April 4, 2025 • 64 mins
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In this soulful and expansive episode of Heart Light Sessions, Jenee Halstead sits down with movement artist and new studio owner Lindsey Rose to talk about what it really means to live a creative life led by Spirit. From auditioning for So You Think You Can Dance in New York City to opening the doors of her own studio, Solo Yoga and Boxing, Lindsey shares the winding path of becoming—a path marked by devotion, discipline, autoimmune healing, and deep surrender.
Together, they explore:
✨ The power of creating space for divine timing
✨ Why movement is medicine—and how boxing, yoga, and dance can heal
✨ The transition from external validation to internal alignment
✨ Ritual, rhythm, and choreography as channels for the Divine
✨ Spiritual expansion through kundalini yoga, mantra, and sound current
✨ The courage it takes to keep showing up for your art—on and off the stage
Lindsey opens up about her “movement mutt” identity, teaching through rhythm and presence, and the importance of letting the Divine co-create through you. She also reflects on releasing control in her choreography process, building a new kind of sacred container, and her dream of creating community-based, wellness events in Wisconsin.
Whether you're an artist, teacher, healer, or seeker—this episode is an ode to the void, the rhythm of the soul, and the quiet magic that unfolds when we make room for what’s true.
FIND LINSDEY:
Instagram Business; @whiterose.yoga and @soloyogabxng
Instagram Personal; @whiterose.linds
Websites: www.whiterose.space & www.solo.yoga
OTHER LINKS:
Join the Heart Light Sessions e-mail list
Learn more about Jenee Halstead
Follow Jenee on Instagram @jeneehalstead @heartlightsessions
Buy me a coffee
Check out Jenee's music
CREDITS:
Introduction script: Jessica Tardy
Introduction mix and master: Ed Arnold
Theme Song: "Heart Light" by Jenee Halstead and Dave Brophy
Heart Light Media, LLC - Disclaimer
This podcast is presented solely for entertainment and education purposes. It is not intended as a substitute for the advice of a physician, psychotherapist, or any other qualified professional. We shall in no event be held liable to any party for any reason arising directly or indirectly for the use or interpretation of the information presented in this audio. Copyright 2024, Heart Light Media, LLC - All rights reserved.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Jenee (00:06):
Welcome to the Heartlight Sessions, a podcast about light
working your way through darktimes.
I'm Janae Halstead.
I'm a singer-songwriter,holistic vocal coach, intuitive
guide and plant medicinefacilitator.
I'm also a survivor ofchildhood abuse, autoimmune
issues and my 30s also asurvivor of childhood abuse,
(00:27):
autoimmune issues and my 30s.
I'm on a lifelong healingjourney and, along the way, I
want to share the ideas andteachings that rock my world.
Every week on HeartlightSessions, I call in artists,
healers and thinkers to explorewhat's helped them live and
thrive from a heart-centeredplace, Because the heart, it's
where the best things happen.
If you've ever wondered how tounlock your biggest
(00:51):
breakthroughs or how to comeback from that stuff that tried
to kill you, you know the stuffI'm talking about, the stuff
that's supposed to make youstronger.
Or if you've ever wondered howto just do you straight from the
heart, you're in the rightplace.
So join me, won't you?
Let's turn on that heart light.
We are live, and I'm so excitedto have this next guest sitting
(01:23):
in front of me.
I have my friend, Lindsey Rose,and I met Lindsey in 2017, 18?
I think so.
Yeah, we were at Camp Gracewith Guru Jagat.
We were both volunteering atthe time.
Yeah, and we were volunteeringfor the fashion show which we
(01:47):
were standing on the edge of theentry of the catwalk and we
were standing across from eachother.
You were wearing this like redcape and, yeah, it was like I
just instantly fell in love withyou and then come to find out
(02:07):
that we have the same birthdaywe do, the both of us and the
icon, john Lennon yes and.
PJ Harvey amazing and JacksonBrown.
It goes on and on.
Lindsey (02:23):
It's an artsy day, isn't it?
It is.
It's an artsy day.
Jenee (02:27):
Yeah, we, we share that very special day.
And and then I watched you walkdown the runway.
It's not walk, but flow downthe runway and it was like
mind-blowing.
So Lindsay is a self-declaredmovement mutt.
I would say Is that what we'regoing to say?
Lindsey (02:47):
Self-declared movement mutt, yeah, absolutely.
I am a mixture of all of thedifferent styles of movement
that I have studied throughoutmy life and continue to keep
studying and expanding because Iam a mover and a student
forever.
Jenee (03:07):
I am a student forever too.
I absolutely love that.
Yeah, so dance choreography.
You're such a beautiful dancer.
And yoga, yoga teacher.
So we are celebrating.
Today is the official openingof Solo Yoga and Boxing.
Lindsey (03:30):
I am acquiring, or I have acquired.
I have acquired a yoga studiothat I have been teaching at for
the last seven years, and thetiming of everything mean it is
divine, and so the studiodropped in at a time in my life
(03:52):
when I had taken a unplannedpause.
I was not taking in any morefreelance work or adding any
other teaching jobs or things tomy schedule at the time.
I just felt that there neededto be some spaciousness and I
(04:16):
kept praying for the next comein, because the last two years
has been a pretty wild ride inmy life, really branching out
there and trying to figure outwhat the thing is that I'm going
(04:37):
to land in and and see grow andcome to fruition over the next
20 plus years of my life.
I'm really at that stage whereI have taught so much for other
studios and other people acrossthe country that I'm I'm wanting
(04:57):
that home base and that centralcontainer to let all of my
creative offerings flow from.
So body was in a pause state.
I was going through someinteresting autoimmune things
and I didn't.
(05:18):
I didn't feel like doing much,so I rest, I rested, and the
message that I got from that wasthat this is an essential
resting time, like when thething drops in.
It's going to be like hit Gameboosters, yeah, uh-huh, you are
(05:40):
going to be going, going, going,going going.
So I loved that time to just bein a very, very slow, sloth like
and almost like a hermit typetype state of being um um,
(06:03):
despite the outside pressuresaround me encouraging me to do
more and work more which, yes,it was challenging financially
because I was doing the amountof work in the material world
that I needed to just pay mybills, no more, no more than
(06:28):
that.
Um, but things have shifted nowand I am up for the challenge.
Jenee (06:35):
I feel like, uh, I am much more aligned in the, in the
energy of, of doing and goingand jumping up onto that wind
horse and and riding it to whereit wants to go wow it's so
important to and it's hard to beable to be in that space of the
(07:01):
void which a lot of my friendsare in and have been in for the
last four years, and I was verymuch in that where I was just
like what is going on?
I'm like lost.
You know I, what am I bringingin?
Like what is my mission?
All this stuff and like, yeah,same thing, like kind of earning
the bare minimum just to paythe bills and like like kind of
(07:25):
earning the bare minimum just topay the bills and like you know
, that can be, can be like avery, very frustrating place to
be.
But if you know, I'm justwondering how you navigated that
.
You know it sounded like younavigated it pretty beautifully
it was definitely hard.
Lindsey (07:39):
It was definitely a friction in my relationship to
my significant other aroundaround that subject specifically
.
But he has always been verysupportive of how I work in the
(07:59):
world and since I my early 20s,I have gone rounds of life
having more traditional jobsthat are longer hours nine to
five, like in one place, eitherserving at a restaurant or
(08:20):
working retail, and that reallycan only last about three months
maximum for me, especially ifI'm not doing any teaching or
movement or yoga dance outsideof that.
(08:41):
If it's only the one thing mysoul like has an identity crisis
, I kind of just blow up andyeah, it's like I.
I get to a point where I'm likeI literally cannot do this
anymore.
Um, so those ebbs and flows havehappened many times in my life
(09:08):
and I know now, as being in mylate thirties, that the movement
and the being in a studio is ismy happy place.
This is the work that I havebeen gifted to do on planet
earth.
It's a joy of mine.
(09:29):
Do I not want to do it somedays?
Absolutely.
But through through providingthose gifts, I'm also gifting
myself the opportunity to getout of my Virgo rising
analytical brain that's alwayshyper, fixating on every little
(09:50):
aspect of life andself-reflecting, and
self-reflecting more, and haveVenus and Virgo.
I'm like yeah yeah, when I getto teach any movement class,
whenever I'm in a room moving,will that through.
What I have to teach and what Ihave to say is relief for
(10:30):
whoever's in the room that dayfor their greatest good.
And when that happens,inevitably I leave the room
feeling so much better than whenI walked in, because I can't be
in my own headspace.
When I am being a channel formovement with live bodies in
(10:54):
front of me, there just is noroom for the BS and the stuff
that is cycling through.
When I'm laying on my couchwith my cats scrolling Instagram
, yes, yes, in comparison mode,yeah, it's an immediate drawing
(11:14):
me into the present moment.
That is also medicine for me.
So I'm very grateful that thisalignment has happened, where
the studio owner of Solo Yogaand Boxing said hey, we want to
(11:37):
sell this studio.
The ideal person for the studioto be handed off to, in my mind
, is you.
Are you interested?
So this really was a an alchemyof timing between the
opportunity arising and meknowing that that was the right
(12:03):
opportunity for my, my life'spath from here.
Are you?
Jenee (12:11):
staying with the boxing?
Lindsey (12:13):
yes yeah, really yeah, yep, we're staying with the
boxing.
I mean, wow, a huge part of myteaching, uh, movement yoga is
rhythm, is the rhythmicintelligence, and there's such a
satisfying rhythm to your bodywhen you feel your mitts hit the
(12:38):
bag and you have that like one,two, three, pop, pop, pop
happening in the body.
It's a.
It's a different rhythm.
It hits literally, no punintended.
It hits differently than whenit's just you on your mat, right
, do it doing the yoga, doingthe breath, or you in the dance
(13:02):
studio listening to the musicand meeting the music.
It's a different exploration ofyour own rhythm and strength.
Jenee (13:13):
So inside is there like a boxing ring.
Lindsey (13:17):
There isn't a ring, so the space is kind of like half
and half.
So one half of the studio spaceis boxing.
We have 12 teardrop bags fromthe ceiling, the aqua bags, and
then there's a divider and ayoga space on the other side.
So best of both worlds.
(13:40):
Yeah, we're creating a spacefor warrior saints.
I love it To have that reallife, practical application and
experience of themselves.
Jenee (13:55):
I love that.
Are you also going to beteaching dance in there?
Lindsey (14:00):
Eventually, eventually I want to do some classes that
are a little bit more open, sonot like you're learning
choreography, but just movementexploration, and I also do want
to do some fundamentalchoreography classes because
(14:24):
that gets people excited.
