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The Heart Is the Major Target—Part 3: In Exile in My Own Country

In the third part of my interview with yoga teacher Charu Rachlis, she describes jettisoning promising careers in psychology and theater, discovering meditation, and reaching the decision to move to the U.S.

In Exile in My Own Country

S: Where did you go to college and what did you study? 

C: I attended Universidade Gama Filho in Rio de Janeiro and majored in psychology.  

S: What if anything do you feel you gained from that experience? 

C: It expanded my horizons. I took classes in psychotherapy, philosophy, sociology, and anthropology. I’ve always liked to study subjects related to body-mind-spirit.

College graduation night. Charu is in bottom row, second from left.

College graduation night. Charu is in bottom row, second from left.

S: Did you ever practice as a psychotherapist? 

C: After I received my college degree, two friends and I started a career counseling service in Rio de Janeiro. We called it Orienta Servicos Psicologicos. We administered psych tests and used the results to help people choose professions. I did that for about 2-1/2 years. But given how young I was, I didn’t think I had enough life experience to be advising people. After a few years I broke down. I cried and cried and told my friends I liked providing a service but didn’t feel authentic doing it. 

I dropped that. My family was upset with me for quitting. I ended up working in the television industry, like the rest of my family. I did production, scenery, casting. But it was a hard, depressing period. Eventually I quit that work too. I was kind of floating, which concerned my family. 

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My father had friends who worked for an insurance company that was half-public, half-private. It provided good benefits. He said, why don’t you take the placement test? I did, and I passed. I ended up working there for six years as a secretary. I earned a good income, so I was able to work part-time. At first I was taking acting classes in the evening. I attended the best acting school in Rio de Janeiro—and it was not cheap. It was a very rigorous program. If you studied there, you had to give it everything you had. I didn’t have enough time to study in the way that I wanted to without falling behind at work.  

I stopped after two years. The teachers tried to convince me to stay. They said, You have real talent; you could be an actress. And I knew I was good at acting, but I also saw that I wasn’t willing to do whatever it took to keep studying. I decided I wasn’t meant to become an actress.  

Looking back, though, I see that acting helped me later as a yoga teacher. Despite what you might think from seeing me teach, I’m quite shy, and all that improv, singing, and dancing taught me how to be in front of a group of people. 

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My secretarial job allowed me to pay the bills, but it didn’t satisfy me. A psychologist friend told me about a meditation course taught by a visiting Tibetan Buddhist from Berkeley’s Nyingma Institute. I was intrigued, because I’d always been fascinated by how we can transform ourselves and become more authentic. I took the course. I thought, this is everything—meditation, Tibetan yoga, lots of introspection. 

After almost a year, I told my meditation teacher I wanted to keep studying. He said, We’re inviting people to study at the Nyingma Institute. It’s a work exchange; we offer room and board, and we’ll pay for half of your plane ticket. It’s a year-and-a-half commitment. I said, OK. A big doorway opened up for me in that moment. I didn’t quit my job at that stage but I took a leave of absence. 

S: How did your family react to the idea of your going to live in the US? 

C: Oh my gosh, it was a big drama. I had some Buddha statues in the apartment where I was living at that time, and my mom took them and threw them in the trash.  

My dad had passed away by then. We had been close. We both loved books and reading, and he had always told me I was a dreamer. But aside from the pull of that relationship, even though I loved my family, I didn’t feel like I belonged in Brazil. I felt like an exile in my own country. If my dad had remained alive, I don’t know if I would have felt the freedom to leave everything behind like that and take on the world. But being invited to Berkeley so soon after his death felt like a sign that it was time to go.

Next: The Heart Is the Major Target—Part 4: Wow, This Is Me

Managing to Build Bridges - Part 5: Poetry Has No Rules

Nani has a gift for entering others’ cultures in a respectful and sensitive way. That gift, combined with her strong curiosity and sense of adventure, has led to a unique trajectory from her childhood in Indonesia to her current job as a project manager at LinkedIn. In Part 5 she describes her discovery of poetry.

Sarah: I think you started studying poetry writing with me right after you began working full-time at the Language Acquisition Center.

Nani: That’s right, we met in the fall of 2002.

Sarah: What drew you to poetry?

