Welcome back to the Lessons from the Playroom podcast. Thank you so much for tuning in from wherever you happen to be right now in the world to listen to our next amazing guest speaker, Dr. Joyce Mills.
I’m going to be introducing her in just a minute, but we’re going to be talking today about Storyplay, which is a model that she has created. And I’m so incredibly grateful that Joyce has agreed to be a part of this conversation. So for those of you that are not familiar with Dr. Joyce Mills, let me go ahead and introduce you a little bit. Known for her warm, playful, dynamic, and inspirational style. And listeners, you’re going to feel that the moment that she starts speaking.
She is a nationally and internationally recognized Storyteller keynote presenter, workshop leader, consultant, trauma specialist, and program developer for healthcare, psychological education, and community organizations. She is the founder and creator of Story Play, which she’s going to share with us what that is and orient us to that in the conversation. She is the recipient of the 1997 Play Therapy International Award for outstanding career contributions to the field of play therapy training and child psychology.
Joyce, what an honor it is to have you be a part of this. And welcome to this conversation. Welcome to this podcast.
Thanks for being with me. Well, I was saying my throat has been a little bit raggedy too, so it was fun when we were talking before. We both have our lozengers and I have my water and honey here and we’re all set to go.
So, first of all, I’m really honored to be asked to be here. It just came just such at a nice time to think about how to start the new year. And you said that you had some openings during this time and I just thought, what a nice thing to do.
And I kind of fumble with words these days a little bit. I turned 78 in November, so I’m still orienting myself. So everything for me is a story.
Everything’s a story. And first I’ll introduce, of course, I know he’s very I’m going to knock so that people are only listening. This is BT, my turtle, and he’s my puppet turtle.
And if you have no other puppets, you definitely need a turtle, because the thing with turtles is they speak many languages, and they’re also culturally respectful and that you can do many things with them. So not all animals or I’ve worked with various tribes and people around the world, and I always like to know, what do they feel is most comfortable? What are their special little animals or flowers or nature that really makes their heart sing? And of course, BT, you might not see it so much because it’s a podcast, but I’m pulling his head in, and so he’s in his shell because he gets kind of shy. You know how kids do, right? He gets so, Lisa, you know, you can kind of call him to say, BT, come on out.
Yeah. BT, you are welcome to come on out. And it’s also okay if you want to stand there a little longer until you feel safe and comfortable and kind of check things out on your own, because, yeah, this might be new, and new sometimes feels scary.
Yeah. What do you think? What do you think? Yeah. Thank you for saying he said this in turtle talk.
Thank you for saying that. Yeah. But I think I’m pretty comfortable, and I’m just going to sit here next to Auntie Joyce.
I call her Auntie Joyce, and she sits with me, and I sit with her while she can talk, and I listen carefully. Well, thank you for being here, and thank you for being a part of the conversation. Thank you for bringing and just what a beautiful I mean, even as I was getting to have the introduction, there was something so playful about that, and it just started to awaken that playful quality in me.
And I’m imagining being a child, and all of a sudden, here you are pulling out your friend and just what an inviting way to just begin relationships. So thank you for modeling that in the podcast. That’s one of I have a question that I love to ask on this podcast, because I love to know about people, and I know our listeners love to know about people.
Joyce, what got you into storytelling? Why play and story? Why is that so important to you? Well, geez, there’s kind of, like, bumping up. I can tell you many things. I’ve always been a storyteller.
As a child, I would talk to people. I lived with my mom and my grandmother in the Bronx, and I was little. I was on the subway with her, and I’d start talking to everybody.
I was little. And I just love stories. I love to things.
So I would pick up things, and I would make up a story for rocks and shells. But I think the thing that I’ve so I’ve always been a storyteller, and for me, stories are the medicine of the soul. Stories are the medicine of the soul.
It’s not things. It’s not the technique. The technique comes from the story.
The technique is a story when it’s presented properly so the child is invited in to any approach that we used. But I was always like that and making up all kinds of movements and dancing and singing and talking. And of course, I got bad marks in school for talking too much.
But then I don’t know how much you want me to say, but my mom remarried and I was a dancer on American Band Stand, the Dance show. And I met my husband there and we were married almost 52 years. And he passed away in 2016.
So he’s still dancing with me in many ways. And we had two sons, and my one son was born with special needs. He was premature, and I was never intending to go back to school, ever.
I’m dyslexic. I didn’t like school. And you had to sit still, so that was not my way.