People.
You know, people want to dance.
We were made to dance, we, itwas dancing and singing were one
of our very, uh, first ways toexpress ourselves artistically.
So everybody has that, thatdeep cellular remembrance for
(14:48):
dance and for singing.
So, and I'm not sure if youfeel this way about about the
voice, but if you have a body,you can dance.
Jenee (14:58):
I totally tell people, if you have a body you can can
sing, everybody can sing.
I say that all the time.
It's like my biggest mission,absolutely.
Lindsey (15:07):
Somewhere along the line.
Yeah, somebody told you thatyou couldn't sing, or you
couldn't dance and then youstopped and you can always
pinpoint it with people.
Jenee (15:16):
Almost always it's like teenage years Someone told you
to shut up or you sounded bad,and like you're in the choir and
then somebody puts you in theback.
It's like it's always, likeit's almost always pinpointable,
(15:36):
you know, yeah, it makes mereally sad.
I really I worked with a lot ofkids back in the day and like
their parents were always like Iwanted to sing and I and so,
but then I hurt, you know thisand that, and someone said I
couldn't.
And I started like hearing thatmore and more from parents and
I was like this is so weird.
Yeah, I'm like someone handsyou a Lamborghini and they don't
tell you how to drive it, andthat's like literally the same
(16:00):
thing with the vocal apparatus.
Why do people think that they,you know?
It's like, okay, you don't knowhow to sing, so therefore you
can't sing.
It doesn't make any sense,doesn't make sense.
You have to learn how to usethe apparatus.
Lindsey (16:15):
You have to learn how to you know how to drive the car
, you got to learn how itoperates exactly and then you
can start to fine-t andstrengthen it and become
confident in it, and the same iswhere the body is moving to one
(16:55):
set of mantra throughout theentire class.
So that's amazing.
A little bit more ingrainedinto the physiology of the body
because that's what you'relistening to the whole time.
That's amazing.
Jenee (17:11):
Who's here?
Lindsey (17:15):
You're running around the yard right now.
Who is?
Jenee (17:19):
there's a bunch of deer.
Oh, a deer.
Okay, it's freezing up a littlebit, so okay, um, well, that's
amazing.
What are you?
What's one mantra that you'relike working on with the class?
Lindsey (17:35):
yeah, yeah, a healing mantra ramadasa sase, so hang
nice.
Yeah, and that one.
It doesn't take very long toget hooked in your in your mind
either.
So I, I like the just the morecompact mantras so that if
(17:59):
people have not worked with orheard these mantras before, then
it's more likely to to stickwith them.
Yeah, cool, yep, it is cool.
And I, about a year or, yeah,that's what I've been over the
past two years a couple ofpieces of dance choreography for
(18:23):
concert dance to mantra music,and that was a completely
different experience as someonewho's watching it from the
audience and seeing it on stage,with the sound of the mantra
(18:43):
coming at you through the bigspeakers and the lighting as
well.
I synced up the lighting tomove through the chakra system.
So, yes, the beginning of thispiece was was like a deeper red
(19:05):
hue, and as the 11, 11 minutedance went on, it cycled you all
the way through the chakras andended in a nice bright white
light right at the crown.
Yeah, that was uh to to Chakra,chakra, varti, nice, and Simrit
(19:27):
does a.
It sounds cinematic.
Yeah, the first time I heardthat mantra I was like this
would make an incredible dancepiece, because it just takes you
on this journey.
So I pulled from the imagery of,of yoga, and and just a sacred
(19:48):
ceremony of what those shapesare, that the bodies are making
and what the movements are ofbowing, to create a piece that
was transformational not justfor the dancers partaking in it,
but for the audience members aswell.
Jenee (20:11):
Wow, Can you?
What is concert?
You call it concert.
Concert contemporary.
Lindsey (20:18):
Yeah, what is that?
Yeah, so within the dancesphere, there are dance studios
that children grow up dancing at, and some of them are ballet
based.
Other studios are forcompetition dance, which is a
whole realm of dance trainingthat I happened to grow up in.
(20:42):
Like lyric dance and Yep, yep.
And as you make it to thecollege age you get a little bit
more into to modern dance aswell as contemporary dance, but
in a way that the movement andthe length of the dance pieces
(21:07):
can be anywhere from threeminutes to 34 minutes, whereas
at the dance studios thosedancers are learning
choreography and rehearsingthese dances that are about
three minutes maximum.
So in the concert dance spherethere will be a whole evening, a
(21:29):
whole conceptualized storylineand theme that can range in time
from again like five minutes toan hour.
Whoa With all the same dancers.
Yes, they are not all on stagefor the entire time, but there's
(21:53):
different exits and entrances.
It's very much like how a movieis set up.
So you have there.
There's different scenes,there's different feelings to
each scene, there's differentlighting.
The music takes you on ajourney.
Jenee (22:10):
Yeah, I'm thinking about um the great studio in New York.
I can't for the life of me.
Yeah, the Alvin Ailey dancecompany, thank you.
Yes, and just some of their.
You you know, taking you onthis like amazing journey and
yeah, you've got it's almostlike a play.
Lindsey (22:30):
It is yeah, it is very much so a journey, and it's a
journey in the process ofcreation too.
I remember when I first startedchoreographing I would figure
out with the music what everysingle movement was going to be,
(22:50):
what timing of the music it wasgoing to be on, and I would
teach it to the studentsverbatim.
Like this is what it is.
You repeat it.
I would give them thecorrections to make sure that it
looked exactly like how Iwanted it to look.
This was very like graspy, likeit has to be this way.
(23:12):
You know didn't really leavemuch, much wiggle room for
mystery, uh, or a happy accidentto drop in, because I was very
much like it has to be this way.
And when I did the piece that Iwas just talking about the
chatra, chatra varti, as well asanything that I've done really
(23:36):
over the last seven years I picka song, I I have an idea I
might make three or four, eightcounts of movement, and then I
leave the space open for thedancers and the divine to create
(24:00):
the piece together with me.
And I find that when we'reworking in the moment and
there's a little less structureto what the exact movement is
things appear that I would havenever thought of in a million
years, like things happen in thestudio where I'm like that is
(24:25):
the most beautiful thing I'veever seen.
We're gonna keep that.
That's, that's going, that'sgoing in the dance right here
and then let's keep going, cool.
Jenee (24:36):
So yeah, that's.
It's a co-creation, likebetween.
Lindsey (24:41):
It's like a tri, a triumvirate, or what's the word
uh, yeah, a trio, a trio ofcollaboration between myself,
the dancers and the divine wowthat's beautiful and that
sometimes it can be a challengeto come in and just trust that
(25:04):
whatever is going to come, comeout, will be the right thing,
because so many choreographersjust want the, the control of
the space and using the dancersas their paintbrush and what
they, what they want to see,rather than how would this idea
(25:27):
move through your body?
Dancers, you're the onesdancing it, so how can we create
that experience for you?
Jenee (25:38):
And how old are these young women?
Lindsey (25:42):
Yes, yeah.
So these dancers are ages 18 to24, so they're in the the
pre-professional stage of theirdance training, and so then I
also get to play a little bitmore with them, because they've
experienced a little bit morelife, so they have some, some
(26:05):
deeper emotions to, yeah, todraw from and we have some
larger topics to to discuss.
I love that, it's a blessing.
Are you gonna continue?
Jenee (26:18):
yeah, are you gonna continue to teach at this, like
caliber, with your yoga studioor outside of it?
Are you going to be able tobalance?
Lindsey (26:28):
that.
I think so, I think so, I thinkso.
Uh yeah, choreography and anddance is so deeply ingrained in
me that I could step away.
And I have stepped away for ayear, two years, and have been
able to come back to it and it'salways amazing to me just that,
(26:51):
like muscle memory and thatthat mental muscle that I had
spent my my youth really flexingand working just stays with me.
And I think, I think I used toput pressure on myself to just
(27:11):
pick one, like just pick yoga orjust pick dance and just do the
one thing.
But I find that when there's anebb and flow of if I'm working
more in the dance world andthere's just a sprinkle of yoga,
and then it shifts and I'mworking more in the yoga world
and there's just a sprinkle ofdance, each thing that is a
(27:35):
little bit more bigger andpulling more focus in my life
becomes informed by when it wasreversed.
Jenee (27:45):
if that makes sense.
Lindsey (27:46):
So like if I'm really working in the in the dance
world, then when I shift backinto the yoga sphere, I'm not
the same yoga teacher because Ihave learned so much from from
that work in the dance world.
And then, when that reverses,it's like I'm not the same dance
(28:07):
teacher because I've evolvedspiritually through my, through
my own personal practice and andthrough what I am gifting other
humans.
Jenee (28:17):
One thing that I love about the women that I met in
that community, in the Ramacommunity, is this thread of
spirit and source, or God, orwhatever you want to call it,
and that being sort of thefoundation for the exploration
(28:40):
of like, whatever your medium is.
You know, and yeah, I reallylove watching you and seeing
your evolution and how you, youknow, just, you're always
working and you keep evolvingand and I was thinking about
what you were saying earlier, um, in the beginning of the
(29:00):
conversation about you know,when you're not, you know
creating, if you're just doing,if you're just working or doing
something and you're notcreating, there's an unraveling.
And I really, you know, I'vebeen thinking a lot about
because I'm going to be 50.
I can't believe it next year, Ijust can't believe it.
(29:22):
I'm going to be 50.
Forever in my head, are youlike 40?
I know, Me too.
It's just crazy.
It's like how does this happen?
And I'm like, well, okay, Ijust bow so deeply to artists
because people don't reallyunderstand.
Like, when you make acommitment to be an artist and
(29:45):
to bow to that, you kind of haveto navigate the rough waters.
I'm sure, like working in anoffice and getting, you know, 80
hours a week under your belt,I'm sure that's just like its
own thing, but I just it's yeah,I'm really so relate to
everything you're saying andit's like, oh my God, all the
(30:06):
odd jobs I've done and all theshit that I still do in full
fucking commitment to my art,you know, and I'm slowly
building an empire.
But it's like this is, this isreal, Like this is, and I have
friends that are in their 70sand 80s that are like like just
retired from waiting tables orjust you know and they're,
(30:27):
they're dancers or they'remusicians and it's like it's a,
it's a big spiritual path.
Lindsey (30:33):
It is, it's not for the faint hearted.
Jenee (30:36):
No it's not.
Lindsey (30:36):
It's really a huge blessing and it also is the most
difficult thing to maneuverthrough there.