Nani: I’d read Charles Bukowski in one of my undergrad classes. Back home in Indonesia, poetry had all kinds of rules. When I read Bukowski, I was surprised and impressed that poetry could look and sound like that. “Wow, you can include cuss words and write in free verse about daily stuff!” I saw a flyer in the campus library about your poetry workshops and consultations. I was curious. When I first started working with you, if you remember, I didn’t join a workshop—I was too shy. You had put on your flyer that you also worked with people one-on-one, and that appealed to me. Then after you told me more about your workshops, I realized it would feel safe—I didn’t have to be somebody already in order to join.

Looking back, I can see that being in the workshop was such good practice in terms of learning how to express myself in a more public forum. I also paid attention to how you taught the class. All the students were working in different styles, writing different kinds of work. The course readers you put together introduced me to a lot of different kinds of poetry as well. I remember you had us read a poem about Frida Kahlo and you pulled a biography of her off your shelf; it had lots of reproductions of her work. You introduced me to Joanne Kyger’s work too. I was attracted to it for the same reasons I was drawn to Bukowski—the frankness, the dailiness, no rules. I wanted to write like that.

My undergraduate studies in English literature and Language Studies were more externally oriented. That’s where I first realized that people can express their individual visions and others might read that work. Coming from my culture, that was such new, exciting idea. Then in your workshops I was looking internally at what I had to say. The two approaches went hand in hand.

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Sarah: Tell me about becoming friends with Joanne Kyger.

Nani: After you introduced me to her work, I decided to attend Naropa’s summer writing program, which she taught in. A lot of students wanted to hang out with her but it seemed like they were mostly curious about her personal life and her marriage early on to Gary Snyder. I didn’t feel the need to ask about those things. She told me that she really appreciated that I just wanted to talk about her work. For a while after Naropa we wrote postcards to each other. Then she gave me her email address, and then she invited me to her home in Bolinas. From then on, I visited her about once a year.

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I felt our deepest connection came mostly in relation to poetry—I appreciated her work, and she appreciated mine. In person, we were very fond of each other, but I now wish we had a deeper in-person connection.  At one point she invited me to stay overnight at her place and I didn’t do it. I feel a little regretful knowing that I could have formed a deeper friendship and mentorship. She was very encouraging about my work. She published one of my poems in a local Bolinas newsletter.

Next: Human Remains and Cultural Artifacts

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Managing to Build Bridges - Part 1: The Pressure to Be a Certain Type of Girl

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Nani has a gift for entering others’ cultures in a respectful and sensitive way. That gift, combined with her strong curiosity and sense of adventure, has led to a unique trajectory from her childhood in Indonesia to her current job as a project manager at LinkedIn. This is the first in an eight-part interview I conducted with Nani.

Sarah: What’s your current position?

Nani: Currently I manage localization marketing projects for LinkedIn— primarily for the European and Latin American markets.

Sarah: Can you explain what that entails?

Nani: My team, the localization team, partners with marketers in various business units to localize their marketing content and campaigns. That means we translate and localize marketing communications into local languages. Localization requires sensitivity not just to language but also to cultural factors.

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Sarah: Help me understand the nuts and bolts of what you do.

Nani: My job comprises two major elements: active project management and relationship building. On the project management front, I make sure all the localized content is delivered on time—I build timelines, coordinate with marketing partners and vendors and manage tickets for all the projects in progress as well as our backlog.

The other part of my work is to drive strategy and plan with our partners. Localization is often thought of at the end of a marketing project, but really it should be planned for up front. Most of the content creators are based in the US and are still accustomed to thinking in terms of a US audience. But once a marketing piece—let’s say, an e-book with a really nice, polished design—has been produced in English, it’s challenging to go back in at that point and figure out how to create a parallel version in German. If the content creators are planning for localization from the beginning, it’s a lot easier.

So I engage with them early in the process and say, OK, it’s going to be hard to localize this image of San Francisco during the World Series for other markets, because it’s so specific to the San Francisco Bay Area. Or, this quote by Tori Amos might not be relevant to people in Germany or Spain. I’ll suggest they find a more globally relevant example. I’m not the final decision maker, and some teams are more receptive to feedback and changes than others. But I work hard to build relationships and stay engaged with our partners, especially the content creators.

Sarah: I’ve known you for most of your adult life, and you’ve explored a number of interests over the years. It hasn’t been a linear path. Yet looking back, it all seems to support what you’re doing currently. I see this conversation as a chance to trace your path with you. Let’s back way up. You grew up in Indonesia—where exactly?

