Belonging (or two truths and a lie)


Marco Ortolan, Sleeping


Admit something: Everyone you see, you say to them, “Love me.”

Of course you do not do this out loud, otherwise someone would call the cops.

Still though, think about this, this great pull in us to connect. Why not become the one who lives with a full moon in each eye that is always saying, with that sweet moon language, What every other eye in this world is dying to hear?



I. Coming home from school was an exercise in hostile silence. Even if there was some kind of warmth in my ma’s voice, there would be some hook to it or a ‘miss’ of some kind. It was not a home in which there was ease or innocence or humour or calm. There was the continuation of a grudge that had no fathomable, no possible origin. We three were inmates, and like all captives we turned on one another. Fed on the pain or humiliation of one another. Hated one another. Until we couldn’t feel a thing. We three creative, bright, intelligent children. Extroverts by nature but driven to oppressive, harrowing, brooding silences. Developing plans to (in order) sleep/close down, to escape, or to transcend. I look from one to the other now and wonder that these could be those same five people. These good, open hearted adults. These people I love so dearly, even if from a necessary distance.

II. And even now, if I enter any space and am met with eyes-down silence; by indifference, I fight for my life. Fight for some way to make sense of it. It’s more than being left out; it is being left to bleed, be tortured, or die alone. Alone in the presence of this organism, this family, this community that I am supposed to be part of. The elusive sunny, friendly, inclusive world of my day dreams. The one that isn’t true. The one that was never, ever true. The one I’ll never stop looking for. The one I can’t even create for others.

III. I came home one day. My cousins were staying over and our parents were out. I so clearly remember my mumma’s smile: so excited to be going to a show with her friends and husband. Together we all made roast chicken and salads, like our mothers instructed us to make. I mashed the potatoes – proud and precise. Stubborn but needing help. So childish, I shrink now to think about the trouble I was for everyone, but they didn’t seem to mind. I recall the patient kindness of my brothers and sister-cousins. We made the table up, ate our food, cleaned up after ourselves and moved into the lounge to play gin rummy, which I was far more adept at than making potatoes mash. I woke up in the warm, green bean bag later that night and I was carried off to bed by the eldest; wished goodnight by everyone. The sounds of the voices surrounding me as I fell back into sleep.


Me and my Psychology (losing my religion) – career reflection by Upasana Papadopoulos

Image from

Image from


I have taken a break from my work as a Psychologist. It has been almost one year since I have worked full time in the field. I guess that at age 49 I was due for a mid-life work crisis and I certainly got one. I came late to Psychology, being a ‘mature age’ student at the ripe old age of 28. I ran away from my home and family after another developmentally well-timed crisis (marital break up) and decided to study Psychology.

I can’t say that I knew what Psychology was. I was aware of Psychological therapy, but at that stage counselling in Australia was a foreign concept that inspired all kinds of snide opinions about the ‘American-isation’ (or New York-isation) of our culture. I was drifting in life and felt that Psychology would give my life some sort of inner and outer discipline to follow. It seems to me that I often do not know the true intention of my life decisions until I am immersed in them. Only by entering into academic study and the field itself did I really begin to understand why I was so suited to and satisfied by the field of Psychology.

It is said that most people begin the study of Psychology because they wish to gain some insight into their own family of origin or adult relationships and into the confusion of their own thoughts, feelings and patterns. Many a counsellor has been motivated by the hostility, coldness or entanglements that existed in their relationship with their mothers or fathers. I can see that my baffling relationship with a loving but wounded mother most likely ignited my ambition to work in the field.

But I think that the reason why I felt so fulfilled and ‘right’ in my choice of work was because I have always felt a hunger to relate more deeply with people than every day life allowed. I have never understood social small-talk or the protection and deflection devices that people use to guard their inner lives. I have noticed that with protection, inevitably there is a castration of the ability to access spontaneity, expression and joy. I have loved my years in the counselling room because for me that room represents a place where humans can meet in all of the truth of the human experience. It is the place where people learn not to be afraid of their sadness, loss and anger, and to separate unquestioned fallacies regarding issues such as aloneness, separation, death, ageing from their more liberating reality.

I never became a rockstar counsellor and my style of therapy is not for everyone, but I have always kept in touch with my integrity whilst working as a psychologist. I had a particularly good university education in which I was encouraged to see research as more than statistics and evidence for pre-existing theories. I was encouraged to question, to observe, to take a perspective, to notice problems with theories and to point them out. In short, I was trained to think as a scientist and psychologist, not just to follow yesterday’s best practice methods or to blindly digest new research without first giving them informed, reflexive consideration.

As many counsellors know, it is difficult to find validation within our field. Validation from clients can often fit into a complex relationship of transference. Also, there are times when the discomfort of entering into a process of self-witnessing is so strong for a client that they are not left with a positive experience of therapy. Much of the healthy validation or support in this field comes from our colleagues. They may not be able to observe sessions, but they are able to get a sense of each others’ philosophies, techniques, or even a simple sense of each others’ insightfulness, compassion and kindness.