The first time that I I had myI call it my life crisis with
dance, or like my breakup withdance, I was 19 years old.
(30:58):
I was living in New York City.
I was pursuing dance career.
I had my heart set on this onejob which was so you think you
can dance.
It was like season three so youthink you can dance.
I made it to Las Vegas.
I had auditioned in New York.
(31:19):
I'm like I'm going to be on theshow, new York.
I'm like I'm going to be on theshow.
I did all of my um, all of myvisualizations.
I made my, my vision board.
I'm like this is it, this is mydestiny.
I'm going to be my, I'm goingto be a famous dancer because of
the show.
And I went to Las Vegas and Imade it through the first two
(31:43):
rounds and then I got cut afterthe hip hop choreography.
I flew back to New York and Idon't think that I left my
bedroom for like two days.
I was just sobbing, calling mymom, like I don't think that I'm
supposed to dance, this was mything, this was it.
(32:04):
I keep getting the no's fromall the auditions.
You know, I was just naive.
I came from a winningcompetition background and had
not experienced defeat before inthe dance realm and moved out
to the big city and it was justlike no, no, no, no, and I did
(32:29):
not have any tools whatsoever todeal with that in a healthy way
.
So so then I really like pulledback from dance.
That was my first time in mylife that I was like okay, well,
maybe this isn't the path, andI moved from New York out to Las
(32:50):
Vegas and I was living in LasVegas with a friend of mine.
I wasn't.
I didn't get hired for any dancejobs.
I didn't move there for anydance jobs.
I was just like New York Cityis not for me, I'm moving to
Vegas.
And I started working atLululemon, and I worked at
Lululemon for three years, forone year in Vegas, and then I
(33:16):
moved to Los Angeles with mysister and I worked at the
Lululemon in Beverly Hills fortwo years and that's where I
found yoga.
Wow, through that job and I ateit up I was taking yoga all
over LA with a lot of the bestteachers of that era.
Jenee (33:40):
So a lot of yoga teachers of that era.
So Tracy Anderson was in that.
Lindsey (33:47):
Yeah, yeah, I did a little like bounce back and
forth Because I wasn't quiteready to land somewhere.
So I went to school in LosAngeles for dance at Santa
Monica College and while I wasthere I got into teaching
fitness.
I was a bar teacher for PureBar and I taught for that
(34:09):
company for about five years andthat was really my first
teaching to adult humans ever.
So that really taught me a lotabout just the things that a
teacher needs to know how you'respeaking voices, what words
(34:30):
you're saying, what your soundis, how you're moving around the
space and looking at all thebodies, how you're queuing, what
your musicality is all of allof those important details.
And then, yeah, I bounced backto Minnesota for a couple of
(34:50):
years and still kept dancing andteaching and then went back out
to LA because I was like I'mstill going to dance, I want to
dance for Beyonce, and I endedup teaching at the Tracy
Anderson method in Brentwood.
That was a very wild, wild, wildexperience.
(35:12):
That movement methodology is solayered and complex.
Yeah, like I had to learn theirmat class.
They had dances, cardio dances.
They had their own specialtyreformers made.
(35:32):
They had their band classes.
So they had Thera bands hangingfrom the ceiling that you would
put on and it was kind of likethis Like there was less gravity
because your hands werepressing on the band, so like
less impact when you werejumping, but that was like a
whole movement school in and ofitself.
(35:55):
Did you have?
Jenee (35:55):
to pay to learn, or did they just hire you and train you
?
Lindsey (36:00):
no, they hired me.
Uh.
So when I was in their teachertraining program, I was getting
paid for my study hours and formy assistant teaching.
Of course.
I got to the end of the of theprogram and they offered me a
(36:26):
job and was very much based onwhat the physical body looks
like and the balance of how muchone was exercising and what
they were eating.
I didn't feel like that wasright.
That sounds crazy.
I didn't feel like that was.
(36:47):
That sounds crazy.
Yeah, so it didn't seem healthyfor me there.
It was a kick-ass workout, butI had already had so much uh
body image, uh complexities inmy mind that it was not a
healing conducive, you know,forward yes, atmosphere in that
category for me.
So so I said thank you forletting me learn all of these
(37:10):
things, but no thanks and thenfrom there like so I met you in
LA.
Jenee (37:18):
Were you living in LA at the time when I met you?
No, I was living in Minnesota.
Lindsey (37:24):
Yeah, I had left already.
So, yeah, after that last timein Los Angeles, I moved back to
Minnesota and did my yogateacher training and I was like,
okay, I want to teach yoga andthat was a big gift to myself.
And I've been teaching sincethen.
That was 12 years ago, wow,yeah.
Jenee (37:48):
So did you initially train in Kundalini, or what did
you train in?
Lindsey (37:52):
My first yoga teacher training was in Hatha yoga, so
it had the, the.
The vinyasa style of classcomes from that lineage and I
chose the program purposefully.
That was not a corporate yogaprogram, because I was really
(38:14):
you know the yoga posture as adancer like the yoga posture is
very simple for me to understandand like perfect, if you will,
because I just had a really deeplevel of body awareness.
So I was more interested inlearning the philosophy behind
yoga and learning more aboutAyurveda and tantra, like
(38:36):
tantric energy, the, the chakrasystem, the nadis, the marma
points.
I wanted to know the esotericand the subtle teachings and so
I found this wonderful programthrough Devanati Yoga in
Minneapolis and they still, tothis day, their programming is
(38:57):
like mind blowing to me Really.
Yeah, how, how, um, it's justlike all of the, the layers,
they do a really good job of ofcoagulating aspects.
You know it's a.
Yoga is a very broad, broadsubject.
(39:18):
Yes, it is so.
So that was my first yogateacher training and then, five
years later, I found Kundaliniyoga because I was like I want
more meditation, I want morebreath work.
I'm missing that from my yogapractice, and boy did that give
me a whole lot whole lot ofbreath, whole lot of mantra,
(39:39):
whole lot of meditation.
Jenee (39:41):
It's like I say it's the um, oh, what's?
What's the word?
It's the, the weird house onthe on the end of the cul-de-sac
on the left.
Lindsey (39:55):
It's not for everybody, but I can say that through my
experience in kundalini yoga,and specifically through Rama
and Guru Jagat, I was opened upinto a whole different awareness
(40:19):
of my own sound current, of myown creativity.
Yeah, I was very dance centricand I love to paint and I love
to sing and and that's what ledme into doing voice lessons with
you and we did voice lessonsfor a- while yeah.
(40:41):
And got a ukulele and startedplaying an instrument and, uh, I
think that time in my life wasjust so rich with creativity
because of the yoga practice andthe encouragement from the
community as well.
It's like you can be your.
You know, you can be a bankteller and then have this yoga
(41:07):
practice and create beauty andcreativity in everything that
you do.
Jenee (41:15):
Yeah, that was a big teaching of hers which I really
appreciated and she reallydemanded that of the people who
really studied with her in thewomen's teachings.
It wasn't an option in thewomen's teachings.
It was like you know, therewasn't an option like you were
going to do.
You know, each year we wouldhave you know, you got to pick
up an instrument or you gottalearn how to write a book.
(41:38):
Yeah, you got to write a book oryou got to you know public
speak and that stuff likechanged my life.
You know it's like, it's stuffthat I still use to this day.
Lindsey (41:50):
Yeah, you know, absolutely it was a blessing.
So it was a blessing.
I'm grateful that I was at thatplace in that time, I know, and
I got to meet you.
Jenee (42:03):
I know and the women that I, that I met from that I, that
I met from that community, arejust still to this day like the
most.
I just revere those women themost Like everyone that I know
from that community has gone out.
They were already doing amazingthings and then they just
(42:24):
continue to go out and do theseincredible, like everybody's
evolving.
Yes, and that's the one thingthat I think is so interesting
about the women that were drawninto that space is because they
were so again, like spiritreally was guiding each, like we
all have such a deep, deeprelationship with, like I don't
(42:47):
know, with our commune with Godand with nature and our own
personal evolution and justbeing like lightworkers or
starseeds or whatever, justbeing like so hungry to sort of
evolve.
So in any subject you know,movement and dance or you know,
just like everybody I know, isdoing something so unique, yes,
(43:09):
and forefront.
Lindsey (43:12):
Yes, yes, and and visible, I think.
Jenee (43:16):
I was hiding also.
Yeah, like what were you saying?
Lindsey (43:20):
That was hiding for the last couple of years.
I think that was like a bigexpansion for me during that
time, which was like five toseven years ago, and then, after
that big expansion, you know, alot of things shifted in that
particular community.
(43:41):
And and and that really put eachof us in a position to have to
navigate navigate it on our own.
Yeah, you know of like, okay,what.
This was a great tool andexperience.
And now how does that weave itsway into my life and how I
(44:05):
understand my relationship toGod?
To look like, to feel like, andhow am I going to like craft
that in a way that is unique tome?
Jenee (44:20):
Absolutely what I gained from that time.
It's just like there's so manypriceless is that the word?
Just like so many teachingsthat are really like just even
the idea of the, the idea offorward motion and the idea of
like understanding your own sortof like spaceship.
(44:42):
You know your own?
I guess I don't.
I don't even remember what sheused to call it, but it's like
seeing.
You know, before I was in thatcommunity I was really hiding,
like hiding in plain sight.
I was on stage performing infront of the public, but I was
(45:02):
literally like hiding and youcan see it in my face.
You can see like the darknessand almost like a flower that is
inverted.
And through that work I was ableto kind of pull those layers of
fear, just the my own internalterrors of being seen and
witnessed, and pulling thosethings off which are really like
(45:26):
they are subconscious thoughtforms.
People can say that shit'scrazy.
They if they're not like, ifthey don't understand the yoga
or they don't understand likethe realms of, like you know
that kind of teaching and howthat works, but it really truly
is like it really truly affectsyour field, your energy field
(45:47):
and how you're moving throughthe world.
Lindsey (45:49):
Yeah, I want to rewind to you and your like unfolding
and evolution, because fromwhere I sit watching you evolve
from that time until now, likethe album that you just created,
whoa, when I first listened tothe whole thing beginning to end
(46:14):
, it immediately went on loopand I think I listened to it for
like two days in a row.
Wow, because the sound currentsand the different lineages of
mantras that you pulled fromwere just like straight from the
(46:37):
mother there was just aresonant, very clear frequency
coming from each of the songs so.
I am very curious to ask you onyour own podcast about your work
and your journey in creatingthat album, because you know,
(47:01):
yeah, the lineages that they'refrom I don't know very much
about, but I'm curious to hearyour take on that.
