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Making Art and Mothering

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This post was originally published at Pyragraph and is reposted here with kind permission.

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She nursed on the muse at first,
then became her own mother
—Erica Jong, from Self-Portrait

Four years ago, I was digging deep into the music world around me. I was getting calls from jazz, classical and pop ensembles for a regular variety of work and I had just published a book of poetry. I was quite busy and planning for a near future of more of that. Four years ago, I also became a mother. I had no idea what I was about to get into!

Call me naive, but I just wasn’t prepared for the onset of colic in a newborn to last over four months. Every day from 5-8pm my little baby would scream her head off no matter what we did. I thought she was breaking. It was so exhausting that my husband and I began to dread the “witching hour,” as we later learned it is called. That type of mothering dipped severely into my creative flow. I was paralyzed by serious duty, and like so many other artists without an expressive outlet, I got depressed.

Life has definitely improved since that dark winter.

It might have taken me a few years to notice, but I am embracing the fact that though my time to produce/work on my craft has diminished as a mother, the quality of my work and focus on it seems to have increased and improved. I don’t get as much time as I used to, so I make better use of it.

When I was a brand new parent, I was struck with awe at how little time I had for self-care, let alone time to practice my instrument. I searched online for resources from other mothers who are musicians. Indeed, I am not alone out there, but it was difficult to find the self-help/buck-up-kid words I longed for. I needed a mother for my artist me!

About that same time, a mother/musician acquaintance of mine who was living out of the country, started posting on her Facebook page exactly what she did, hour-by-hour, with her two-year-old each day. It was her practice to write out a daily journal of time spent with child/art/family merged together. I thought that was beautiful, and looking back, reading her passages was sort of a turning point for me. I started to do the same in my own private journal—there were good days, challenging days, ideal days, disaster days, and goals to strive for. It also helped me see how I was actually spending my time.

Present day good news: I have a happy four-year-old. I consider that to be the supreme guidepost of any success. Also, my duties have eased up, as she goes to preschool and plays in her imaginary worlds at home. Time has definitely expanded for my creativity to live alongside my mothering duties and I am grateful. Every now and then, I still find it helpful to write out a daily log.

Here’s a recent example of one of our days.

  • 7:00—Woke before the others
  • 7:10—Wrote in my journal
  • 7:30—Made coffee and granola w/berries for the family and me
  • 8:10—Got kiddo dressed
  • 8:45—Prepared sheet music for a rehearsal, tuned and practiced (child playing by herself)
  • 9:30—Went to Musicians’ Union office to photocopy and connect with colleagues (with kiddo)
  • 10:30—Arrived home to rehearse w/ violinist who also has a kiddo—children played; adults played
  • 12:00—Finished rehearsal and hung out for a bit
  • 12:30—Friends left; hubby came home; we all ate lunch together
  • 1:00-1:20—Cleaned up dishes, kitchen and child
  • 1:20-1:45—Hubby took kiddo on a walk so I could message clients/make phone calls
  • 1:45—Got ready to thrift shop and run errands with kiddo
  • 1:55—Abort mission! Bee sting! Child stepped on a bee on the walk!
  • 2:00—Nursed wounded child; applied baking soda compress; ice cream; cartoons
  • 2:20-4:30—Kiddo said she wanted to stay home; worked closely on an activity book together
  • 4:30-6pm—Prepared dinner, ate and cleaned up
  • 6:00-6:30pm—More client emails, writing and invoices
  • 7:00—Drove downtown as a family to hear a musician friend’s house concert
  • 9:15—Dropped off semi-overdue children’s library books
  • 9:30—At home; kiddo fell asleep in the car and plopped peacefully into bed
  • 9:45-11:45—Typed up song lyrics and poems, worked on a writing submission, listened to Self-Employed Happy Hour (a Pyragraph Podcast!), practiced my instrument
  • 11:45-12:00—Read in bed

Keep the Night Dark

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I am recording an album! I’m so thrilled to be working on my first full-length album of original songs.