In West Java, in Bandung, the third largest city in Indonesia.

Sixth birthday.

Sixth birthday.

Sarah: Were you thinking one day you’d move to the States?

Nani: As a child, I resisted a lot of the norms, customs, and rules around me. I couldn’t find anything to feel passionate about. I grew up in a community of Chinese Indonesians where people knew each other’s business and talk amongst themselves about the latest thing that so-and-so’s son or daughter has done.

Sarah: Were you insulated from non-Chinese Indonesians?

Nani: I went to the same school from kindergarten through high school—14 years—and about 90 percent of the students were Chinese Indonesians. I did have a couple native Indonesian friends. But as kids, we never explicitly addressed racial issues.

Seventh birthday.

Seventh birthday.

Sarah: Was there a sense in the Chinese Indonesian community of needing to stick to their own due to discrimination by the wider culture?

Nani: That’s a narrative that is real for many Chinese Indonesians. But I also think Chinese Indonesians tend to use that narrative in order to hold ourselves apart. The discrimination is real, it’s there—but sometimes, like many racial issues, the perception of discrimination is tied up with lack of openness to one another.

Maybe I was naïve, but it was very rare that I was directly discriminated against for being Chinese. That might be due in part to the fact that my skin color is darker than that of many Chinese Indonesians. Once a cousin of mine, who like me has darker skin, was out with her friends, who were all Chinese Indonesian. They were mugged by a native Indonesian. When he got to my cousin he stopped and said, I’m not going to do this to one of my own people.

Sarah: So it sounds like you didn’t feel like an outsider so much in terms of the larger culture, but you did feel that somehow you weren’t connecting. Can you tell me more about that?

Nani: I felt like I had to conform to what was expected of me, but I didn’t want to. I did very poorly in my first decade of school; I just wasn’t interested. The subjects emphasized in the Indonesian educational system are life sciences and math. I felt pressure from my parents to be like some of my cousins, who excelled in those subjects.

Eighth birthday.

Eighth birthday.

I also felt pressure from my peers and family to be a certain type of girl, very feminine and materialistic. People were wearing a lot of American brands—Guess, Esprit—they were eager to catch up with all these Western materialistic obsessions.

On the other hand, I loved watching and imitating English-language TV shows like Beverly Hills 90210 and a Canadian series called MacGyver, about a resourceful guy who gets himself out of crazy situations. The emotional language is so different—Indonesians don’t speak about their emotions the way people do in North America. I’d hang out by myself in my bedroom and practice talking like these characters, saying things like, “How do you feel?”

Next: Such a Bad Kid

Leadership Without Ego - Part 2: The Kids Melted Under That Praise

Steve Emrick never sought to be a leader—but leadership found him. This is the second in a six-part series of posts based on an interview I conducted with Steve about his three decades running arts programs in California’s prison system. In Section 1, we left off with Steve explaining that after running the Tehachapi Prison arts program, he transitioned to a position at Deuel Vocational Institute in Tracy, CA.

Steve: When I went to DVI I got involved with the William James Association.

Steve with DVI arts program alumni Dennis Cookes and Robert Vincent at a conference on arts in the prisons.

Steve with DVI arts program alumni Dennis Cookes and Robert Vincent at a conference on arts in the prisons.

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Sarah: Tell me about William James.

Steve: It’s a nonprofit that contracts with the Department of Corrections to place artist teachers in prisons in Northern California. William James screens and places the artists and ensures that they get paid in timely way. I’d let the William James staff know what kinds of artists I needed, and they’d do the matchmaking. I developed a close working relationship with the executive director, Laurie Brooks—which proved important strategically later on. But I’m getting ahead of myself.

I ran DVI’s art program through most of 90s. The program was already in place when I got there, in a very nice studio space set up by artist Bobby Altman. We offered woodworking (I taught that class), guitar making, ceramics, painting and drawing, and music. The program was hugely successful. We had a core group of inmates who were dedicated artists, and because of that we were able to raise ten grand a year through art sales, and give visibility to the artwork. We contributed all the proceeds to the Child Abuse Prevention Council of San Juaquin Valley.

I still have a close connection with a lot of those guys, many of whom are out now. They’re off parole, citizens with good jobs who are still making art. One big success story is Vincent, who learned to make guitars at DVI. He’s been out 15 or 20 years now, and he makes high-end classical guitars for a living. His son is also an artist and has become a prison arts teacher.