I like to talk to everybody. And I never liked people’s feelings to be hurt. That was one thing that whoever if their feelings were hurt, I went to them.
To go back to school was quite unusual. But it wasn’t until a nursery school directress heard what I call the silent screams, the silent screams of a parent. She knew that I was struggling with my son and because he was diagnosed with cerebral palsy, but they didn’t have what they have today, let’s put it that way.
And so I don’t think I was the best mother. I didn’t know what to do. So she heard those silent screams and sent me to a wonderful play school.
Julianne Singer Preschool Center in Los Angeles my husband and I, and it was one of the first of its kind anywhere, where they took you along with your child and of course, trained you right with the professionals. So I was being trained along with people getting their Masters and PhDs. And basically there was one wonderful social worker who said to me, you need to go back to school.
And I said, I hate school, so I’m giving you I probably shouldn’t say these things, but it’s true. I didn’t I didn’t like it because I’m dyslexic, so I’m a doer. I wasn’t the other studying all the time, but anyway, the thing that led me is I think my son is my hidden angel because he’s what brought me to look at a deeper part and to go back to school and to really be passionate about helping the children.
But even this may not be popular, but even more than helping the children, my compassion. I could see the heartbreak of the parents. I could feel it, I knew it because I was living it.
And there’s nothing worse than having a child. And you try ABCD and E, you go to all the classes, you read the books, and nothing works. And then you start to feel like a failure.
So that’s why I call those silent screams that parents have, silent screams. And that was one of the things that once this Julianne Singer, once the therapist there, heard that I knew I was in the right place. And from know went back to school.
Know, it’s a long, but and I have a second son now, thank God. And of course, he’s not young. The other one isn’t young either, but they’re doing well.
They’re fine. Not fine, they’re kids. Well, I’m a mom, so they’re going to always be kids.
I don’t care how old they are. I’m sure anybody’s mom out there can identify. And maybe if you’re a kid and you have a mom who says, are you okay? Is everything all right? You’re going to understand that kind of comes with the territory.
So that’s it. And I went back to school, and I got my degrees. I got degrees.
But then I started to learn neuro linguistic programming, too. I went with a group of ten of us who were studying, because I was very interested, of course, in sensory modalities and sensory issues, and went to hear credible presentation and studied Neuro Linguistic Programming for a very long time. And then Dr. Stephen Gilligan and Paul Carter came to La. And they were going to do a workshop on Ericssonian. And of course, NLP came from Erickson.
Many people don’t know that a lot of things came from Dr. Erickson. And Dr. Erickson had died that year, and I couldn’t get to see him, so I went, and that transformed my work because it was a five day intensive and Erickson’s work is all based on resiliency, not trauma, which is what Storyplay is about, which is what I’m about. He himself had polio as a child, so I really recommend people read some of his books. I mean, there’s some writings about him in my books, but there’s also another wonderful book by Dan Short, and I’m just blanking on her name, and I probably have the book right in front.
Yeah. Hope and resiliency. It’s called Hope and resiliency.
It’s wonderful. It’s a book to get into, and I highly recommend it. But it’s the substance or core of the foundation of the work.
We all have those who inspire us to go further as a play therapist or as a therapist, nothing touched me like Dr. Erickson. And that nothing because the level of understanding beyond the conscious mind and not analyzing every move that a child or adult makes, but initially to find out what makes your heart happy and to recognize that one statement can open what I call a resiliency pathway.
We all know the trauma pathways, but this is a resiliency pathway and opening. And we all study children or people who overcome or I don’t even like that word, but transform and overcome. And as you know, are able to take that hurt.
And of course, that’s what I study, the cases that I study or the communities that not study, but really immerse myself in was immersing myself in. I always looked for that light. That light? Yeah.
I don’t know if I’m saying too much. No, it’s beautiful because it’s setting the stage for what Storyplay is all about. And one of the reasons why I wanted to bring you on here, because it is different than the focus of a lot of other models that are out there where you’re not so much just focusing on the trauma all the time and that there is this other element, this other core part of the self that you’re focusing on.
Can we just go right in there into the conversation around Story play? When I was reviewing your videos and I was refreshing my own knowledge and understanding of Story play, there was a word that stood out for me that I want you to explain, because it’s not a word that you hear very often in the play therapy community. And I even wrote it down here. That story play is a multicultural, resiliency based, indirective play therapy model.
So play therapists are so used to directive and nondirective. So what does indirective mean? Okay, let me just see if I can say this shortly. We know what directive is.