In my work as a Psychologist in the various not-for-profit services I have been employed at, most of the stress of the position has come from tensions and unjust practices occurring within the workplace; never from the behaviours or experiences of my clients. And it seems that this is the experience of many of my peers. The employment of managers and supervisors who know nothing of the field of counselling or the needs of its practitioners and certainly nothing about how to create healthy, creative, happy teams seems to be the norm. The ubiquitous micro-management styles, over-supervision and lack of access to external supervision goes unquestioned. Further, managers and supervisors often are not trained or willing to identify how vicarious trauma can materialise within the dynamics of the workplace.

I have been placed in the position of trying to speak out within the workplace and to navigate the, for me, frightening process of professional assertiveness. Although there have been some moments in which I have been acknowledged for my strength and intelligence, for the most part I have failed to stand up for myself and others in the workplace. And I allowed these failures to get the better of me. In March last year I decided that if Psychologists and other therapists do not have the ability to self-reflect; if therapists must endure bullying and ridiculous acts of jealousy, competitiveness and power-play often at the hand of fellow therapists, then it was a field that was not capable of practicing what it ‘preaches’.

So except from some contract work, I have stopped identifying myself as a counsellor and psychologist. I have begun retraining in another area. I will write more about that at some other time. It has been invigorating and I have been amazed at what happens to me when I dare to begin learning again; bringing all of my experience and training and applying it to a new field.

But life has not really let me move on. I find myself still engaged in discussions about therapy, best practice, the place of contemporary Psychology in the world and so on. I have not really found work elsewhere.

My work as a relationship therapist has taught me that the decision to end a relationship often occurs just as the opportunity to move into a deeper, richer phase of relating reveals itself. The moment of emancipation is often confused with failure. Irvin Yalom has described his role as a relationship therapist as that of ‘love’s executioner’ for this very reason. The idea of love often needs to die so that the truth of love can finally be born. The sexy glamorous notion of love ends, but maturity begins.

Last week I recognised that my time as a therapist has not ended. Not yet and not like this. Not in trauma and anger. Not in burn out. Not as a victim of ignorance and vindictiveness in the workplace. I am ready. I can’t be sure that the disillusionment I felt will re-emerge as illumination and maturity in my work, but I am prepared to find out. I have no idea of what will be different: in my workplace choices or in my way of being ‘in the room’; I am really travelling blind. Just the kind of journey I have always loved.

Feature Zine: An Interview with Anne Harris


The zines ‘Lovingly Interrupted’ & ‘Expressions of Love II’ were created to accompany an exhibition of the work of Anne Harris and Kim Schoenberger. Since the exhibition, the zine has taken a life of its own, becoming a new way for Harris to share her voice and her unique pieces of slow-art with the world. Upasana Papadopoulos spoke to Harris about the exhibition, lessons learned from zine-making and the evolution of her work.

UP: Could you tell us a little about the Lovingly Interrupted & Expressions of Love II, exhibitions in 2014?

AH: Lovingly Interrupted was my first exhibited body of work, I was very fortunate to have an established artist, Kim Schoenberger (Expressions of Love II), mentor me and share the exhibition space. The work is a dialogue about my journey as a mother, artist and woman. It contains stories about family and the connections created by love.

UP: Could you tell me about the title ‘Lovingly Interrupted’?

AH: This notion of interruption is two fold. An interruption arose from my own frustration of trying to find a voice for my artwork that I could combine with my role as a mother. My artwork is the last thing to be picked up and the first thing to be put down, during the daily demands of family routine. I also wanted to bring into this, another poignant reminder of how our love transpires. There are stories about women who have left us too soon and about how our roles as women can change, for instance when age or illness brings a mother into the care of her child.

UP: How was your first exhibition different from what you had originally imagined?

AH: It was such a fantastic learning- experience on so many levels. I have learned a greater acceptance in regards to my own art practice, and a better way of dealing with all the self doubt that goes with putting my work on show.
Also I learned a lot about the practicalities of curating and hanging my own exhibition, like the logistics of marketing and PR. It was like a practical assessment of a self-created project.
Having Kim as my mentor helped me to develop a level of professionalism and attention to detail that I will treasure in my practice, going forward.

UP: Did completing your first exhibition change the way you work now?

AH: Yes, it gave me the confidence to follow my own direction, and to focus on making what I feel most passionate about in the moment. It also helped me conceptually re-examine the decision about what I include in my art practice. Really immersing myself in all of this, made things seem simpler and my art practice clearer.

UP: In the zine, you tell the story of an installation-piece which you called ‘Unresolved’. You beautifully describe the initial disappointment you felt at unrolling the finished work and knowing that it had not come out as you had hoped. You then write: “By the time I am writing this, the energy is shifting and I am seeing new possibilities…” How did that situation resolve itself?

AH: Yes, I had a bit of a disaster with the final piece, and because of the slow-process I used to produce the work, I was unable to redo it in time for the exhibition. I had to rethink it completely and find a way to make it work and still tell a story that was relevant. The best thing about that situation was that, although the work didn’t make it into the exhibition, the zine gave it it’s own valid reason to exist.

‘Unresolved’ was eventually chosen as a finalist in The Churchie National Emerging Art Prize in 2015.

UP: In your zine, you write about the decision to move away from glass and wood as working mediums, and the change in mindset required to do so. You also discuss moving towards “traditional methods of women’s work” in order to better balance your art-making with being a wife and mother. I am interested in what you wrote about the stigma of working with traditionally feminine mediums. Where are you in that dilemma at the moment? Do you see a lessening of the distinction between high and lower art forms in contemporary art?