Entitled, ‘Keep the Night Dark’, this work is a 12-track album reflective of many musical styles: waltz, jazz, Indian raga, ambient drone, do-wop, classical, neo-folk with added vocal lyrics repurposed from my original poems and inspiration from the writings of contemporary Am. poet Anne Sexton, 17th Cent. British mystic William Blake, 18th Cent. French epicurean Brillat-Savarin, Greek mythology, and the world’s first feminist/poet, Sappho.

All songs of KtND were written over the past five years. I am super excited by stellar musicians participating! – my bandmates in The Daphnes (Nate Omdal, bass and Julie Baldridge, violin), plus two amazing drummers (Greg Campbell and Jeremy Jones) and more mystery surprise sound makers!

Harp repertoire of this kind does not readily exist. KtND reflects my wildly wide range of musical tastes. Because I long to play music that covers a broad scope, it took a break from performing to realize the only composer who could fulfill that desire was me!

While recording at Gallery 1412 last week, Greg asked me if I’d always sung. I did. I had. I had just stopped. For about 15 years. When I studied music in college, I thought I should focus on harp. The harp is a complex instrument and I had much to learn. Since it took so much of my time to study, I didn’t have energy to sing. So that was that.

When I stopped performing 5 years ago for a while to have a child, I found myself singing to her all the time. Then, I would write the songs out or record them. Thus, there’s a thematic feeling all the way through that I think comes from subterranean tide pools of maternal emotion. The album also covers general and mythic mother/daughter relations, and nighttime activities like stargazing at constellations and recognition of light pollution.

Soon, Sonarchy Radio will broadcast a session of KtND songs that The Daphnes recorded in June of this year – Stay tuned!

I will also be doing some fundraising concerts for the album this fall as I begin to wrap up the recording process.

Fundraising Concert of November:
Harpy Hour – Tues. November 3rd 
Stone Way Cafe – 
3510 Stone Way
Seattle, WA  98103
Happy Hour + Harp Music = Harpy Hour
4-6pm
$1 off drinks

 

Like My Facebook!

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Enough already. That’s what you’re thinking, right? Everyone wants to have 150 thumbs up and 1000 likes! Well, I guess that makes me no different. I just want to make sure someone out there’s reading my posts : )

Here I am, waiving my hands in the air saying, “Like me! Like me!”

https://www.facebook.com/pages/Monica-Schley-harp/81551655517

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Why Yes, I DO Play House Concerts!

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I do work performing, teaching, accompanying, and recording. Another service I offer is house concerts!

Frequently, I play in either a private person’s house (concert style) or for a fundraiser (in a home or venue). Live harp music can spruce up a party like nothing else! I play either background music, or concert program style (with or without Q&A for the audience to talk directly to me).

A house concert can be in lieu of an audience going to a venue. Instead, the venue is someone’s home. This musician, Shannon Curtis, has made a career for herself playing house concerts. If you, or someone you know, would like to host a harp concert in their home, backyard, or for a fundraiser, I’d love to talk more!

I have experience in making these events happen so its a financial win for all involved.

In a private home, the host either absorbs to cost to hire me and pays me directly; OR  a cover at the door is taken, similar to any other concert event.

Say you had a more public facility, perhaps the actual arboretum you’re raising funds for. You charge $12 at the door, expecting 75 people. That’s a gain of $900. I charge between $200-$300 for a one hour house concert (which includes a Q&A session with audience). You might also choose to charge $15. In a private home seating 40 people, that’s still $600 and then I’d suggest us splitting the door. Guests are encouraged to have potluck dinner/appetizers and the host can make additional $ by having a no host bar of donations.

These are just some of the ideas I’d like to offer you, based upon my personal experiences. Please visit my website below to hear my music. I’d be glad to talk more to you about the possibility of playing for your organization or your friends!