A child, okay, let’s just use, for example, a little child comes in and goes over and plays with a non. Directive would say you’re playing with a truck, right, Johnny? You’re playing with a truck. Directive is the child comes in and is standing there and there’s trucks around.
And the directive therapist may say, and again, I’m just using this as a small, chunky, little teeny example. You’re looking at the truck and you want to go and play with that truck. You can go play with that truck.
Yes, go play with that truck. Another one is in the indirective. The child goes over and takes the truck first was standing and then goes over to takes the truck.
And so therapists would say, oh, so you knew just which truck you wanted. You just knew it’s that one that you’re holding in your hand. Focusing on their inner knowing and honoring and celebrating their own internal wisdom is what I just heard.
Exactly. Because for a child who’s doubtful, who doubts everything, and these are called indirect suggestions. So it’s not just acknowledging there’s a suggestion to the unconscious, you know.
How so? For a child who has no confidence, who’s been beaten down, who’s been hurt, who doesn’t know which now, let’s say he just came in and stood there. I say, well, yes, it’s really interesting how you know exactly how long you want to stay there. Do you hear the tone of my voice? Okay, that’s hypnotic.
There’s a hypnotic quality. That which was Dr. Erickson’s.
He was a master at if you watch his tapes, if you read his books, this was for me, the know. So I decided that in all my work, like when dr. Richard Crowley and I, we started working together so many years ago.
We were all in a group. And then we decided to go and create maybe therapeutic metaphors for children and a child within. The thing is that we took every case home, every single case home, and we wrote stories for them.
And in the stories, of course, they were metaphors. There were no direct stories. So it wasn’t like, not that that’s bad.
I’m not saying that’s bad. It’s just different way. So this is kind of what was exciting.
And we would take every case home, but then we would look at and say, okay, what are the indirect suggestions that would help this child or even help an adult? Because we told stories to adults too. It was the language therapeutic metaphors were the language. Indirect.
That’s what separates it. It’s not a directive model, and it’s not a non directive model. It’s indirective.
And this is a whole part of the study, is learning to recognize and to how to recognize and utilize whatever the child is giving. And that’s another erisonian piece, utilization. Okay, so that’s a key element in story play, is utilization of whatever a child is giving.
Give me an example, and I’ll try to be helpful. Well, I am so struck by what you’re describing. I very much come from the belief that every action is wise and that everything that we do has wisdom inherent in it.
And so even your example of the child just standing there, even recognizing that that was a purposeful action, that I’m just really struck by the level of honoring that I’m hearing about who the child is. I think so often, even in our field and definitely culturally in different cultures, there are so many shoulds that are placed upon children and so many expectations of performance or therapies has to look this way versus this way. The child has to do this.
And I’m just hearing something so much more dare I say the word spiritual? I don’t know. That’s just what’s coming up. Like spiritual open.
Yeah, is what I’m saying. Am I getting absolutely what you’re talking about? Absolutely. Storyplay has these elements of mental, emotional, physical, and spiritual.
So it’s made like a medicine worked. I worked with indigenous people for many years, and not just worked with, but know. And I lived in Hawaii for nine years, and I was blessed to live on the West Side, which was very local and very wonderful, and everybody was wonderful.
But I learned I didn’t go in as Dr. Joyce Mills, and so I learned what is important to you and to listen carefully, that certain behaviors were not resistance, it was a communication style. And how could I honor that so they could feel safer or can feel that they could be trusting.
Had and this is another key piece of Dr. Erickson’s work. You enter the world of the client.
The client doesn’t enter your world. So you as the therapist, I have to be open to the world of the client. And I will learn that way, we’ll learn that way and listen carefully to the way a child puts something down or like we said before, the way they just stare at all the toys but don’t touch.
It’s really interesting how important it is. See, there’s no judgment like good or bad important it is to just see things that are before us, you know? And then another story, a story might come, for example, an eagle can see in all directions and it knows just what to bring back when it’s ready. Beautiful.
So as you’re acknowledging that’s then where you’re weaving in story and metaphor to help a beautiful yeah, I tell this story well, you’ve probably heard it. This is one of my favorites Hawaiian story, the bowl of Light. And that bowl of light story really is the essence too, of describing storyplay.
And it is from a grandmother from the island of Molokai. Her name was Kameh Kua and she was really amazing from her books. I didn’t know her personally, but as it is in our life, things come to us when we’re ready to receive them, I guess.