Jenee (47:11):
Yeah, thank you so much.
It just means the world to meto hear you say that and to be
recognized in that way.
Um, yeah, I really feel likethis was a cocooning with, like,
the mother, like with the mafrequency, with this love of the
divine.
And I, when I started it, Iknew I didn't want to just do
(47:38):
the Gurmukhi.
Um, you know mantras and I had,I had been doing a lot of study
in like, all of the esotericrealms and I was also at that
time starting to servepsychedelic medicine and pulling
(47:59):
that in and it just expanded myawareness and consciousness of
like, of the field of sound andeven more than what I was doing,
I mean kundalini just fullyopened up that field for me in
understanding sound and thesound current and everything.
(48:19):
But, yeah, when I started downthe path of psychedelic
medicines, it opened me up inanother way and, um, and it kind
of took those, those teachingsand like amplified them.
You know, and I, I, I feel likeI went through sort of a um
(48:41):
initiation with sound and I hadalways loved the Sanskrit
mantras, so there's two mantrason there.
I always loved the Sanskritmantras.
So there's two mantras on there, asatoma and the Gayatri mantra
.
I had always loved thoseSanskrit mantras, like any
Sanskrit mantra that I wouldhear, I would like almost cry,
(49:02):
like I would want to cry.
I would feel like I knew themantras like deeply and I, but I
was very resistant Cause I waslike I'm not, you know, you know
, I'm not Hindi, I'm not like,this isn't my faith and I don't,
you know, I don't really knowif this is appropriate and I
(49:23):
already came from like one youknow situation where I was like
questioning my my ownappropriation around things and
you know so, um, but yeah, Ijust kind of like prayed on it
and sat with it and and wasreading a book that was talking
(49:44):
a lot about the goddesses andkind of like through the goddess
work, that's more where, like,all of this entered, so it was
like through the initiation andthe ideas of the goddess work.
That's where, like, each mantrasort of came in, and like the
Tara, the green Tara, like I,that was one of my I sat with
(50:08):
that mantra and meditated withit and just allow that to come
in, you know, and they've allcome in in sort of a feeling way
of like how would I embody thismantra?
Like I've heard so many goodversions of it, but how?
(50:28):
How would this feel as thedivine feminine moves through me
, you know?
And so I would just sit with itand I'd play with like
different melodies or whatever,and really like when I got into
the studio, like Dave, who Iwork with in Boston, I'd be like
(50:50):
there's this or there's this,and he'd be like, oh, the first
one, and it was kind of alwayslike that with every melody and
the acetoma was a prayer thathad come to me a while back and
it was.
It's really how I knew it was aprayer to help with self-worth
and self-esteem.
(51:11):
Oh, wow, when it's really, andit makes sense because it's
actually a prayer of, like thewords are Lord, lead me from the
unseen to the seen, from theunreal to the real, lead me from
death into life.
So it's like, lead me from thatillusion of the not self, so
(51:34):
that, as a Toma had like, I sangthat in the way of how I wanted
to like tender my soul If youknow someone is suffering.
It's like not a lullaby, butjust a whisper of the most
sacred prayer.
Lindsey (51:55):
It's so beautiful.
Thank you I mean that onereally sticks out to me.
All of them have their own verypure, beautiful, soul-filled
quality to them.
Jenee (52:08):
Yeah, but.
Lindsey (52:09):
I also wanted to ask you about the Ide Ue Ue.
Yeah, Ide Ue Ue.
Jenee (52:16):
It's so breathtaking.
It's a Yoruban song.
It talks about Oshun, right,yeah, about Oshun.
It came through the lineage, Ithink it came through to Brazil,
like through the Africanlineage, and it's about Oshun
(52:39):
and it's actually about her,like her bracelets, which is
very interesting and I don'treally know, like, the
significance of what thebracelets are.
But yeah, I just got likeMelody, always like haunted me
and then I started.
I took lessons with Karen orhis daughter.
Who's like an amazing, like shesits in ceremony and plays.
And she's a profound like player, like amazing guitarist and
(53:03):
singer, and so, yeah, I tooklesson with her and I wanted to
learn the Brazilian fingerpicking style.
So it's kind of like it's stilllike I'm just in the Zygo, like
baby I would never play infront of a Brazilian, but like
unless it was her, but like I'min the you know baby phases of
(53:26):
like learning that guitar style,but yeah.
I just wanted to do songs that,like, really hit my heart Was
the process of making that intoan album, healing or cathartic
for you.
Yeah, it was very healing and itwas also like I felt like I had
(53:49):
finally found my place in music.
I could not get back to likethe singer songwriter world.
There's like nothing I wantedin the singer songwriter world.
Like I was already kind ofunhappy before the pandemic and
I put out an album.
Like I was like this is it.
(54:09):
This is the album.
I'm like so happy.
It was like in the stride, like2019.
I'm like and then, like thepandemic hits and I'm just like
deflated balloon.
So many artists were.
I think, yeah, I don't know,the further you get from the
stage, the harder it is.
Yeah, you know.
And then I'm like, okay, yearsare going by.
(54:31):
I haven't been back on thestage.
I did a few performances.
I was like super dysregulatedand I was like there's nothing
about this world that I wantanymore.
Lindsey (54:45):
You know, you're a different person, you know you
evolve and similarly for me indances.
I wanted the big jobs, I wantedto dance for the big artists
and my exodus from LA was I justdidn't want to be in that
(55:08):
atmosphere anymore.
It was not, it wasn't conducivefor my own continued growth
spiritually or as a movertotally, which is really
difficult.
I still deal with, you know,that mentality of like when I,
(55:30):
when am I going to do somethingnoteworthy?
And blah, blah, blah.
But what I'm doing right now,as far as spirit is concerned,
is significantly more noteworthythan me.
You know, just having the cloutof dancing for a famous artist
or being in a movie or doingsomething that's ultimately just
(55:51):
feeding my own ego.
And then once I do that andcheck that off the list, then
what is my spirit going to wantme to do?
What I'm doing right now?
Jenee (56:00):
Exactly, and yeah, so finding like this way home, I
guess I would say with withmantra, it's like I actually am
not singing about myself.
I was like so bored of myself Idon't want to sing a singer
songwriter song about love andheartbreak.
I never sang those songsanyways, but like I'm like now,
(56:24):
singing spirit is like movingthrough me.
Yes, I'm singing to the otherthings in the world and it's not
about me at all and I can justlet that pass through me, you
know.
So now I am like I want to getback out there.
I just have to figure out howI'm going to do that.
Lindsey (56:45):
You know Great Well you just keep praying on it and it
will drop in.
Thank you, you know, becausethe sound current of that.
It and it will drop in, thankyou, you know, because this the
sound current of that and I'veheard a few of your other songs
in your previous albums, butwhoo, the, the sound resonance
that comes out in this album isreally really something special.
(57:05):
So please can continue on yourexploration in that realm and
keep gifting us your, yourbeautiful expression of how a
spirit wants to move through youand and I'll keep I'll keep
doing that with dance and withbodies.
Jenee (57:21):
I love it.
I love that promise any likecool revelations lately that
you've had kind of in all thethings that you're playing with.
Lindsey (57:36):
Yeah, I mean the big one I talked a little bit about
earlier was just like creatingspace.
We are habitually conditionedto fill everything up to the
brim.
You know our schedules, ourwallets, our refrigerators, our
(57:58):
guest tanks, like everything itneeds to be full, and there's a
real trust in the divine andyourself.
When you start cutting thingsout and you resist the urge to
fill it with something, you'rejust like I'm going to say no to
(58:22):
the things that I really don'twant to be doing.
I'm going to say no to thepeople that I really don't want
to be hanging out with doing.
I'm going to say no to thepeople that I really don't want
to be hanging out with.
You know, I'm going to cut outthe food or drink habits that I
feel like are not conducive tomy well-being anymore and
instead of finding something toreplace it right away, like
(58:45):
sitting in that space is likethis liminal area where you can
kind of just like float and likehow can you create more space
in your physical body?
(59:12):
How can you shift yourrelationship and your perception
of your body and space likearound you, by creating as much
width and height and and depthin in in how the body is moving,
as well as the breath throughthat you're also making more
(59:36):
expansion and space in your mind.
You're almost like you'resuspended in outer space, where,
like really I mean, unlessyou're in a rocket ship or
there's an asteroid projectingitself through space like you
have, like you have to waituntil something passes by you to
(59:59):
grab it or to touch it, youknow so.
I think that's where I'm at like, Like I love that.
Jenee (01:00:08):
Yeah, I've been getting a lot of like the image lately of
the um, the tree of life or thetorridial field that is us, and
that there's a you know theflow, it's the, it's the waves,
it's the tides, and like therehas to be a give and receive, so
(01:00:28):
so all things go out and allthings come back, and just that
idea of the toroidal field orthe tree that's constantly
recirculating.
And I think if you're stuffingyour life with all these things
and you're numbing yourself outand did this, and that it's like
you're not making room for thereceiving aspect, absolutely.
Lindsey (01:00:50):
You know, yeah, it's the same.
It's the same concept of of.
If you're gripping your moneyso tightly in your palm, then
your hand isn't open enough formore to come.
Jenee (01:01:03):
Exactly.
Lindsey (01:01:04):
I love that.
So it's.
It's that uh, realization of,of, of the grip strength, and
you know it doesn't always needto be open, but, like you said,
it's a giving and a receivingand when you're receiving you
cannot receive.
When you're gripping andholding and condensing and
contracting, interacting, thereis a there is a natural um
(01:01:37):
breath and ample liminal spaceto receive.
Jenee (01:01:38):
Yep, I love that.
Oh, it's so good to connectwith you let's not make so much
time go by next time I want toknow more and be in your life
and like absolutely Well, hey.
Lindsey (01:01:49):
I have a studio now, so you come here to Minnesota and
we'll get you to teach a women'svocal healing experience Get
out of the heat yeah.
Don't come in the winter.
Jenee (01:02:05):
No, I'll come when it's too hot here.
Perfect, yeah, that soundsgreat.
Lindsey (01:02:10):
When do the?
Jenee (01:02:10):
doors open.
Lindsey (01:02:12):
They're already open.
I'm just like taking it over.
So it's just going to keeprolling along like it has been,
and around May, june, I'll startto release some new programming
and new events and offeringsI'm really excited to bring to
(01:02:34):
Wisconsin, like the studios inWisconsin.
Jenee (01:02:37):
Okay.
