Quantum Healing Team Introduces Martin at Fall Clinic.

Albuquerque, NM (PRWEB) October 11, 2012

Founded by award-winning author, Nina Brown, to provide a service of healing and education to communities around the world, S.T.A.R. Clinic hosts conferences, webinars and intensives to inspire and support participants to awaken to human-divinity, wholeness. Brown invited Martin to join the S.T.A.R. team of Healing Practitioners in September 2012 and chose her to be part of a select group of healers who will offer treatments at the Fall Clinic, which will be held at the sacred Santa Ana Pueblo, NM October 19-21, 2012. Part of Martins offering at the Fall Clinic includes sharing the practice of Earthing, which involves connecting to the natural energy of the Earth. For more information about Martins offerings at Ascension 2012: Ancient and New Codes Revealed, visit http://www.crystalsinger.com/starclinic/.

Martin was born and raised in Edmonton, Alberta, where she also received her MD. She completed her family medicine residency stateside, has been in the United States for 35 years and has been an AAFP board certified family doctor for over three decades. Always a healer, Martin has been blending science, traditional medicine and spirituality over the course of her career. At this time in her practice, Martin says she plans to move into multidimensional work, serving as a translator of many recent scientific discoveries as they blend more and more with the Universe as we know it.

About the Golden Dolphin S.T.A.R. Clinic:

The Golden Dolphin S.T.A.R. Clinic was founded by Nina Brown to provide a service of healing and education to communities around the world. It hosts conferences, webinars and intensives, to help spread the central message of Browns book, Return of Love to Planet Earth, Memoir of a Reluctant Visionary: inspiring and supporting participants to awaken to their human-divinity. For more information, visit: http://www.crystalsinger.com/index.php/golden-dolphins/star-clinic/

Nina Brown Goldendolphins.com 505-559-4441 Email Information

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S.T.A.R. Clinic Announces Wendy Martin, M.D. as Healing Practitioner

Richard Haughton

The London-based contemporary dance company will bring Khans Vertical Road to the Granada Theatre on Sunday, October 14.

Contemporary Dance Group to Perform Sunday, October14

Photos of the terra-cotta warriors, the poetry of Rumi and William Blake, Leonardo da Vincis painting of the Last Supper this is where Akram Khan begins his creative process. We spend a year preparing, the U.K.-based choreographer explained over Skype last week. We create the soil in which the seed will be planted. Two years ago, Akram Khan Company had its Santa Barbara premiere with bahok, a meditation on cultural dislocation and the search for connection. This Sunday, the company returns with Vertical Road, Khans more recent investigation of body, spirit, and the tension between them. Khan spoke to me fromLondon.

The title of this work is Vertical Road. What does the vertical plane represent to you? A lot of our research was done on images and poetry, particularly from the Middle East. Whether we were looking at representations of spirituality in Christianity or in Islam, we saw that there was a common representation of humans below on Earth, and angels and God above in the sky. The orientation was always vertical. Non-spiritual scenes were almost always on horizontal axis. I was just fascinated by the concept ofverticality.

You were also inspired by Rumis poetry. Was there a particular poem that spoke to you? It was one very particular poem. In it, Rumi writes about beginning as mineral and dying and being reborn as vegetable, then animal, then human, and finally as an angel that flies away. So I loved the sense of ascension and transformation. I was inspired by many different ideas and concepts, as well. For example, the costumes for this work are modeled after the terra-cotta warriors of China. I also read an article about how much meteorite dust falls to Earth every year. The author suggested that if we all stood still long enough, wed all be covered in dust. So we play with dust in the show. Dust is closely connected to death for me, and the concept of death became very important in thework.

The eight dancers in Vertical Road come from Spain, Egypt, Algeria, Taiwan, Slovakia, Greece, and Korea, as well as the U.K. Is that internationalism intentional? Its not the reason I picked them. But I wanted one or two dancers from the Middle East because I became fascinated by Rumi and wanted people who embodied this notion of spirituality. Spirituality for me is formless, and a body is form. How do we create a sense of formlessness through the body? This was a huge challenge, but then I saw this one Egyptian dancer perform, and I thought, Thats spirituality whatever he does has a sense ofspirituality.

Im trained in kathak, which is classical Indian dance, but most of my dancers are Western trained. Its fascinating to see the difference between the more scientific Western body and someone who comes from the Middle East. I find that Asian bodies tend to reflect spirituality more readily and clearly than Western bodies because of the culture and the way they areraised.

Do you train your dancers in kathak, and if so, what do they have to learn? I train them in kathak when I have time. But I dont train them to be kathak dancers; I share with them some principles that I take into my research with my own body. With my body, its inseparable. In their bodies, theyre wearing it like a coat. Technically speaking, I can teach certain things like the sense of turning. A lot of my work is based on the spiral, where the top is turning one way and the hips the other. This tension is like the winding of a cloth. There are a lot of spirals and turns in my work it can be quitehypnotic.

How active are your dancers in the creative process? Theyre very involved. I may give them a task to create a sequence. Then they teach it to me, I adapt it in my own body, and they redo it based on what I did. So its a process of taking it, transforming it, and giving it back. From the beginning to the middle of the creative process, its very open. I only become a dictator toward theend.

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Akram Khan Company Returns to Santa Barbara

Don't Worry, Be Happy. Bobby McFerrin's exuberant song seemed so simple: Happiness will fall upon you if you just stop fretting.

But when Republican presidential candidate George Bush Sr. adopted Don't Worry, Be Happy as his cheerful campaign song, all of a sudden McFerrin was not happy. He was angry.

Truly, happiness is not easy to maintain. Given that the subject of happiness covers almost everything that matters about human existence, it's understandable: Happiness is complicated.

Here are five useful things I've learned writing this series on the psychology, economics, philosophy and spirituality of being happy in difficult times: 1. Happiness can be measured.

Happiness wasn't taken too seriously for most of the past 100 years. Instead, influential thinkers tended to focus on all the things wrong with humans. Two horrendous world wars can do that.

But, in the past decade or so, research psychologists made it clear they could measure people's moods. Neurobiologists could also pinpoint brain patterns associated with wellbeing. And statisticians could collate thoughts about what humans find satisfying.

As a result, happiness has become a subject of scientific research, which is today's quickest route to social acceptability.

That's helped economists, the most politically powerful of academics, to finally take an interest in happiness.

After putting most of their energies into measuring only market activity, some economists have been realizing there are many other ways to chart a society's wellbeing.

It's sparking what could turn into a revolution in social and economic policy.

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Don't worry, we can all be happy