AH: Ahh! I like this question! Now that I have worked through my next body of work (Notion of an Ordinary Yarn) and been able to attend some more master-classes with traditional craftspeople from different countries, I have a deeper understanding of myself. My confidence has grown. Maybe it’s about growing into your own skin and finding a voice that is completely your own. I no longer have issues about the validity of my chosen processes. The way I articulate this now is, I am a process- based artist, I use traditional and experimental craft practices to make narrative and conceptual work.
In the last 12 months as my children get older and I am able to work more. I have extended my practice more to incorporate wood and fibre, whilst still keeping the women’s-work aspects. I think I am also fortunate that craft- based art is having a resurgence in popularity, which also helps to reinforce a sense of acceptance – timely for an emerging artist.

UP: Could you explain the concept of slow art?

AH: ‘Slow art’ involves processes that are created by hand, or that have no way to be sped up by current technologies. For example, natural dyeing requires about 4 weeks for the fabric’s preparation and up to a few months to dye the work. You have to wait for each process to dry or occur. I guess this is similar to layers of oil paint: you cannot rush that either. I also like the element of chance, from the selection of materials, using what is in abundance or given to me, through to the results that unfold, which are never totally in my control. This makes me let go and I have to continually look without preconceived expectations of result. The results are what they are, and I have to find a way to make them tell the intended story.

UP: Can you imagine producing another zine?

AH: I have just finished another one for my next exhibition, Notion of an Ordinary Yarn. It is available in limited edition in print, and there is also a pdf online version available though my website.
I found the zine an important part of the exhibition process; it gave me a way to continue engagement with the audience once the body of work was completed. The zine is like the final document that holds the story in its entirety. It keeps the story of the body of work intact even after the work has been sold and dismantled. It is a place to share my process and to incorporate an aspect of the hand-made. The original Zine was hand-bound, this new one has a hand-made paper cover.

UP: Could you share some of your artistic influences?

AH: India Flint, and her process of eco dyeing initially opened the door for me – hers was the first process that engaged all my senses. Ross Annels and Tamsin Kerr of the Cooroora Institute have both had a big influence on how I use craft-based work to tell a story. I’m also inspired by Dorothy Caldwell’s recording of place, and her use of earth-pigments. I also like the simplicity of stencil street-art, the ability of an image pared down to its basic elements that can convey a message without words.
Tim Johnson, a UK-based fibre artist, once gave me some great advice about developing my work. He said “just make what resonates with you, until people cannot question whether the story and process are yours”
And also, everyday-life influences me. Celebrating the beauty and the ability to be in my place. Being satisfied that who I am and what I have is enough, and that the stories about the ordinary every-day are worthy of sharing.

UP: It sounds like you have lived in a great variety of Australian environments: Arnhem Land, Sydney and the Sunshine Coast hinterland. Do your work and artistic inclinations change with your location?

AH: I am really just beginning to understand what connection to land is. In the past I have lived and moved and searched for somewhere that I thought I wanted to live. But now that I have settled in the Sunshine Coast, and immersed myself in my art practice I finally get what it is to belong somewhere.
When I leave my place and go more than about 30km away, I begin to feel like I don’t know that place anymore. The plants become foreign, the soil changes… it smells different. I feel like I don’t have any knowledge of the area. I feel inspired to start working, but I also know that any work would be tokenistic. I would need to spend quite a lot of time, and make numerous visits at different times of the year for years, to really get to know that land. So I remain a visitor then, and can only make a scratch in the surface of that other place’s knowledge.

UP: I see that you have had a second solo exhibition this year. Could you tell me about it?

The body of work is called The Notion of an Ordinary Yarn. It explores and celebrates the beauty and rhythms within the stories of everyday life and is inspired by the places and people that are part of my surroundings. In this work I have used pigments, fibres and compounds using techniques such as eco dyeing, weaving, wood-work and traditional textile skills.
I have utilised craft-based practices here, to help create literal and metaphoric links between people, places and the artistic process.

UP: Do you have a large vision of what you most wish to do and achieve as an artist and maker?

I love making, experimenting and exploring. My next step is to take one plant and to take time to explore its properties. I have become the custodian of a 6 tonne, 200+ year-old Eucalyptus Tereticornis tree that fell down on a nearby road. I want to spend the next 2 years getting to know the properties of this tree: its leaves, bark and wood. Its literal and conceptual properties, both seen and unseen.
I hope to engage my local and extended community to work with this tree and to explore its cultural and heritage significance. It is a way for me to slow down, and just bring my attention to one thing, although it will still have far reaching narrative, as I engage and update the online community with the project. Audiences globally will be able to see how we can use creative practices and celebration of environment to connect, share, learn and respect our stories.

For more information about Anne’s work, exhibitions and publications, you can visit her website at:

This interview was conducted for the Verge Gallery, Sydney, website.


Who do I want to be in this?

Ernst Ludwig Kirchner, Two Women at a Couch.

Ernst Ludwig Kirchner, Two Women at a Couch.

I have a new question that I have been using as a way of ‘remembering myself’.