And I was on Kauai and I went to reach up for a book in the museum there and the book fell down and hit me on the head. This is true, opened up and there’s grandma’s face and she’s telling the book and I jolted back as if there was a recognition and people who know me know I’m a little weird, I talk to everything and listen to everything. I was also as a kid, I had to touch everything.
So anyway, she tells the story, it’s an ancient Hawaiian story and I have permission from the family, I wrote about it and also tell it. But she says that every child is born with a perfect ball of light. And with this ball of light the child can swim with the fishes and ride on the backs of sharks and fly with the birds and be perfectly okay.
But in life sometimes there are negativities. There are hurts and there are pains and these hurts and pains become like stones and they get placed in the bowl and pretty soon there could be so many stones you cannot see the light. And pretty soon the child could become like the stone they say, humbug, stubborn.
What grandmother says is that all the child needs to learn to do is turn the ball upside down and empty the stones. Because the light is always there, nothing can take that light away. So that’s the essence of storyplay coming into it.
Not that I’m seeing a wounded child, I’m seeing a child with a perfect ball of light. Yes, the child can do it with that light, but there are stones. These are the hurts and pains, so they’re not ignored.
But first is always the light. And then as the work goes, we start to empty the stones. And as we empty the stones, we begin to see more light.
But the key premise is not resiliency focused. Is light focused. Yeah, you could tell that I’m passionate about it.
I can go on. I love it. And by the way, all the kids, adults, even in all my groups, we made bowls of light.
We use fish self hardening clay, and kids would come in, and then they would make their stones. We would have a ritual over time to empty the stones, and they had their what? Yeah. So I love how you just brought that piece in, too, because that was something that also caught my attention that the story is also creative and that it’s not always words.
If I’m standing right, sometimes the story is the making of something or the creation of something or the movement of something. Movement, yeah. It is not always a verbal story.
No. Matter of fact, that was one of the important parts. Is that how we use sensory acuities, the sensory systems, the sensory awareness.
And that’s one of the key elements. Also in story play. We may do it differently than someone, but definitely paying attention to what is the strength system? What’s the strength system? What is the sensory system that may least be used? May least be used.
For example, a child who’s always bumping into things. So I think, to my kind of as I’m working, begin to notice that what is the child now, it’s not like I don’t want to pay attention to a medical problem, because we do. But the sense is from a storyplay perspective, is that, okay? What is the child not wanting to see? Okay, when I didn’t hear what you said, I didn’t hear you, but I’m talking right to you.
Why don’t you hear me? Well, what is it that the child may not want to hear? You’re familiar with it, but it’s all woven together in the storyplay model. Each one of these are elements or modules that are woven into the storyplay model. And I think Dr. Erickson’s work, because he had polio. He had polio, and he also learned how watched his baby sister to learn how to know, you can hear many stories. What he did, it wasn’t like he just woke up and walked.
But it’s that sense of the mind connecting to what works, what is helpful. And we do know that reliving over and over a traumatic event causes a different kind of scar. So what heals if we cut ourselves? I don’t keep cutting myself open.
I do what I need to do to help it heal so that other parts of my body can also send nutrients. I may not be using all the correct words, but it makes complete sense. Yeah.
As you were saying, nothing’s missing. The light’s always there. How do you access the light that heals the wound? How do you access what’s already there that is useful and helpful and resiliency based? Yeah.
And also there’s something that I throw into each time when I’m doing training. But this has been there for a while. It came to me from a question.
When you’re doing workshops, how you get the best question? It’s a conversation. It’s so inviting, and I feel so like I just want to get my tea and just sit down with you. But the thing that I always ask myself, if I have 1 hour with a child or a client and I will never see them again, what do I want to leave them with? Wow.
Oh, my gosh. I want to pause and have our listeners just take a moment and not just hear what Joyce said, but I want you to feel what was just said, because what you just said, there’s a feeling in that that’s really powerful. So, Joyce, can you repeat that one more time? Sure.
I want you to close your eyes, and I actually want you to feel what Joyce is saying, because that is a powerful question. Take that breath and just ask yourself, if I have 1 hour with a child and I will never see him or her again, what do I want to leave him with? I immediately saw the image of the bull with the stones, and my heart went to catch a glimpse of the light, not stay focused on the stone. Yeah, that’s so important, because many of us I don’t know about you, of course, I’ve worked with clients that over a period of time and so forth, but I’ve also worked with situations where I’ll never see them again.
So I worked in Hawaii with the hurricane. Hurricane Aniki. I mean, I got there ten days after Hurricane Aniki struck.