Lindsey (01:02:38):
When you think of Wisconsin is like beer and
cheese, like those are thehobbies in Wisconsin, but there
is a community that's reallywanting, you know, events that
do not revolve around drinking,yes, um, events that promote
healing and wellness andconnection in the community.
And so I look forward to beinga little cosmic event planner of
(01:03:03):
sorts in wisconsin.
Jenee (01:03:06):
I love it and I will totally take you up on coming
and teaching.
So yeah it was a pleasure.
Thank you so much.
Thank you.
The Heartlight Sessions podcastis executive produced and
hosted by me, janae Halstead.
It's edited, mixed and masteredby me too.
(01:03:28):
And that theme song you hear?
It's called Heartlight.
And yep, you guessed it.
It's edited, mixed and masteredby me too.
And that theme song you hear?
It's called Heartlight.
And yep, you guessed it, it'sfrom my record.
Disposable Love.
Got questions about a certainhealing modality or about
heart-centered healing, or maybeyou just need some advice on
life, love or creativity?
Send it my way, email me atletters at heartlightpodcastcom.
Until next time, I'm JanaeHalstead, and thanks for
(01:03:50):
listening to Heartlight Sessions.
Welcome to the Heartlight Sessions, a podcast about light
working your way through darktimes.
I'm Janae Halstead.
I'm a singer-songwriter,holistic vocal coach, intuitive
guide and plant medicinefacilitator.
I'm also a survivor ofchildhood abuse, autoimmune
issues and my 30s also asurvivor of childhood abuse,
(00:27):
autoimmune issues and my 30s.
I'm on a lifelong healingjourney and, along the way, I
want to share the ideas andteachings that rock my world.
Every week on HeartlightSessions, I call in artists,
healers and thinkers to explorewhat's helped them live and
thrive from a heart-centeredplace, Because the heart, it's
where the best things happen.
If you've ever wondered how tounlock your biggest
(00:51):
breakthroughs or how to comeback from that stuff that tried
to kill you, you know the stuffI'm talking about, the stuff
that's supposed to make youstronger.
Or if you've ever wondered howto just do you straight from the
heart, you're in the rightplace.
So join me, won't you?
Let's turn on that heart light.
We are live, and I'm so excitedto have this next guest sitting
(01:23):
in front of me.
I have my friend, Lindsey Rose,and I met Lindsey in 2017, 18?
I think so.
Yeah, we were at Camp Gracewith Guru Jagat.
We were both volunteering atthe time.
Yeah, and we were volunteeringfor the fashion show which we
(01:47):
were standing on the edge of theentry of the catwalk and we
were standing across from eachother.
You were wearing this like redcape and, yeah, it was like I
just instantly fell in love withyou and then come to find out
(02:07):
that we have the same birthdaywe do, the both of us and the
icon, john Lennon yes and.
PJ Harvey amazing and JacksonBrown.
It goes on and on.
Lindsey (02:23):
It's an artsy day, isn't it?
It is.
It's an artsy day.
Jenee (02:27):
Yeah, we, we share that very special day.
And and then I watched you walkdown the runway.
It's not walk, but flow downthe runway and it was like
mind-blowing.
So Lindsay is a self-declaredmovement mutt.
I would say Is that what we'regoing to say?
Lindsey (02:47):
Self-declared movement mutt, yeah, absolutely.
I am a mixture of all of thedifferent styles of movement
that I have studied throughoutmy life and continue to keep
studying and expanding because Iam a mover and a student
forever.
Jenee (03:07):
I am a student forever too.
I absolutely love that.
Yeah, so dance choreography.
You're such a beautiful dancer.
And yoga, yoga teacher.
So we are celebrating.
Today is the official openingof Solo Yoga and Boxing.
Lindsey (03:30):
I am acquiring, or I have acquired.
I have acquired a yoga studiothat I have been teaching at for
the last seven years, and thetiming of everything mean it is
divine, and so the studiodropped in at a time in my life
(03:52):
when I had taken a unplannedpause.
I was not taking in any morefreelance work or adding any
other teaching jobs or things tomy schedule at the time.
I just felt that there neededto be some spaciousness and I
(04:16):
kept praying for the next comein, because the last two years
has been a pretty wild ride inmy life, really branching out
there and trying to figure outwhat the thing is that I'm going
(04:37):
to land in and and see grow andcome to fruition over the next
20 plus years of my life.
I'm really at that stage whereI have taught so much for other
studios and other people acrossthe country that I'm I'm wanting
(04:57):
that home base and that centralcontainer to let all of my
creative offerings flow from.
So body was in a pause state.
I was going through someinteresting autoimmune things
and I didn't.
(05:18):
I didn't feel like doing much,so I rest, I rested, and the
message that I got from that wasthat this is an essential
resting time, like when thething drops in.
It's going to be like hit Gameboosters, yeah, uh-huh, you are
(05:40):
going to be going, going, going,going going.
So I loved that time to just bein a very, very slow, sloth like
and almost like a hermit typetype state of being um um,
(06:03):
despite the outside pressuresaround me encouraging me to do
more and work more which, yes,it was challenging financially
because I was doing the amountof work in the material world
that I needed to just pay mybills, no more, no more than
(06:28):
that.
Um, but things have shifted nowand I am up for the challenge.
Jenee (06:35):
I feel like, uh, I am much more aligned in the, in the
energy of, of doing and goingand jumping up onto that wind
horse and and riding it to whereit wants to go wow it's so
important to and it's hard to beable to be in that space of the
(07:01):
void which a lot of my friendsare in and have been in for the
last four years, and I was verymuch in that where I was just
like what is going on?
I'm like lost.
You know I, what am I bringingin?
Like what is my mission?
All this stuff and like, yeah,same thing, like kind of earning
the bare minimum just to paythe bills and like like kind of
(07:25):
earning the bare minimum just topay the bills and like you know
, that can be, can be like avery, very frustrating place to
be.
But if you know, I'm justwondering how you navigated that
.
You know it sounded like younavigated it pretty beautifully
it was definitely hard.
Lindsey (07:39):
It was definitely a friction in my relationship to
my significant other aroundaround that subject specifically
.
But he has always been verysupportive of how I work in the
(07:59):
world and since I my early 20s,I have gone rounds of life
having more traditional jobsthat are longer hours nine to
five, like in one place, eitherserving at a restaurant or
(08:20):
working retail, and that reallycan only last about three months
maximum for me, especially ifI'm not doing any teaching or
movement or yoga dance outsideof that.
(08:41):
If it's only the one thing mysoul like has an identity crisis
, I kind of just blow up andyeah, it's like I.
I get to a point where I'm likeI literally cannot do this
anymore.
Um, so those ebbs and flows havehappened many times in my life
(09:08):
and I know now, as being in mylate thirties, that the movement
and the being in a studio is ismy happy place.
This is the work that I havebeen gifted to do on planet
earth.
It's a joy of mine.
(09:29):
Do I not want to do it somedays?
Absolutely.
But through through providingthose gifts, I'm also gifting
myself the opportunity to getout of my Virgo rising
analytical brain that's alwayshyper, fixating on every little
(09:50):
aspect of life andself-reflecting, and
self-reflecting more, and haveVenus and Virgo.
I'm like yeah yeah, when I getto teach any movement class,
whenever I'm in a room moving,will that through.
What I have to teach and what Ihave to say is relief for
(10:30):
whoever's in the room that dayfor their greatest good.
And when that happens,inevitably I leave the room
feeling so much better than whenI walked in, because I can't be
in my own headspace.
When I am being a channel formovement with live bodies in
(10:54):
front of me, there just is noroom for the BS and the stuff
that is cycling through.
When I'm laying on my couchwith my cats scrolling Instagram
, yes, yes, in comparison mode,yeah, it's an immediate drawing
(11:14):
me into the present moment.
That is also medicine for me.
So I'm very grateful that thisalignment has happened, where
the studio owner of Solo Yogaand Boxing said hey, we want to
(11:37):
sell this studio.
The ideal person for the studioto be handed off to, in my mind
, is you.
Are you interested?
So this really was a an alchemyof timing between the
opportunity arising and meknowing that that was the right
(12:03):
opportunity for my, my life'spath from here.
Are you?
Jenee (12:11):
staying with the boxing?
Lindsey (12:13):
yes yeah, really yeah, yep, we're staying with the
boxing.
I mean, wow, a huge part of myteaching, uh, movement yoga is
rhythm, is the rhythmicintelligence, and there's such a
satisfying rhythm to your bodywhen you feel your mitts hit the
(12:38):
bag and you have that like one,two, three, pop, pop, pop
happening in the body.
It's a.
It's a different rhythm.
It hits literally, no punintended.
It hits differently than whenit's just you on your mat, right
, do it doing the yoga, doingthe breath, or you in the dance
(13:02):
studio listening to the musicand meeting the music.
It's a different exploration ofyour own rhythm and strength.
Jenee (13:13):
So inside is there like a boxing ring.
Lindsey (13:17):
There isn't a ring, so the space is kind of like half
and half.
So one half of the studio spaceis boxing.
We have 12 teardrop bags fromthe ceiling, the aqua bags, and
then there's a divider and ayoga space on the other side.
So best of both worlds.
(13:40):
Yeah, we're creating a spacefor warrior saints.
I love it To have that reallife, practical application and
experience of themselves.
Jenee (13:55):
I love that.
Are you also going to beteaching dance in there?
Lindsey (14:00):
Eventually, eventually I want to do some classes that
are a little bit more open, sonot like you're learning
choreography, but just movementexploration, and I also do want
to do some fundamentalchoreography classes because
(14:24):
that gets people excited.
People.
You know, people want to dance.
We were made to dance, we, itwas dancing and singing were one
of our very, uh, first ways toexpress ourselves artistically.
So everybody has that, thatdeep cellular remembrance for
(14:48):
dance and for singing.
So, and I'm not sure if youfeel this way about about the
voice, but if you have a body,you can dance.
Jenee (14:58):
I totally tell people, if you have a body you can can
sing, everybody can sing.
I say that all the time.
It's like my biggest mission,absolutely.
Lindsey (15:07):
Somewhere along the line.
Yeah, somebody told you thatyou couldn't sing, or you
couldn't dance and then youstopped and you can always
pinpoint it with people.
Jenee (15:16):
Almost always it's like teenage years Someone told you
to shut up or you sounded bad,and like you're in the choir and
then somebody puts you in theback.
It's like it's always, likeit's almost always pinpointable,
(15:36):
you know, yeah, it makes mereally sad.
I really I worked with a lot ofkids back in the day and like
their parents were always like Iwanted to sing and I and so,
but then I hurt, you know thisand that, and someone said I
couldn't.