I have been working hard for a good many years now to self-love through thick and thin, and have a pretty good relationship with myself happening as a consequence. But due to my particular form of introversion, I do find relating to others problematic. As a consequence, often the best of me gets left at home.

At 49 years of age, I still have a palm-mark permanently fixed on my forehead, from endless social situations that leave me wondering “why on EARTH did I say that?”
I find it hard to slow down and self-remember when I am out in the world. And so my resolution is to address this by asking myself the question “who do I want to be in this?”. The question re-centers me and reminds me of the qualities in myself that I most cherish.

I often think back on when my father passed away. I didn’t know how to prepare for his death. And although he was in hospital for quite a while before he died, I didn’t have the maturity and presence to gather myself into any kind of intention. And as death and illness were a clear no-go zone in most of the people I tried to speak to, I also didn’t have a role model.

Who would I want to be if I had the chance to be back there again?

There is a woman that has been in my life now for many years. I first met her as the editor of a magazine that I wrote a column for. I then got to know her a little and took some of
her sound-based meditation classes. I have also listened as she has shared her life with those of us in her circle. And she is a wonder. I’ve watched her move from a life of curiosity and seeking, to a life of radiance. Living so simply, cherishing the joy she feels in the smallest and largest of things. There is no apparent separation between creativity and work for her. She also lives openly and has shared some of the most difficult choices she has had to make with the ‘us’ of her circle. Her son just died. He hadn’t even reached adolescence. And instead of abandoning all that she has learned and moving alone into the darkness, she has begun her journey into this, taking us with her. Although she has taken a great deal of space, she has not closed the door to us or to the world. There has been no throwing away of all of the things she has learned. She has sent us notes, not to console us, and not for her consolation. She continues to hold herself with this tangible love she has. And she has just saved us all. What she is teaching us is how to hold ourselves in self love, and then to stay open. We were all prepared for her absence. None of us were prepared for her continuance. I wish I could say these things more clearly. But I know I can’t.

I can not be her. I do not want to be. I’m not prescribing any model of behavior here. I do want to live life as authentically as I can be and there is only one road for that.
Who do I want to be in this then? As a distant friend to someone that has shown me how not to be alone in pain?

Let’s see.

What I have learnt about being sad

watercolour byAbhilasha Singh

watercolour by
Abhilasha Singh

I was speaking to myself in my car today.

I usually process in written form, but I was driving and didn’t have my journal handy.

I was thinking about what I have learnt about being sad.

Now that I am 47, I have been reflecting quite a bit on what I have learnt in the journey so far and this question of what I have found about being sad feels important to me. I spent way too long as a girl being sad. I consider it one of my greatest achievements that I am not any where near as sad any more.

Here are the five things about being sad, or more specifically, what helps me not to be.

1. That the things I think I know about other people are so very often not true at all.

The brush off; the short reply; the lack of eye contact; the unanswered text; the forgetting of dates that matter to me; the far too hasty interaction in the street; the tone of a facebook comment; the strained trace of a smile when I try to be witty and light hearted in my repartee…

I used to think I was good at reading people and reading their intent. But I’m not. I’m sometimes emotionally illiterate in the non verbal language of others.

I get it wrong. Getting it wrong has made me sad many times in my life. Now that I have finally- FINALLY understood that my guesses are often the most pessimistic interpretations, I guess less often. I let myself expect the best rather than the worst when I try to imagine how others see or judge me.

It has been a daring step but it has made me happier.

2. Sadness is a feeling that I experience in my body and if I let myself feel it as a physical sensation, I can then watch it pass through and away.

I can wait for the peak of the pain and then I can watch the pain ebb away. Then I can experience the return of the lightness. Just like hitting my thumb with a hammer, or hitting my funny bone, or having one of those calf muscle cramps. It passes and there is very little that I have to do but let it.

If I don’t let myself experience sadness in my body, then I tend to look for it in my mind. Then I create stories and interpretations; conversations and replies. I begin fighting the other person and looking for allies and enemies.

I like to leave it to my body to process as much as I am able to. My body seems to process things more efficiently, without taking hostages.

I tend not to get so scared of emotional pain any more. I don’t fall for the fear in me that says that it will never pass. I tend to look for ways to open up the channels and let it go.


Image from

3. My beautiful blue bowl.

I have a lovely blue bowl that my friend Forbes made for me and I decided to turn it into a worry bowl. So I have little cut up bits of paper at the ready and if I have a worry, I write it down and ask the bowl to hold the worry for me. That way, I can forget about the worry and let some other vessel carry it. I have often had a falling out with someone and written down the wish that one day the trouble between us would be resolved. Or I feel remorse for something and wish that one day I will feel forgiven.

All of the wishes I have put in that bowl have come true. Some sooner than others.

And when they have, I have simply taken that wish out of the bowl and made the bowl a little lighter.

Most of my problems get resolved sooner or later –  and that never ceases to amaze me. It is often really just a matter of time.

4. Asking for help can be a challenge.

I do feel the need to talk things over when my mind is overloaded with feelings and thoughts. I hate the idea of being alone in it sometimes.

However, I also know that when I am overwrought, I am impossible to deal with and usually inconsolable.

How often have I called someone to arrange to speak things through, only to feel frustrated that they could not possibly understand the intricacies of what I am feeling.