DVI arts program alumnus Robert Vincent with a guitar he made.

DVI arts program alumnus Robert Vincent with a guitar he made.

Around 1998, I was feeling burnt out at DVI and wanted to try something different. I took a position at the Youth Authority in Stockton. I coordinated programs in six juvenile facilities for young people aged 14–26. I found that work a lot more heart wrenching than working with adults. At that young age, you really can’t argue that these kids are locked up through any fault of their own. The staff were more encouraging than at the adult prisons but the environment was still draconian. Officers, barbed wire fences. And kids are harder to deal with in those environments. Fistfights would erupt.

Wards and painting instructor working on a mural at Youth Authority.

Wards and painting instructor working on a mural at Youth Authority.

The worst moment for me was one time in a paper marbling workshop. One kid was trying to become a big shot in one of the gangs. I saw him order two other kids to clean up his area. I said, No, everyone cleans up his own area. He started to walk away from me. I grabbed his shoulder. He whipped around and said, Don’t ever touch me again—you don’t know what might happen. He was the kind of kid who could have played that up, because there’s a rule against touching the kids. The art teacher called in officers and they dealt with him. At that moment I realized, OK, I don’t have the patience that’s required to work in this environment.

Working with juveniles wasn’t the only aspect of that job I didn’t click with. I’d gone from managing my own program to managing programs in six different places. There are always problems that crop up when you’re bringing people inside—for example, the artist doesn’t have the proper paperwork or messes up a protocol. Previously, when I was running my own program, I had credibility among the staff, so I knew who to call to resolve an issue. But in this situation a lot of my work was by phone. So I couldn’t be as effective.

Wards making books.

Wards making books.

Sarah: Were there any heartening moments there?

Steve, book artist Beth Thielen, and wards in bookbinding workshop.

Steve, book artist Beth Thielen, and wards in bookbinding workshop.

Definitely. I remember a bookbinding workshop where the instructor had the kids making these very complicated books. They were really into it. We had photos posted of them holding their completed books—they were so proud. Others would see the pictures and say, Hey, that looks really cool! The kids melted under that praise. They were so starved for positive attention and feedback.

We had a unit for kids with mental dysfunction. I wanted to place this older woman artist in there as a grandmother figure. At first the administration resisted because they thought the kids would act out. But eventually we were able to get her in there. This one kid was especially dysfunctional—he’d refuse to bathe, spread feces all over his cell. We got him into this class. The staff would tell him, You really need to watch it this week because she’s coming on Saturday and you want to get out to go to your class! He totally improved his behavior.

Steve and Beth admiring a ward's work on a book project as another ward looks on.

Steve and Beth admiring a ward's work on a book project as another ward looks on.

Wards proudly displaying elaborate handmade journals.

Wards proudly displaying elaborate handmade journals.

The Youth Authority staff started realizing that instead of this program being an impediment, it could really help them. They started picking out the kids with the worst problems to send to art class. And other juvenile facilities started requesting art programs.

Youth Authority artist teachers with Laurie Brooks (third from left).

Youth Authority artist teachers with Laurie Brooks (third from left).

But even though I saw lots of positive things happen there, I still wanted to go back to working with adults. And my family wanted to move closer to the hub of the Bay Area. So in 2003, I took a job running the arts program at San Quentin. The person who’d been running that program had moved into an education position at the prison.

That program was very successful as well. But right when I got there, the Department of Corrections eliminated their contracts with William James and another nonprofit that provided the same service for Southern California prisons. Soon after that, my own position was moved under the prison education department. I lost a lot of independence. I was assigned to a program called Bridging, which serves inmates in the reception center. The reception center holds guys in the process of transitioning from county jail to prisons all over the state. Until this point the Department of Corrections had not provided programs for that population. So the Bridging program was an attempt to remedy that. I set up drawing, poetry, origami, and collage classes. These were short-term classes because the guys were shipped off to other prisons after six weeks or so. One of the challenges of that job was that the inmates were assigned to these classes, whereas in the past, I’d only worked with guys who volunteered to take art classes. So it meant I was working with students who didn’t necessarily want to be in class.

William James executive director Laurie Brooks and I started strategizing about how to keep prison arts programming alive. Laurie and Jack Bowers, a retired artist facilitator, testified before the state legislature. But that work didn’t bear fruit right away. We survived in those years on small grants from nonprofits.