And I started like hearing thatmore and more from parents and
I was like this is so weird.
Yeah, I'm like someone handsyou a Lamborghini and they don't
tell you how to drive it, andthat's like literally the same
(16:00):
thing with the vocal apparatus.
Why do people think that they,you know?
It's like, okay, you don't knowhow to sing, so therefore you
can't sing.
It doesn't make any sense,doesn't make sense.
You have to learn how to usethe apparatus.
Lindsey (16:15):
You have to learn how to you know how to drive the car
, you got to learn how itoperates exactly and then you
can start to fine-t andstrengthen it and become
confident in it, and the same iswhere the body is moving to one
(16:55):
set of mantra throughout theentire class.
So that's amazing.
A little bit more ingrainedinto the physiology of the body
because that's what you'relistening to the whole time.
That's amazing.
Jenee (17:11):
Who's here?
Lindsey (17:15):
You're running around the yard right now.
Who is?
Jenee (17:19):
there's a bunch of deer.
Oh, a deer.
Okay, it's freezing up a littlebit, so okay, um, well, that's
amazing.
What are you?
What's one mantra that you'relike working on with the class?
Lindsey (17:35):
yeah, yeah, a healing mantra ramadasa sase, so hang
nice.
Yeah, and that one.
It doesn't take very long toget hooked in your in your mind
either.
So I, I like the just the morecompact mantras so that if
(17:59):
people have not worked with orheard these mantras before, then
it's more likely to to stickwith them.
Yeah, cool, yep, it is cool.
And I, about a year or, yeah,that's what I've been over the
past two years a couple ofpieces of dance choreography for
(18:23):
concert dance to mantra music,and that was a completely
different experience as someonewho's watching it from the
audience and seeing it on stage,with the sound of the mantra
(18:43):
coming at you through the bigspeakers and the lighting as
well.
I synced up the lighting tomove through the chakra system.
So, yes, the beginning of thispiece was was like a deeper red
(19:05):
hue, and as the 11, 11 minutedance went on, it cycled you all
the way through the chakras andended in a nice bright white
light right at the crown.
Yeah, that was uh to to Chakra,chakra, varti, nice, and Simrit
(19:27):
does a.
It sounds cinematic.
Yeah, the first time I heardthat mantra I was like this
would make an incredible dancepiece, because it just takes you
on this journey.
So I pulled from the imagery of,of yoga, and and just a sacred
(19:48):
ceremony of what those shapesare, that the bodies are making
and what the movements are ofbowing, to create a piece that
was transformational not justfor the dancers partaking in it,
but for the audience members aswell.
Jenee (20:11):
Wow, Can you?
What is concert?
You call it concert.
Concert contemporary.
Lindsey (20:18):
Yeah, what is that?
Yeah, so within the dancesphere, there are dance studios
that children grow up dancing at, and some of them are ballet
based.
Other studios are forcompetition dance, which is a
whole realm of dance trainingthat I happened to grow up in.
(20:42):
Like lyric dance and Yep, yep.
And as you make it to thecollege age you get a little bit
more into to modern dance aswell as contemporary dance, but
in a way that the movement andthe length of the dance pieces
(21:07):
can be anywhere from threeminutes to 34 minutes, whereas
at the dance studios thosedancers are learning
choreography and rehearsingthese dances that are about
three minutes maximum.
So in the concert dance spherethere will be a whole evening, a
(21:29):
whole conceptualized storylineand theme that can range in time
from again like five minutes toan hour.
Whoa With all the same dancers.
Yes, they are not all on stagefor the entire time, but there's
(21:53):
different exits and entrances.
It's very much like how a movieis set up.
So you have there.
There's different scenes,there's different feelings to
each scene, there's differentlighting.
The music takes you on ajourney.
Jenee (22:10):
Yeah, I'm thinking about um the great studio in New York.
I can't for the life of me.
Yeah, the Alvin Ailey dancecompany, thank you.
Yes, and just some of their.
You you know, taking you onthis like amazing journey and
yeah, you've got it's almostlike a play.
Lindsey (22:30):
It is yeah, it is very much so a journey, and it's a
journey in the process ofcreation too.
I remember when I first startedchoreographing I would figure
out with the music what everysingle movement was going to be,
(22:50):
what timing of the music it wasgoing to be on, and I would
teach it to the studentsverbatim.
Like this is what it is.
You repeat it.
I would give them thecorrections to make sure that it
looked exactly like how Iwanted it to look.
This was very like graspy, likeit has to be this way.
(23:12):
You know didn't really leavemuch, much wiggle room for
mystery, uh, or a happy accidentto drop in, because I was very
much like it has to be this way.
And when I did the piece that Iwas just talking about the
chatra, chatra varti, as well asanything that I've done really
(23:36):
over the last seven years I picka song, I I have an idea I
might make three or four, eightcounts of movement, and then I
leave the space open for thedancers and the divine to create
(24:00):
the piece together with me.
And I find that when we'reworking in the moment and
there's a little less structureto what the exact movement is
things appear that I would havenever thought of in a million
years, like things happen in thestudio where I'm like that is
(24:25):
the most beautiful thing I'veever seen.
We're gonna keep that.
That's, that's going, that'sgoing in the dance right here
and then let's keep going, cool.
Jenee (24:36):
So yeah, that's.
It's a co-creation, likebetween.
Lindsey (24:41):
It's like a tri, a triumvirate, or what's the word
uh, yeah, a trio, a trio ofcollaboration between myself,
the dancers and the divine wowthat's beautiful and that
sometimes it can be a challengeto come in and just trust that
(25:04):
whatever is going to come, comeout, will be the right thing,
because so many choreographersjust want the, the control of
the space and using the dancersas their paintbrush and what
they, what they want to see,rather than how would this idea
(25:27):
move through your body?
Dancers, you're the onesdancing it, so how can we create
that experience for you?
Jenee (25:38):
And how old are these young women?
Lindsey (25:42):
Yes, yeah.
So these dancers are ages 18 to24, so they're in the the
pre-professional stage of theirdance training, and so then I
also get to play a little bitmore with them, because they've
experienced a little bit morelife, so they have some, some
(26:05):
deeper emotions to, yeah, todraw from and we have some
larger topics to to discuss.
I love that, it's a blessing.
Are you gonna continue?
Jenee (26:18):
yeah, are you gonna continue to teach at this, like
caliber, with your yoga studioor outside of it?
Are you going to be able tobalance?
Lindsey (26:28):
that.
I think so, I think so, I thinkso.
Uh yeah, choreography and anddance is so deeply ingrained in
me that I could step away.
And I have stepped away for ayear, two years, and have been
able to come back to it and it'salways amazing to me just that,
(26:51):
like muscle memory and thatthat mental muscle that I had
spent my my youth really flexingand working just stays with me.
And I think, I think I used toput pressure on myself to just
(27:11):
pick one, like just pick yoga orjust pick dance and just do the
one thing.
But I find that when there's anebb and flow of if I'm working
more in the dance world andthere's just a sprinkle of yoga,
and then it shifts and I'mworking more in the yoga world
and there's just a sprinkle ofdance, each thing that is a
(27:35):
little bit more bigger andpulling more focus in my life
becomes informed by when it wasreversed.
Jenee (27:45):
if that makes sense.
Lindsey (27:46):
So like if I'm really working in the in the dance
world, then when I shift backinto the yoga sphere, I'm not
the same yoga teacher because Ihave learned so much from from
that work in the dance world.
And then, when that reverses,it's like I'm not the same dance
(28:07):
teacher because I've evolvedspiritually through my, through
my own personal practice and andthrough what I am gifting other
humans.
Jenee (28:17):
One thing that I love about the women that I met in
that community, in the Ramacommunity, is this thread of
spirit and source, or God, orwhatever you want to call it,
and that being sort of thefoundation for the exploration
(28:40):
of like, whatever your medium is.
You know, and yeah, I reallylove watching you and seeing
your evolution and how you, youknow, just, you're always
working and you keep evolvingand and I was thinking about
what you were saying earlier, um, in the beginning of the
(29:00):
conversation about you know,when you're not, you know
creating, if you're just doing,if you're just working or doing
something and you're notcreating, there's an unraveling.
And I really, you know, I'vebeen thinking a lot about
because I'm going to be 50.
I can't believe it next year, Ijust can't believe it.
(29:22):
I'm going to be 50.
Forever in my head, are youlike 40?
I know, Me too.
It's just crazy.
It's like how does this happen?
And I'm like, well, okay, Ijust bow so deeply to artists
because people don't reallyunderstand.
Like, when you make acommitment to be an artist and
(29:45):
to bow to that, you kind of haveto navigate the rough waters.
I'm sure, like working in anoffice and getting, you know, 80
hours a week under your belt,I'm sure that's just like its
own thing, but I just it's yeah,I'm really so relate to
everything you're saying andit's like, oh my God, all the
(30:06):
odd jobs I've done and all theshit that I still do in full
fucking commitment to my art,you know, and I'm slowly
building an empire.
But it's like this is, this isreal, Like this is, and I have
friends that are in their 70sand 80s that are like like just
retired from waiting tables orjust you know and they're,
(30:27):
they're dancers or they'remusicians and it's like it's a,
it's a big spiritual path.
Lindsey (30:33):
It is, it's not for the faint hearted.
Jenee (30:36):
No it's not.
Lindsey (30:36):
It's really a huge blessing and it also is the most
difficult thing to maneuverthrough there.
The first time that I I had myI call it my life crisis with
dance, or like my breakup withdance, I was 19 years old.
(30:58):
I was living in New York City.
I was pursuing dance career.
I had my heart set on this onejob which was so you think you
can dance.
It was like season three so youthink you can dance.
I made it to Las Vegas.
I had auditioned in New York.
(31:19):
I'm like I'm going to be on theshow, new York.
I'm like I'm going to be on theshow.
I did all of my um, all of myvisualizations.
I made my, my vision board.
I'm like this is it, this is mydestiny.
I'm going to be my, I'm goingto be a famous dancer because of
the show.
And I went to Las Vegas and Imade it through the first two
(31:43):
rounds and then I got cut afterthe hip hop choreography.
I flew back to New York and Idon't think that I left my
bedroom for like two days.
I was just sobbing, calling mymom, like I don't think that I'm
supposed to dance, this was mything, this was it.
(32:04):
I keep getting the no's fromall the auditions.
You know, I was just naive.
I came from a winningcompetition background and had
not experienced defeat before inthe dance realm and moved out
to the big city and it was justlike no, no, no, no, and I did
(32:29):
not have any tools whatsoever todeal with that in a healthy way
.