Or else, I will feel them pull away or try to change the subject or obviously feel burdened by what they see as negativity.

Nothing anyone ever says when I’m in that state seems to really hit the spot for me. I always wish I could just morph into two people and counsel myself.

This need to be comforted by others, coupled with a tendency to push the others away is the paradox of sadness for me.

I think the one who addresses this paradox better than any other therapist I have encountered so far is David Schnarch. You may have read his book ‘Passionate Marriage’, or if not, you may like to. It really is a wonderful book. What I love most about it is what Schnarch writes about leaning on other people. He says that in life, we tend to all lean on one another so much that the responsibility for holding ourselves up is almost always given to someone else. The someone else we entrust our care to also looks elsewhere to be held. He writes:

“The ability to self-soothe and to hold onto yourself, and the willingness to self-confront, are important to increasing your differentiation. These involve calming yourself down, not taking your partner’s behavior personally, maintaining a clear sense of yourself, and facing your own unresolved personal issues.” (Schnarch, 1998)

He teaches that if we could learn to hold ourselves emotionally first and then ask for help, then we have some chance of getting what we really need. We steady and ready ourselves to be able to receive the answers and inspiration we most need.

Learning to ‘hold myself’ is no longer something I do in loneliness or in a spirit of resignation, it has actually become a joy and an honour.

5. The inner child.

The inner child model of therapy is the one I keep looking back to. It’s the one that makes sense to me in my own life and experience.

So many therapists have used and developed this model of understanding: Jung; Berne; Bradshaw…

To explain this in my own words I would say that the child that we once were does not disappear. The girl that I was still exists in me in the form of what I would call ‘my heart’.

When I am sad, it is usually she who is feeling it and trying to communicate it to me. The adult part of me wants to soldier on and look brave, clever and sophisticated. She, like any child in the world is not good at faking things. She is too true for that.

All of the things that used to hurt me as a little 7 year old girl are still the same things that hurt me now: rejection, abandonment, insensitivity, confusion, change, loss, fear.

I can not travel back to the 1970s to protect the little one I was then, but I can care for my heart now. I can love myself, listen to myself, trust the things she is trying to communicate to me. I can be parent to her. I can say all the things to myself that I would want to say to my own daughter. Or that I wish had been said to me. I can stop calling myself a liar; I can stop taking the side of the other. I can tell her that all will be ok. I can even rock her to sleep if I want to.

That for me is my lesson in self love. The promise that I will never abandon her again. Never abandon myself again to fit in, to seem cool, to be tough, for whatever reason.

It’s not an end to sadness, but it is a taste of the kind of love that is its salve.

It may not be true in a scientific sense, but by taking the time to hold myself as I would a treasured little daughter, I have learned something about how to be kind to myself.

Image from:

Image from:

These are some of the things I have learnt. There are actually many more. Many of these tricks and understandings and sleights of hand I have learnt from others – including my clients.

I would love to hear what you have learnt.

Origins and Manifestations: An Interview with John Mason, Chinese Medicine practitioner.

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Image from ‘’

Upasana:  John, can acupuncture address issues that people experience such as stress, anxiety and depression? Does it conceptualise these things differently to how a field like medicine or psychology would, in your opinion?

John: Rather than talk about acupuncture specifically I would prefer to answer your questions in terms of Chinese Medicine of which acupuncture is a treatment method.

In my opinion and experience one of the strengths of Chinese Medicine is the effective treatment and management of stress, anxiety and depression and related disorders, either as a stand-alone therapy or in conjunction with Psychology and Western Medicine

To answer the second part of your question, the largest difference between Chinese Medicine and Western Medicine in this respect is that Chinese Medicine holds that there is no dividing line between mind body and spirit when considering disorders of the person. Signs and symptoms of psychological disturbance are seen in the same way with the same origins as somatic disorders. Psychological signs and symptoms almost always have concurrently identifiable and associated somatic signs and symptoms. In the Chinese Medicine context, this concurrency of signs and symptoms helps in differentially diagnosing and treating psychological disorders.

Accordingly, ‘anxiety’ is not a specific diagnosis in Chinese Medicine. The diagnosis may well be ‘heart yin and blood deficiency’ presenting with signs and symptoms such as panic, tachycardia, dizziness and spontaneous sweating.

In stress, anxiety and depression it is also essential to identify and assess the emotions involved. For example, one stressed person can be predominantly experiencing emotions of anger/frustration, while emotions of worry/fear may dominate in another. Each requires different treatment considerations and strategies.

Moreton Bay Fig Study byMalcolm Pettigrove

Moreton Bay Fig Study by
Malcolm Pettigrove

Upasana: could you explain how Chinese Medicine can work on something like anxiety?

John: In Chinese Medicine diagnosis, a key principal is the concept of ‘ben’ and ‘biao’, that is ‘root’ and ‘branch’. In Chinese Medicine pathology, disease is seen as have a ‘root’ origin and a ‘branch’ manifestation. That is, a particular disease (branch) can be coming from one or more different ‘root’ pathologies.

In order to effectively treat an issue such as anxiety we need to look at the person and their signs and symptoms picture as a whole in order to differentially diagnose the root cause. Anxiety usually arises from disharmonies in one or more of the liver, heart and spleen organ systems so effective treatment is reliant on accurate assessment and differentiation of the overall signs and symptoms picture.

