she/they can continue to support their chosen direction.

Enjoying camaraderie: I know class is “working” when folks are talking with each other about their arrangements, making suggestions to each other, and borrowing from each other’s ideas. The best part is how they celebrate their colleagues’ creations. Sometimes they are surprised at someone’s unknown ability. That is the best “win.” And when everyone’s creation is completely unique (which seems to be the case so far) I feel that I have done my job.

I am grateful to all the people who have brought me in to their communities. The opportunity to be “in my element” is always a gift and a pleasure.