So so then I really like pulledback from dance.
That was my first time in mylife that I was like okay, well,
maybe this isn't the path, andI moved from New York out to Las
(32:50):
Vegas and I was living in LasVegas with a friend of mine.
I wasn't.
I didn't get hired for any dancejobs.
I didn't move there for anydance jobs.
I was just like New York Cityis not for me, I'm moving to
Vegas.
And I started working atLululemon, and I worked at
Lululemon for three years, forone year in Vegas, and then I
(33:16):
moved to Los Angeles with mysister and I worked at the
Lululemon in Beverly Hills fortwo years and that's where I
found yoga.
Wow, through that job and I ateit up I was taking yoga all
over LA with a lot of the bestteachers of that era.
Jenee (33:40):
So a lot of yoga teachers of that era.
So Tracy Anderson was in that.
Lindsey (33:47):
Yeah, yeah, I did a little like bounce back and
forth Because I wasn't quiteready to land somewhere.
So I went to school in LosAngeles for dance at Santa
Monica College and while I wasthere I got into teaching
fitness.
I was a bar teacher for PureBar and I taught for that
(34:09):
company for about five years andthat was really my first
teaching to adult humans ever.
So that really taught me a lotabout just the things that a
teacher needs to know how you'respeaking voices, what words
(34:30):
you're saying, what your soundis, how you're moving around the
space and looking at all thebodies, how you're queuing, what
your musicality is all of allof those important details.
And then, yeah, I bounced backto Minnesota for a couple of
(34:50):
years and still kept dancing andteaching and then went back out
to LA because I was like I'mstill going to dance, I want to
dance for Beyonce, and I endedup teaching at the Tracy
Anderson method in Brentwood.
That was a very wild, wild, wildexperience.
(35:12):
That movement methodology is solayered and complex.
Yeah, like I had to learn theirmat class.
They had dances, cardio dances.
They had their own specialtyreformers made.
(35:32):
They had their band classes.
So they had Thera bands hangingfrom the ceiling that you would
put on and it was kind of likethis Like there was less gravity
because your hands werepressing on the band, so like
less impact when you werejumping, but that was like a
whole movement school in and ofitself.
(35:55):
Did you have?
Jenee (35:55):
to pay to learn, or did they just hire you and train you
?
Lindsey (36:00):
no, they hired me.
Uh.
So when I was in their teachertraining program, I was getting
paid for my study hours and formy assistant teaching.
Of course.
I got to the end of the of theprogram and they offered me a
(36:26):
job and was very much based onwhat the physical body looks
like and the balance of how muchone was exercising and what
they were eating.
I didn't feel like that wasright.
That sounds crazy.
I didn't feel like that was.
(36:47):
That sounds crazy.
Yeah, so it didn't seem healthyfor me there.
It was a kick-ass workout, butI had already had so much uh
body image, uh complexities inmy mind that it was not a
healing conducive, you know,forward yes, atmosphere in that
category for me.
So so I said thank you forletting me learn all of these
(37:10):
things, but no thanks and thenfrom there like so I met you in
LA.
Jenee (37:18):
Were you living in LA at the time when I met you?
No, I was living in Minnesota.
Lindsey (37:24):
Yeah, I had left already.
So, yeah, after that last timein Los Angeles, I moved back to
Minnesota and did my yogateacher training and I was like,
okay, I want to teach yoga andthat was a big gift to myself.
And I've been teaching sincethen.
That was 12 years ago, wow,yeah.
Jenee (37:48):
So did you initially train in Kundalini, or what did
you train in?
Lindsey (37:52):
My first yoga teacher training was in Hatha yoga, so
it had the, the.
The vinyasa style of classcomes from that lineage and I
chose the program purposefully.
That was not a corporate yogaprogram, because I was really
(38:14):
you know the yoga posture as adancer like the yoga posture is
very simple for me to understandand like perfect, if you will,
because I just had a really deeplevel of body awareness.
So I was more interested inlearning the philosophy behind
yoga and learning more aboutAyurveda and tantra, like
(38:36):
tantric energy, the, the chakrasystem, the nadis, the marma
points.
I wanted to know the esotericand the subtle teachings and so
I found this wonderful programthrough Devanati Yoga in
Minneapolis and they still, tothis day, their programming is
(38:57):
like mind blowing to me Really.
Yeah, how, how, um, it's justlike all of the, the layers,
they do a really good job of ofcoagulating aspects.
You know it's a.
Yoga is a very broad, broadsubject.
(39:18):
Yes, it is so.
So that was my first yogateacher training and then, five
years later, I found Kundaliniyoga because I was like I want
more meditation, I want morebreath work.
I'm missing that from my yogapractice, and boy did that give
me a whole lot whole lot ofbreath, whole lot of mantra,
(39:39):
whole lot of meditation.
Jenee (39:41):
It's like I say it's the um, oh, what's?
What's the word?
It's the, the weird house onthe on the end of the cul-de-sac
on the left.
Lindsey (39:55):
It's not for everybody, but I can say that through my
experience in kundalini yoga,and specifically through Rama
and Guru Jagat, I was opened upinto a whole different awareness
(40:19):
of my own sound current, of myown creativity.
Yeah, I was very dance centricand I love to paint and I love
to sing and and that's what ledme into doing voice lessons with
you and we did voice lessonsfor a- while yeah.
(40:41):
And got a ukulele and startedplaying an instrument and, uh, I
think that time in my life wasjust so rich with creativity
because of the yoga practice andthe encouragement from the
community as well.
It's like you can be your.
You know, you can be a bankteller and then have this yoga
(41:07):
practice and create beauty andcreativity in everything that
you do.
Jenee (41:15):
Yeah, that was a big teaching of hers which I really
appreciated and she reallydemanded that of the people who
really studied with her in thewomen's teachings.
It wasn't an option in thewomen's teachings.
It was like you know, therewasn't an option like you were
going to do.
You know, each year we wouldhave you know, you got to pick
up an instrument or you gottalearn how to write a book.
(41:38):
Yeah, you got to write a book oryou got to you know public
speak and that stuff likechanged my life.
You know it's like, it's stuffthat I still use to this day.
Lindsey (41:50):
Yeah, you know, absolutely it was a blessing.
So it was a blessing.
I'm grateful that I was at thatplace in that time, I know, and
I got to meet you.
Jenee (42:03):
I know and the women that I, that I met from that I, that
I met from that community, arejust still to this day like the
most.
I just revere those women themost Like everyone that I know
from that community has gone out.
They were already doing amazingthings and then they just
(42:24):
continue to go out and do theseincredible, like everybody's
evolving.
Yes, and that's the one thingthat I think is so interesting
about the women that were drawninto that space is because they
were so again, like spiritreally was guiding each, like we
all have such a deep, deeprelationship with, like I don't
(42:47):
know, with our commune with Godand with nature and our own
personal evolution and justbeing like lightworkers or
starseeds or whatever, justbeing like so hungry to sort of
evolve.
So in any subject you know,movement and dance or you know,
just like everybody I know, isdoing something so unique, yes,
(43:09):
and forefront.
Lindsey (43:12):
Yes, yes, and and visible, I think.
Jenee (43:16):
I was hiding also.
Yeah, like what were you saying?
Lindsey (43:20):
That was hiding for the last couple of years.
I think that was like a bigexpansion for me during that
time, which was like five toseven years ago, and then, after
that big expansion, you know, alot of things shifted in that
particular community.
(43:41):
And and and that really put eachof us in a position to have to
navigate navigate it on our own.
Yeah, you know of like, okay,what.
This was a great tool andexperience.
And now how does that weave itsway into my life and how I
(44:05):
understand my relationship toGod?
To look like, to feel like, andhow am I going to like craft
that in a way that is unique tome?
Jenee (44:20):
Absolutely what I gained from that time.
It's just like there's so manypriceless is that the word?
Just like so many teachingsthat are really like just even
the idea of the, the idea offorward motion and the idea of
like understanding your own sortof like spaceship.
(44:42):
You know your own?
I guess I don't.
I don't even remember what sheused to call it, but it's like
seeing.
You know, before I was in thatcommunity I was really hiding,
like hiding in plain sight.
I was on stage performing infront of the public, but I was
(45:02):
literally like hiding and youcan see it in my face.
You can see like the darknessand almost like a flower that is
inverted.
And through that work I was ableto kind of pull those layers of
fear, just the my own internalterrors of being seen and
witnessed, and pulling thosethings off which are really like
(45:26):
they are subconscious thoughtforms.
People can say that shit'scrazy.
They if they're not like, ifthey don't understand the yoga
or they don't understand likethe realms of, like you know
that kind of teaching and howthat works, but it really truly
is like it really truly affectsyour field, your energy field
(45:47):
and how you're moving throughthe world.
Lindsey (45:49):
Yeah, I want to rewind to you and your like unfolding
and evolution, because fromwhere I sit watching you evolve
from that time until now, likethe album that you just created,
whoa, when I first listened tothe whole thing beginning to end
(46:14):
, it immediately went on loopand I think I listened to it for
like two days in a row.
Wow, because the sound currentsand the different lineages of
mantras that you pulled fromwere just like straight from the
(46:37):
mother there was just aresonant, very clear frequency
coming from each of the songs so.
I am very curious to ask you onyour own podcast about your work
and your journey in creatingthat album, because you know,
(47:01):
yeah, the lineages that they'refrom I don't know very much
about, but I'm curious to hearyour take on that.
Jenee (47:11):
Yeah, thank you so much.
It just means the world to meto hear you say that and to be
recognized in that way.
Um, yeah, I really feel likethis was a cocooning with, like,
the mother, like with the mafrequency, with this love of the
divine.
And I, when I started it, Iknew I didn't want to just do
(47:38):
the Gurmukhi.
Um, you know mantras and I had,I had been doing a lot of study
in like, all of the esotericrealms and I was also at that
time starting to servepsychedelic medicine and pulling
(47:59):
that in and it just expanded myawareness and consciousness of
like, of the field of sound andeven more than what I was doing,
I mean kundalini just fullyopened up that field for me in
understanding sound and thesound current and everything.
(48:19):
But, yeah, when I started downthe path of psychedelic
medicines, it opened me up inanother way and, um, and it kind
of took those, those teachingsand like amplified them.
You know, and I, I, I feel likeI went through sort of a um
(48:41):
initiation with sound and I hadalways loved the Sanskrit
mantras, so there's two mantrason there.
I always loved the Sanskritmantras.