Masquerading with Marie Antoinnette
Masquerading with Marie Antoinnette

Mermaid Parade Photos

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With The Sirens of Serpentine
With The Sirens of Serpentine, credit: Bruce Clayton Tom

Admittedly, I’m not the greatest at capturing the moment while out gigging. I could do better at photo cataloguing, because I always feel like I’m so lucky to play the most interesting variety of shows, performances, and private concerts! But, sometimes just showing up with a big instrument and a bunch of gear to do my job is work enough. And sometimes I luck out and a professional photographer (or two) comes to save the day! Yay.

Little Harp Big Waves
Little Harp Big Waves credit: Chris Yetter

May was a highlight month for a variety of performances. The West Seattle Mermaid Parade was a hoot. I was asked by Leslie Rosen, leader of Sirens of Serpentine, to lead a troupe of belly dancers in song for a public performance. She gave me less than 7 minutes of Persian beats. My assignment was to loop it, add harp tracks and make it last for 30minutes. I worked on a pre-recording w/my fully-chromatic harp, but didn’t want to bring that nice big one to the beach. So, I played it on my little 22-string lap harp that has limited (chromatic) capabilities, only it sounded full range – pretty sneaky, eh?

Dance Dance Dance credit: Chris Yetter
Dance Dance Dance credit: Chris Yetter

The event was super playful and drew a big crowd. Everyone in attendance was encouraged to dress like a mermaid. The event was held on a beautiful late spring day on Alki Beach overlooking Elliott Bay. After the dance, the entire crowd (about 100+ people) walked in a parade. It was a cinematic morning, as you can see. Plus, this event was just old-fashioned fun for the sake of fun. No agenda. Just fun. What a concept!

one mermaid credit: Bruce Clayton Tom
one mermaid credit: Bruce Clayton Tom

Certification Complete!

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Monica Schley, CCM
Monica Schley, CCM

Three years in the making, and I am now officially a Certified Therapeutic Musician!

Therapeutic music is live music played at the bedside, where the musician responds to immediate needs of the patient. Vibrations of harp stings applied therapeutically can relieve pain, release anxiety, diminish nausea, stabilize heart rate and body rhythms as well as improve sleep and calm the environment.

Through my training I have played over 45 hours of music at the bedside for 200+ patients. I have played at an outpatient dialysis clinic; a general hospital (for pre- and post- operations and in ICU (intensive care unit); skilled nursing facilities; and for hospice.

HUGE Thanks!
First and foremost – thank you dear husband and daughter, you have been with me on this journey all the way… Many hours I have been absent from home to make this certification happen and I know its wasn’t easy to have me gone at suppertime and sometimes bedtime – I love you.

Many thanks to my parents Otto & Nancy, for lending me the money for Level 2 – you have given me the greatest amount of musical support in my life – I love you both so much.

To my awesome mentor Edie Enns (Bremerton, WA) for your unwaivering cheerfulness, career insight and faith in me. Thank you Dee Sweeney (Littleton, CO), program director, for your hard work of managing everything!

Essential Thank you to my internship venues and my patrons of support: NW Kidney Center (Annette Gildeman); Columbia Lutheran Home (Chris Galvin); and Highline Hospital (Kimberly Couret). Without your approval of having me play for your patients/residents, I would have never been able to complete my intern hours.

Thanks Laurie Riley, for starting this program in the first place! Like you, I believe so much in the healing power of music – I would have never guessed that meeting you at Vashon Island Harp Camp 5 years ago would have started all this! – thank you Leslie McMichael for inviting me out. Susan McLain, thank you for the use of “little sister” as I like to call her. Judy Friesem, thank you for letting me talk your ear off. Thanks to my colleagues down at the Musicians’ Union who have been so flexible and supportive of me over the years without really knowing it! – Motter Snell, Warren Johnson, Kirsten James, Nate Omdal, Joan Sandler, Paul Bigman… you stand up for what is just and fair in the world and you’re awesome.

To see a project like this from its start to finish has been more deeply rewarding than I could have imagined. I see this chapter in my life playing therapeutic bedside music as being another tool in my “musical toolkit” – I marvel at the places it has already taken me and I look very forward to the future.

Back When It Began (Vashon Island)
Back When It Began (Vashon Island)