Chinese Medicine generally uses a much wider and less specific set of signs and symptoms than Western Medicine and consequently looks at a much bigger picture than Western Medicine. Accordingly there are often many factors making up a therapeutic program for someone suffering anxiety, including acupuncture, Chinese Medicine herbs, counselling and lifestyle and dietary changes.

At a basic biophysical level, using acupuncture needles in specific combinations and techniques, stimulates endorphin and enkephalin release which in turn act as a GABA antagonist, allowing the release of dopamine into the brain, thus immediately ameliorating symptoms of stress and anxiety. This amelioration is a temporary effect but become stronger and longer lasting with subsequent treatment. But this is only a part of a treatment program.

In an effective treatment program, not only does the client’s anxiety improve, but so does their overall state of health. This is because, very often, we have to fix other things in order to get a lasting improvement in the signs and symptoms that we call anxiety.

This is not to say that psychological therapy and drug therapy are not effective as well, it’s just that those approaches are not my field. I do know from experience that amazing results can be achieved in the field of mental health when all three modalities work together in consultative integration

Upasana: is there a ‘counselling’ component to your work?

John: Counselling is a huge component of my work although I would see my counselling with clients in terms of Chinese Medicine and not Western Medicine. What I do with clients certainly could not be called counselling psychology although it does have many similarities with concepts used in mindfullness techniques and Cognitive Behavioural Therapy.

In my work, counselling is not limited to psychological disorders. In Chinese Medicine the aetiological factors of disease, disorder, imbalance, however you would have it, can be very deep and broad. In my counselling I help the client to understand and recognise the contributing factors. Experience and classical psychological thought tells me that once a person understands the factors involved in their illness, they are immediately moving towards solution resolution.

At a psychological level, the counselling techniques I use with clients usually involve working to recognise factors, both internal and external, that contribute to the situation in which they find themselves. Also, as I mentioned before, I help them to recognise and analyse emotions that they feel. Difficult, complex or dangerous emotional states are referred on to Western Medicine assessment for stronger interventions, but once the person’s mental state is stabilised I have found that he or she almost always benefits from conjunctive Chinese Medicine therapy.

I have rarely found difficulty in establishing trust with a client. I find that it is critical to be up front with them in what you are about and your system of ethics, as well as your qualifications and experience and limits of same.

I have found that clients very quickly make their own assessments of a practitioner’s integrity and capability as well as the capabilities of Chinese Medicine itself.

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Upasana: How are Australians going in our acceptance of Acupuncture and Chinese Medicine? Are they still considered alternative therapies? Or is there more confidence in this field now?

John: I have never liked the connotations attached to the term ‘alternative therapy’.   Medicine and healing is what it is all about. To set up notions of mutual exclusivity amongst medical disciplines is, I believe, at best counterproductive, and at worst, highly unethical.   It seems to me that such notions have been fostered by the arrogance of western scientific thought. Nobody has all the answers but answers can be found anywhere.

People vote with their feet. They don’t need double blind placebo controlled tests to tell them that they feel better. Chinese Medicine is well established in the western world now.   Outside of Asia acupuncture is second only to orthodox Western Medicine as the most commonly used form of medical treatment. And I use the term ‘medical’ despite Western Medicine’s attempts to own it.

In my practice, the average age of my patients is 50.9 years. I see Mr and Mrs Average and I see their parents, children and grandchildren. Repeatedly.

In my thirteen years of practice I have had many clients, both in suburban Melbourne and rural Far North Queensland, who have trusted me to assist with their care and well-being even though their death was imminent. I think that says volumes for the acceptance and trust in Chinese Medicine that Australians now have.

Upasana: Do you find that in your role, you teach people a new way of understanding their health and well being?

John: As a health care practitioner I believe that it is essential that a person has as full an understanding as possible of their condition and the factors that contribute to, as well as heal, that condition. For most people the concepts of Chinese Medicine are initially a foreign language and have to be explained and unfolded by the practitioner.

But most people find the concepts to be common sense in harmony with the laws of nature. If I had a dollar for every time a client said to me, “That makes a lot of sense”, well…  I couldn’t retire, but I reckon I could take the family to Europe for a holiday.

As an example, take a man suffering migraine headaches and extreme stress as a result of hating his job. It is necessary for effective long term results that he understands how an overload of the emotion of anger/frustration has a deleterious effect on his liver system which then causes the migraines and sends him into a downward spiral of emotionally based depression. He also needs to understand how alcohol, fast food and lack of exercise negatively impact on the liver. When treatment and changes he makes start to have positive effects he is inspired to continue his positive path.

He is more inclined and more able to take responsibility for his own healing because he understands why and how it works.

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Upasana: Was the discovery of accupuncture a pivotal turning point in your own life? could you tell us a little about why it became your path?

John: I had been 16 years in the same career and I was bored. I had always wanted to be a doctor as a kid and so I naturally turned to medicine when I needed a career change.

Although I have always been a fan of Western Medicine I felt it was not the path for me for a number of reasons, so I decided I had to become a doctor (i.e. teacher and healer) in another medical modality.