Transformed my whole work. Transformed my whole work because I was now in the mud, in the dirt with the people and created a program that was based on natural healing. We were working with the discarded garbage, quote garbage, the things that were all damaged and transform them.
We didn’t have an office. It was outside on neighborhood center, and I was so happy with it. And the kids could just gather.
It wasn’t a bunch of paperwork. It wasn’t a bunch of this it was doing. And parents would come, can we come? Can we empty? Can we be here? Yeah, sure.
Come on. And we would find old things that had been damaged, things that had been destroyed, roofs blown off, laid them out. Kids would carry big logs if they found them, stoned, all kinds of things.
And we transformed them into works of art. We’d have Hawaiian music playing and whatever foods we could find that people donated and brought. And it was so easy.
It was natural and easy. And I learned a lot. I learned some kids you will never see again.
Some kids I’ve worked with had to go into juvenile detentions, and I had one session, but I always maintained the bowl of light, and I would tell them the story. And I worked with very rough kids, too, so I’d say I’m Joyce, unlike me Auntie Joyce, so they could call me Doctor or whatever, but most like to call me know, you may think this is a really stupid this is how I would talk to them. Yeah, I know there’s some woman here.
She’s like, okay. And she’s old and all that stuff, and she’s a storyteller. So I’m just going to tell you to go along with me, and I’m going to tell you a story, okay? And then I change my whole tone and then say, I’m going to tell you this story.
Every child is born with a perfect bowl of life. So you see how it’s inviting them into the story. I’m not asking them to.
Yeah. And they’re my teacher. They were my teachers.
That’s such a beautiful story, Joyce. Just a really extraordinary story. Thank you.
Well, it’s kind of one of my favorites. Yeah. What I’m appreciating so much about this conversation with you is that the more we just talk about this, the feeling of what you’re talking about is just naturally emerging in the conversation.
I’m feeling the sense of resiliency and the sense of even omni is the word hope, even though we haven’t said that word, but just the sense of hope and sense of possibility. And there’s just like an opening. The more we talk, the more of an opening.
I’m just appreciating this conversation. So thank you. And there’s also another saying, I think, that came to me a long time ago.
That came to me by sitting next to a man on a plane. His name was W Mitchell. I don’t know if you’ve ever heard that name, but you could look it up.
He was severely scarred, and he became and had an incredible life, but became a really world known speaker. His one thing that wasn’t damaged was his voice. And I sat next to him on the plane.
He knew another dear friend of mine. I never knew him, but by the time I got off the plane, I didn’t see his scars, and so, of course they were there. So we started talking, and I said, Can I say this? And he says, sure.
I said, Scars are markers of where we’ve been, not where we’re going. So what I notice is I never minimize. There’s no minimizing.
I mean, clearly, Dr. Erickson was in a wheelchair, and he was in pain most of his life there. But the thing is that and I have scars, and I’m sure you have scars, and I don’t think we could be more than a day old without having some scars.
So I’m not minimizing. The serious the levels. I’m not measuring.
But I’m saying scars are markers of where we’ve been, not where we’re going. And so we. Want to recognize, yes, this happened.
Where do I want to go? Who am I? I’m more than that. I’m the ball of light. And then we help identify what each of those stones are.
So sometimes they wanted to do it, sometimes you don’t. Like you say in music, you can do it in musical instruments, in drums, in making drums, all kinds of ways, there’s no limit. There’s really no limit.
And if you don’t have any the thing, too is during this time where there’s people that maybe don’t have all the equipment and things that we need, you can just have paper and some crayons or whatever, but it’s a story because it’s a power. No, not the toys. Those are nice, but if you don’t have them, what do you do? So I love that to give people, our colleagues hope to say, oh, you don’t have to go spending all this kind of money if you don’t have it.
You are the healer. You are the story. Exactly.
I used to say that when I train, I say, you’re the playroom. You’re the playroom. So you don’t have to have all this other stuff.
Yeah, beautiful. Well, Joyce, as we start to find a wrapping up place in our conversation, I want to share with our listeners where they can learn more about storyplay. Before we get there, is there anything else that you feel like, I really want to share this piece or here’s a message that I would really love to share with play therapists that are listening or something that comes to mind for you.
Yeah, well, it’s a story. It’s a story that if this is okay, it’s a little story. It’s a true story.
I was in Scottsdale Center a few years, a number of years ago, of course, before COVID and I was happened, my family was my grandchildren child and my sons, and we’re visiting anyway. And across the field is beautiful. They have music there.