Laurie Brooks, Alma Robinson, and Jack Bowers presenting at a conference on arts in the prisons.

Laurie Brooks, Alma Robinson, and Jack Bowers presenting at a conference on arts in the prisons.

Next installment: The Dalai Lama Breaks All the Rules

This Thing I Found: Teens Teach Us How to See Freshly

Recently I returned to an earlier incarnation, teaching a couple poetry classes at the high school in New York Mills, a town in upstate Minnesota where I've just completed a writing residency. I taught poetry pretty intensively for a number of years but that was a while ago. I loved re-entering “the classroom.” (As if it’s the same classroom, wherever one is—and that’s true, in a certain way—and not, in others. But I digress.).

Kasey Wacker, the teacher, had informed me that her 11th graders had all written poems, but not many, and not in quite a while. I chose a lesson built around an excerpt from Wallace Stevens’ poem “Someone Puts a Pineapple Together.”

Like his “Thirteen Ways of Looking at a Blackbird,” each line in this poem asks the reader to look at a pineapple in an entirely new way.  The second stanza, for example, reads:

4. The sea is sprouting upward out of rocks.

5. The symbol of feasts and of oblivion . . .

6. White sky, pink sun, trees on a distant peak.

As I held a pineapple aloft, we discussed Stevens’ strategies for waking up our powers of perception. Not only does Stevens give us a new image in each numbered line; he also changes up the syntax (a whole sentence followed by two fragments), the use of punctuation, the music of the language, the scale (from a rock to a mountain), and the type of figurative language employed (metaphoric in lines 4 and 6; symbolism in line 5). The vocabulary too is full of surprises, like the word “sprouting” where you’d expect “spouting”—so you get the spouting action of water but also the sense that the water is alive, growing up out of the rocks.

And that’s just one stanza!

I then gave the students each their own fruit or vegetable and asked them to employ some of Stevens’ strategies to write their own poems. With remarkably little experience in the genre, they dove right in.

My coachy takeaway? Find some teenagers to hang around with. They are coming into their full power as interesting individuals with big brains. Yet their curiosity and permeability can remind us older humans to break out of our ruts and responsibilities, give ourselves fully to life, receiving life’s goodies in return.

Kasey sent me all 40 poems afterward. Part of me wants to publish all 40. Instead, I'll tantalize you with a smattering of the great work Kasey's students did (see below). Even in this sample there's a range of forms and tones—enjoy!

What (brussels sprout)

Round like a watermelon, yet small.

The fresh smell, a Sunday morning in May.

Each layer barely over the next.

 

Like the veins in a heart.

They go towards the center.

The whole is nothing without the center.

The center is irrelevant without the whole.

 

Each layer a limb, each piece a muscle.

With more power in than out, the body develops.

One day it stops, and the Sunday morning turns to Monday.  —Jake

 

This Thing I Found (brussels sprout)

Green and round,

this thing I found.

With veiny leaves,

and no fleas.              —Maddie

 

The Things You Can See  (small yellow pepper)

1.  The bulb hung alone on the tree.

2.  The tiny pot held the most beautiful upside down flower.

3.  Would they ever pull the sword out of the stone?

4.  Can you hear that bell . . .

5.  Look! That bird has no legs.

6.  The mushroom was covered in bumps.                        —Kaitlyn Dykhoff

 

A Cherry Pulled Apart (ground cherry)

1.   The dark green rivers within

2.   The tail of the taut mouse slips away

3.   An egg inside a frail shell

 

4.   Wrinkling away as new arrives within

5.   The brightness within the dark

6.   Veins of the animal show through battered skin

 

7.    A hut of darkness with life within

8.   The old man hardened with kindness in his soul

 

 

Poem (reaper pepper)

The wrinkled red reaper is as hot as the summer

days    gives you chills like the winter nights.

Red as blood, vivid as a memory, exotic as a bird.

Its thin hide reveals the tasty beauty inside.

 

At Peace (potato)

The bird, plump and bald

perches; bathing in the light,

in a deep slumber.

 

The Hand (ginger)

1   From the swallows of the tomb

2   came the hand

3   crawling creepily, steadily

4   it emerged

5   into the dawn, the light

6   it wrinkled, decaying

7   twisted, crisped, squirming

8   dying in the rays

9   from the bitter son

10 so back to the swallows

11 it retreated

12 sobbing, anguished, lifeless

13 gone