The concepts of Chinese Medicine resonated with both my material and spiritual self and studying it just made me plain excited. I was also strongly drawn to the hands on and surgical nature of acupuncture needling.

I love what I do and I am both proud of and humbled by the medicine itself.

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John Mason can be contacted at:

Caring Enough to Talk Garbage: An Interview with Megan Bayliss, Eco Social Worker.

Megan wearing one of the Junk Wave jewels (made from recycled paper )

Megan –                                    wearing a Junk Wave jewel

Upasana: Where, when and what did you study at university?

Megan: I was a mature aged student. I didn’t get to uni until I was age 26. I turn 50 this year and it still seems like it was just yesterday. I originally intended to do Medicine but when I finished school, I got married and had babies instead. Eventually I was in the position to move to Cairns from Cooktown to study at the new James Cook University campus, or tafe college as it was at that time. I chose Social Work because it was the only degree I was remotely interested in that was available in Cairns.

Originally I wanted to do medicine and specialise in paediatrics so that I could work in third world countries for aid agencies. My care for helping children has always been an internal motivator – my empathy and passion are huge so everyone always knew that whatever I did it would involve helping kids. Apart from social work being an available course, I was at a loss to clearly articulate my reasons for choosing it until I watched The Power of One based on the book by Bryce Courtney. That was it!

Even as a little girl I instinctively knew that one person could make a difference. One person can change discrimination, oppression and abuse.

I was born and bred in Papua New Guinea. Juxtaposed with the beautiful natural environment were abuse, poverty and the patriarchal effect of colonial oppression…..and I hated it. In hindsight, either social work or a career in international relations was a foregone conclusion. I once told my Army Officer father that I wanted to join the diplomatic corp. He laughed and suggested that there wasn’t a diplomatic bone in my body. He was so right – I remain outspoken against injustice and critical of paternalistic policies that keep minorities oppressed.

Upasana:  Could you tell me something about the course you work has taken since graduating?

Megan: I specialised in sexual assault therapy for children. I have worked across all levels of government, in the non-government sector and in the private sector. I published on the topic, wrote, practiced and taught a model of protective behaviours. I worked in child protection in London, as a court counsellor for the Australian Federal Government and in the funding branch of our local department of child safety. I managed a therapeutic house and I worked as a curriculum writer and student counsellor at a training college. I also did sessional teaching at uni.

I LOVED working in that field. But after working with it for almost 20 years I was burnt out.The challenge and excitement of new jobs no longer fed my soul and I knew that I had to move away from child sexual assault work.

But, I procrastinated and the Universe forced my hand. My husband became ill; I quit my high stress professional job to look after us all and found myself with no money. It was a very black time for all of us.

Lucky I am a worker, an innovator and an entrepreneur, and I really like  working for me: no money? no problem! I decided to start a business from scratch. I just had to find potential stock that was easily accessible and cost next to nothing to turn into a saleable item.

One day, trancelike, I found myself staring at my rubbish bin (I know, sad really). The sight of the overflowing garbage had me thinking about the earth being clogged with rubbish. If you’ve ever seen pictures of the huge landfills in other parts of the world, the size of Texas (yes, really), you’ll follow my drift. Junk –  I hate it!  I hate landfill, I hate waste!

There, at that moment, a precariously balanced, colourful flyer flew out from the top of the pile of rubbish which was seeping out of the bin. It found me! – The idea I had been looking for! A recycled craft business.

With the help of a few friends, my recycling craft hobby developed into a sideline. That sideline developed into a program and the program developed into a business. And so my Junk Wave business was born! I now run three weaving teams and train in recycled craft across Australia.  How lucky am I to earn a living doing something so enjoyable – the kind of thing most people do for fun!

Upasana:  Your career has transitioned so much throughout the years. Which roles have resonated with you most?

Megan: Working as a therapist specialising in childhood sexual assault has long been my passion and reason for getting out of bed in the mornings. I felt driven to protect children against sexual assault and I strongly identified with that role. I still refer to myself as having been a child sexual assault therapist.

Writing has also been a strong pull for me. I am extremely creative and even my business writing has an element of magic and a good dose of fun in it. Publishing my children’s chapter-book was such a pinnacle point for me –it was the marriage of fiction with non-fiction, general reading with bibliotherapy.

It has taken me a while to call myself an Eco Social Worker but I absolutely identify with that role now. My people and training skills are excellent and my love of the environment makes it easy to encourage others to think about how they interact within their natural surrounds – and how the natural world is impacted when clogged and stuffed with rubbish.

Upasana: What have been the happiest memories of your working life?


Megan: This is a really hard question. There are so many highlights which I can’t share because of confidentiality reasons, however, two professional highlights sit high upon my career tree like bright shining stars. Firstly, the launch of my book Bitss of Caramel Marmalade on Toast. Against all advice, I got kids to organise the whole thing. I didn’t want boring adults and boring speeches. I wanted fun, I wanted child-focused, I wanted the kids to have a voice. So, kids were the guest speakers and the mc’s, they ran the event and organised the games and fancy dress parade. It was a BLAST!

The second highlight was working in Child Protection in London. It was a wonderful experience for me and I have nothing but encouragement for other social workers who wish to expand their practice into the international arena.