They have all kinds of wonderful adventures there. And so I take a look way across the park, and there is a woman with goth, all goth, and she’s looking down and she’s blowing bubbles, just blowing bubbles. And as she’s blowing bubbles, nobody’s well, they’re walking by, they’re not saying hello, they’re not talking to her, but they stop and look at the bubbles.
And so to speed up the story a little bit but anyway, my kids know, oh, I think I need to go see this woman. Someone tells me she’s the bubble lady. I’m definitely across, and it’s a big good distance.
I run across and I just slowly say, hi. I said, my name is Joyce. And I said, I just was fascinated with the way you were blowing bubbles.
And she smiled a little and she blew. And she tells me her name, and so I listened to her name, and then I asked her if she notices how people just stop and listen to her and watch her as she blows the bubbles? And she says no. I says, well, there too.
So I says, Can I ask a personal question? I said, how did you start to blow bubbles? She says, you want to hear a story? Honestly? I said, yes. She said, When I was a little girl, there was a lady on my street, and she blew bubbles. She blew bubbles in the morning, and she blew bubbles in the afternoon, and she blew bubbles at night.
So I asked the lady, Why do you blow bubbles? And she says, well, if you look inside of every bubble, there is a rainbow. Oh, my goodness. And a rainbow is the spirit of all the children here on earth and in heaven.
This is what she said. I said, Can I tell that story? And she said, of course. And so there she is, the bubble lady.
So I like to tell that story. Yeah. May we all remember blowing the bubbles.
Yeah. To look for the rainbows. So you see how all of it is wrapped in the same philosophy of the bowl of light, of the resilience.
Look for that. Work with that. A child is not the trauma.
It’s what happened to them. It’s like what Viktor Frankl said over and over again. All of the wisdom people say over and over again.
Those are who I learned from. Exactly. Those are my best teachers.
The meaning we give it and how we use it. Absolutely. My goodness.
Well, before we share with our listeners where they can find you, I’m aware that we have had a listener this entire time in our conversation, and I’d love to do a quick check in with our friend over there who’s been listening to our conversation. How’s our friend doing? Our friend the wait, BT. How are you? How are you? BT? You’ve been listening so quietly as we’ve been talking.
Yes, I was resting like this, and then I came out. Yeah. And then what did you do? Oh, now he said he takes all of what he heard and he takes it inside so that he could feed it to his.
Oh, how beautiful. Thank you, Lisa. Thank you for being a part of this conversation.
Thank you. Listeners. If you would like to know more about Joyce’s work or to learn more about storytelling.
Joyce, will you share your website? I believe it’s drjoicemills.com. Is that yes, yes, we changed it. And then on there, there’s, like, some links that you could get to, but we’re redoing the website now.
But yeah, you can definitely there. And my email is drjoyce@drjoycemills.com. Perfect.
You’ve also written a book. Do you want to mention the book that you have written? Individuals can go and check that book out if they would like. Yes, sure.
You can tell I was looking at it. It’s called Therapeutic Metaphors for Children and the Child within the second edition. Beautiful.
I’ll say the title again. Therapeutic Metaphors for Children and the Child Within by second edition. Second edition.
So there’s another resource for you. Do there are trainings in story play. I know that you’re in a creation phase right now yourself, but for those of you that are curious, check out website or send an email and Joyce can keep you up to date with what’s being created and where to find facilitators that are teaching and training in storyplay around the world.
Yeah, they’re in different parts of the world now, and so it’s very exciting to see what they’re manifesting. Thank you. Thank you.
Well, once again, this has just been an incredible conversation. My heart feels really full and I am so grateful to be in your presence and to heard your stories. Thank you for everything you’ve done for the field.
Joyce, thank you for your contributions. Thank you for honoring your own wisdom and creating what your heart wanted to create so that we can learn. I’m just super grateful for you.
Thank you. Thank you for this opportunity. And thank you to all who are listening and who have given your time, because they say time is the most precious thing we have, because once you give it, it’s gone.
And so thank you for giving me your time. Beautiful. Thank you, Lisa.
For everything. Thank you. So, listeners, as we wrap up, I’m going to invite you to take one more breath.
Just take in the wisdom that you just heard. Let yourself feel the power of the stories that you just heard, the visuals that were just presented for us to consider and feel. And wherever you are in the world, as always, take good care of yourselves.
You are the most important toy in that playroom. Until next time.