So there's two mantras on there, asatoma and the Gayatri mantra
.
I had always loved thoseSanskrit mantras, like any
Sanskrit mantra that I wouldhear, I would like almost cry,
(49:02):
like I would want to cry.
I would feel like I knew themantras like deeply and I, but I
was very resistant Cause I waslike I'm not, you know, you know
, I'm not Hindi, I'm not like,this isn't my faith and I don't,
you know, I don't really knowif this is appropriate and I
(49:23):
already came from like one youknow situation where I was like
questioning my my ownappropriation around things and
you know so, um, but yeah, Ijust kind of like prayed on it
and sat with it and and wasreading a book that was talking
(49:44):
a lot about the goddesses andkind of like through the goddess
work, that's more where, like,all of this entered, so it was
like through the initiation andthe ideas of the goddess work.
That's where, like, each mantrasort of came in, and like the
Tara, the green Tara, like I,that was one of my I sat with
(50:08):
that mantra and meditated withit and just allow that to come
in, you know, and they've allcome in in sort of a feeling way
of like how would I embody thismantra?
Like I've heard so many goodversions of it, but how?
(50:28):
How would this feel as thedivine feminine moves through me
, you know?
And so I would just sit with itand I'd play with like
different melodies or whatever,and really like when I got into
the studio, like Dave, who Iwork with in Boston, I'd be like
(50:50):
there's this or there's this,and he'd be like, oh, the first
one, and it was kind of alwayslike that with every melody and
the acetoma was a prayer thathad come to me a while back and
it was.
It's really how I knew it was aprayer to help with self-worth
and self-esteem.
(51:11):
Oh, wow, when it's really, andit makes sense because it's
actually a prayer of, like thewords are Lord, lead me from the
unseen to the seen, from theunreal to the real, lead me from
death into life.
So it's like, lead me from thatillusion of the not self, so
(51:34):
that, as a Toma had like, I sangthat in the way of how I wanted
to like tender my soul If youknow someone is suffering.
It's like not a lullaby, butjust a whisper of the most
sacred prayer.
Lindsey (51:55):
It's so beautiful.
Thank you I mean that onereally sticks out to me.
All of them have their own verypure, beautiful, soul-filled
quality to them.
Jenee (52:08):
Yeah, but.
Lindsey (52:09):
I also wanted to ask you about the Ide Ue Ue.
Yeah, Ide Ue Ue.
Jenee (52:16):
It's so breathtaking.
It's a Yoruban song.
It talks about Oshun, right,yeah, about Oshun.
It came through the lineage, Ithink it came through to Brazil,
like through the Africanlineage, and it's about Oshun
(52:39):
and it's actually about her,like her bracelets, which is
very interesting and I don'treally know, like, the
significance of what thebracelets are.
But yeah, I just got likeMelody, always like haunted me
and then I started.
I took lessons with Karen orhis daughter.
Who's like an amazing, like shesits in ceremony and plays.
And she's a profound like player, like amazing guitarist and
(53:03):
singer, and so, yeah, I tooklesson with her and I wanted to
learn the Brazilian fingerpicking style.
So it's kind of like it's stilllike I'm just in the Zygo, like
baby I would never play infront of a Brazilian, but like
unless it was her, but like I'min the you know baby phases of
(53:26):
like learning that guitar style,but yeah.
I just wanted to do songs that,like, really hit my heart Was
the process of making that intoan album, healing or cathartic
for you.
Yeah, it was very healing and itwas also like I felt like I had
(53:49):
finally found my place in music.
I could not get back to likethe singer songwriter world.
There's like nothing I wantedin the singer songwriter world.
Like I was already kind ofunhappy before the pandemic and
I put out an album.
Like I was like this is it.
(54:09):
This is the album.
I'm like so happy.
It was like in the stride, like2019.
I'm like and then, like thepandemic hits and I'm just like
deflated balloon.
So many artists were.
I think, yeah, I don't know,the further you get from the
stage, the harder it is.
Yeah, you know.
And then I'm like, okay, yearsare going by.
(54:31):
I haven't been back on thestage.
I did a few performances.
I was like super dysregulatedand I was like there's nothing
about this world that I wantanymore.
Lindsey (54:45):
You know, you're a different person, you know you
evolve and similarly for me indances.
I wanted the big jobs, I wantedto dance for the big artists
and my exodus from LA was I justdidn't want to be in that
(55:08):
atmosphere anymore.
It was not, it wasn't conducivefor my own continued growth
spiritually or as a movertotally, which is really
difficult.
I still deal with, you know,that mentality of like when I,
(55:30):
when am I going to do somethingnoteworthy?
And blah, blah, blah.
But what I'm doing right now,as far as spirit is concerned,
is significantly more noteworthythan me.
You know, just having the cloutof dancing for a famous artist
or being in a movie or doingsomething that's ultimately just
(55:51):
feeding my own ego.
And then once I do that andcheck that off the list, then
what is my spirit going to wantme to do?
What I'm doing right now?
Jenee (56:00):
Exactly, and yeah, so finding like this way home, I
guess I would say with withmantra, it's like I actually am
not singing about myself.
I was like so bored of myself Idon't want to sing a singer
songwriter song about love andheartbreak.
I never sang those songsanyways, but like I'm like now,
(56:24):
singing spirit is like movingthrough me.
Yes, I'm singing to the otherthings in the world and it's not
about me at all and I can justlet that pass through me, you
know.
So now I am like I want to getback out there.
I just have to figure out howI'm going to do that.
Lindsey (56:45):
You know Great Well you just keep praying on it and it
will drop in.
Thank you, you know, becausethe sound current of that.
It and it will drop in, thankyou, you know, because this the
sound current of that and I'veheard a few of your other songs
in your previous albums, butwhoo, the, the sound resonance
that comes out in this album isreally really something special.
(57:05):
So please can continue on yourexploration in that realm and
keep gifting us your, yourbeautiful expression of how a
spirit wants to move through youand and I'll keep I'll keep
doing that with dance and withbodies.
Jenee (57:21):
I love it.
I love that promise any likecool revelations lately that
you've had kind of in all thethings that you're playing with.
Lindsey (57:36):
Yeah, I mean the big one I talked a little bit about
earlier was just like creatingspace.
We are habitually conditionedto fill everything up to the
brim.
You know our schedules, ourwallets, our refrigerators, our
(57:58):
guest tanks, like everything itneeds to be full, and there's a
real trust in the divine andyourself.
When you start cutting thingsout and you resist the urge to
fill it with something, you'rejust like I'm going to say no to
(58:22):
the things that I really don'twant to be doing.
I'm going to say no to thepeople that I really don't want
to be hanging out with doing.
I'm going to say no to thepeople that I really don't want
to be hanging out with.
You know, I'm going to cut outthe food or drink habits that I
feel like are not conducive tomy well-being anymore and
instead of finding something toreplace it right away, like
(58:45):
sitting in that space is likethis liminal area where you can
kind of just like float and likehow can you create more space
in your physical body?
(59:12):
How can you shift yourrelationship and your perception
of your body and space likearound you, by creating as much
width and height and and depthin in in how the body is moving,
as well as the breath throughthat you're also making more
(59:36):
expansion and space in your mind.
You're almost like you'resuspended in outer space, where,
like really I mean, unlessyou're in a rocket ship or
there's an asteroid projectingitself through space like you
have, like you have to waituntil something passes by you to
(59:59):
grab it or to touch it, youknow so.
I think that's where I'm at like, Like I love that.
Jenee (01:00:08):
Yeah, I've been getting a lot of like the image lately of
the um, the tree of life or thetorridial field that is us, and
that there's a you know theflow, it's the, it's the waves,
it's the tides, and like therehas to be a give and receive, so
(01:00:28):
so all things go out and allthings come back, and just that
idea of the toroidal field orthe tree that's constantly
recirculating.
And I think if you're stuffingyour life with all these things
and you're numbing yourself outand did this, and that it's like
you're not making room for thereceiving aspect, absolutely.
Lindsey (01:00:50):
You know, yeah, it's the same.
It's the same concept of of.
If you're gripping your moneyso tightly in your palm, then
your hand isn't open enough formore to come.
Jenee (01:01:03):
Exactly.
Lindsey (01:01:04):
I love that.
So it's.
It's that uh, realization of,of, of the grip strength, and
you know it doesn't always needto be open, but, like you said,
it's a giving and a receivingand when you're receiving you
cannot receive.
When you're gripping andholding and condensing and
contracting, interacting, thereis a there is a natural um
(01:01:37):
breath and ample liminal spaceto receive.
Jenee (01:01:38):
Yep, I love that.
Oh, it's so good to connectwith you let's not make so much
time go by next time I want toknow more and be in your life
and like absolutely Well, hey.
Lindsey (01:01:49):
I have a studio now, so you come here to Minnesota and
we'll get you to teach a women'svocal healing experience Get
out of the heat yeah.
Don't come in the winter.
Jenee (01:02:05):
No, I'll come when it's too hot here.
Perfect, yeah, that soundsgreat.
Lindsey (01:02:10):
When do the?
Jenee (01:02:10):
doors open.
Lindsey (01:02:12):
They're already open.
I'm just like taking it over.
So it's just going to keeprolling along like it has been,
and around May, june, I'll startto release some new programming
and new events and offeringsI'm really excited to bring to
(01:02:34):
Wisconsin, like the studios inWisconsin.
Jenee (01:02:37):
Okay.
Lindsey (01:02:38):
When you think of Wisconsin is like beer and
cheese, like those are thehobbies in Wisconsin, but there
is a community that's reallywanting, you know, events that
do not revolve around drinking,yes, um, events that promote
healing and wellness andconnection in the community.
And so I look forward to beinga little cosmic event planner of
(01:03:03):
sorts in wisconsin.
Jenee (01:03:06):
I love it and I will totally take you up on coming
and teaching.
So yeah it was a pleasure.
Thank you so much.
Thank you.
The Heartlight Sessions podcastis executive produced and
hosted by me, janae Halstead.
It's edited, mixed and masteredby me too.
(01:03:28):
And that theme song you hear?
It's called Heartlight.
And yep, you guessed it.
It's edited, mixed and masteredby me too.
And that theme song you hear?
It's called Heartlight.
And yep, you guessed it, it'sfrom my record.
Disposable Love.
Got questions about a certainhealing modality or about
heart-centered healing, or maybeyou just need some advice on
life, love or creativity?
Send it my way, email me atletters at heartlightpodcastcom.
Until next time, I'm JanaeHalstead, and thanks for
(01:03:50):
listening to Heartlight Sessions.
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