Upasana: You developed the BITSS model for use with young children of primary school age. Could you tell me about this program?


Megan: The BITSS model of Protective Behaviours took years for me to develop….and I loved doing it. It started because of a personal incident. My son was suspended from child care because he said the word “penis.”  The other boys who were saying, “cock”, “willy” and “doodle” were not suspended for their bad language.

I realised we were in great trouble if early childhood educators could not use correct body- part terminology. However, when you consider the prevalent statistics which tell us that one in three girls are sexually assaulted by the age of 18, it makes sense that perhaps one in three early educators have their own issues when it comes to addressing sexual topics.

My research discovered that most protective behaviour programs were delivered at school by external personnel rather than by their own teachers. And the information was being taught in such a way that apparently made it difficult for children to generalise the information they were given about protection to their lives at home, away from the school yard. Given that 85% of childhood sexual assault is perpetrated by a family member or somebody well known to the child, it became clear to me that the way protection was taught at schools was not working well enough to make a difference. Further, while some educators remain unable to say ”penis” or “vagina” there was no hope of having externally delivered programs reinforced by those teachers.

I designed the BITSS model to be taught to children by parents and carers as a set of games and activities to be played anytime, anywhere and from any age.

The program is now used around the world by parents and foster carers. Whereas once I used to sell the model as a tutorial for parents, it is now available free as a download to people who sign up for my recycled craft newsletter:

I still train in the area too. I can run a 4 hour BITSS workshop for teachers, parents, carers, or who ever wants to come, and they can walk away knowing exactly what they have to do to keep their kids as safe as possible from sexual predators.

Upasana: Is the Junk Wave project governed by any particular model or framework? How has it been informed by your social work background?

The development of The Junk Wave into a global project of individual empowerment is most definitely inspired from and encouraged by my social work training and work background. I LOVE working with women and I love frameworks of empowerment. Further, protecting the environment is another form of child protection….we protect it to make sure our kids have safe places to go – where they can interact with nature.

The Junk Wave’s business model is all about making the micro macro: mass action of individual home based effort. By working with passionate women crafters to help them reframe waste as art, I am on a sustainable journey that is good for people, good for the planet and good for profit (not just mine but all of the women I assist to start their own cottage industry).

I absolutely love what I do at The Junk Wave and I am very grateful to crafters the world over who share my mission, vision and aim: to make junk precious.

Through intentional teaching and ‘teachable moments’ -taking opportunities such as this one, to explain the project and vision, we spread our recycling passion to protect oceans and landfill from toxic household waste so that tomorrow’s children can experience a healthy and safe, animal rich, environment.

Upasana: what sorts of activities does the Junk Wave offer?

Megan: We create and sell fashion hand bags made from recycled food packets; we hold recycled craft workshops for both adults and kids and support recycled craft cottage industries and creative incomes for members of our global recycling craft communities.

We aim to raise awareness of landfill alternatives and encourage international momentum for people to turn household waste into craft treasures.

I am also motivated and influenced by the Fair Trade organisations around the world. Their models of turning nothing into something for the co-operative members makes good sense fo me. I am so interested in them that I am applying for a Churchill Fellowship to study them and to bring the model back to women in Australia as a way helping them find a way out of their  poverty.

Upasana:  Megan, you seem to put a great deal of time, energy and passion into the work you do. Through your experience, particularly in the difficult areas you have worked in, what have you learned about creating a life balance?

Work/life balance is something I have been very bad at. I used to be a workaholic and that behaviour helped to destroy one of my marriages. Once somebody pointed out to me that workaholism was nothing more than a respectable addiction, I dropped my madness. There was no way I wanted to be seen as an addictive personality or “holic” of any kind.

It has taken me years and a period of burn out to discover how very important work/life balance is. In retrospect, the blackness that I was always working with in the sexual assault field needed to be set against a palette of bright. For a long time I stopped doing craft – I did NOTHING but work. I dried up. The colour left my life and my eyes may as well have been blind.

But, my marriage break up, my burn out and my poverty, were blessings. They gave me a new path and I was forced to draw upon only that which was already inside me.

Through rest and introspection, I rediscovered the colour. I rediscovered my ability to create and I rediscovered my tenacity. I had stood at the edge of a black abyss and I didn’t like it……I backed away real quick.

I am reminded here that part of the definition of poverty is the inability to make choices. When I was working long hours in a dreadfully stressful area, I was impoverished. I couldn’t make nice choices. I had no time to. I just worked. Once I quit, I could make choices…..and my life has continued to get better and better.

These days I belong to a group of people all reading and growing in the personal development and leadership field. I read books that may once have been negatively referred to as pop psychology but which for me have become life blood. I discuss the books and their learnings with people who are neither client or professional – just real people wanting to make a real difference to the world by becoming the best they can become. It is this that keeps me grounded and in touch with my past education.

It is from this guided reading program that my most valuable quote came to my attention: “People don’t care how much you know until they know how much you care” (Orrin Woodward).

I care deeply about our environment and about our children. I care that my grandchildren have the opportunity to grow up to see birds, fish and trees…..and I will do everything I can to encourage other people to make their own changes for their own kids or grand kids.

Finally, I care enough to keep talking garbage. So I do.

creating useable art from recycled materials.

creating useable art from recycled materials.