An Interview with A NYC Ballet Star

BY LINDA EGENES

Megan Fairchild

“What makes a great performance is when you are free to dance to the music in a way that feels fresh and spontaneous and isn’t contrived. You are in the moment and reacting to the music as the orchestra plays it.” –Megan Fairchild

It’s not often that a fifteen-year-old girl from Salt Lake City finds herself auditioning for the School of American Ballet. And even less likely that the aspiring ballerina gets accepted, graduates, joins the New York City Ballet corps de ballet at age eighteen, becomes a soloist by the time she’s nineteen, and a principal by age twenty. Rarer still for this talented dancer to take the leap from ballet to Broadway star, dazzling crowds and critics alike.

It doesn’t sound real, yet this is the life of Megan Fairchild, age thirty, who is starring in the current revival of the Broadway musical On the Town to great acclaim.

Elisabeth Vincentelli of the New York Post writes, “The bell-bottomed boys traditionally dominate this show, but the brightest star in this new revival isn’t one of them: It’s Megan Fairchild, a New York City Ballet principal now making her Broadway debut. That she’s graceful and strikes breathtakingly beautiful lines was a given.…But it turns out the elfin ballerina’s also a nimble, effortlessly funny comedienne. The show explodes with unfettered joy every time she’s onstage.”

My level of pushing my body was up so high that, basically, a fuse would blow. With TM I turn my stress dial back a little bit every day instead of letting it constantly turn up and build on itself.

My level of pushing my body was up so high that, basically, a fuse would blow. With TM I turn my stress dial back a little bit every day instead of letting it constantly turn up and build on itself.

When I mention the rave reviews to Megan, she says modestly, “Yes, it’s been crazy.”

Megan has agreed to an interview one morning after performing the evening before. Here she talks about technique, artistry, and her life as a ballet dancer and Broadway star.

Linda Egenes: What made you take a year off from your successful career with the New York City Ballet (NYCB)?

Megan Fairchild: I think it’s no coincidence that my little opportunity happened after I learned Transcendental Meditation almost a year ago. Just five months after starting TM, I got a text from the casting director of On the Town, wondering if I’d be interested in auditioning.

And I’m like, “I am not a Broadway performer. This is crazy.” I laughed about it for a day, and then something happened. The next morning I woke up and I thought, “Why not?”

That was a really important moment for me. Normally I would have been too shy, or would have thought no, that is not me and stayed in my little bubble. Instead, I was thinking that I am at a point in my career where I am ready to try new and different things, and this could be an exercise in jumping out of my comfort zone. I honestly believe that TM had something to do with that decision.

Linda Egenes: How is performing on Broadway different from ballet?

Megan Fairchild: It’s more fun than I expected. Not that there isn’t pressure on Broadway, but there is a little bit more of an “it’s just entertainment” kind of attitude, as opposed to ballet where everything has an ideal or perfect line that you are trying to create. There’s a lot more freedom when dancing on Broadway.

Linda Egenes: Would you say it’s less stressful? I mean, there’s a popular perception that ballet is a stressful profession.

Megan Fairchild: I love my job at the NYCB because I love the people I go to work with. I love the jokes that we share and the sense of community. It’s a loyal company, as they only hire graduates of the School of American Ballet, so there are people that I have known since I was fifteen. It’s like family.

I think TM helps you be a little more fearless. Before, I would hold on to trying to be really perfect and also was kind of obsessed with certain technical steps. Now, it’s more of a bigger picture. I am enjoying my own performance more and taking every step and every movement to its fullest.

I think TM helps you be a little more fearless. Before, I would hold on to trying to be really perfect and also was kind of obsessed with certain technical steps. Now, it’s more of a bigger picture. I am enjoying my own performance more and taking every step and every movement to its fullest.

But now that I’m stepping away from ballet for a year, I see how much pressure we are all under. We are never done working on being perfect. It’s never, “Oh, that’s great.” It’s always, “Oh, you need to get your leg higher; I need you to turn around one more time in that pirouette; or, wouldn’t it be better if your feet were pointed more?” It’s endless.

Also, the ballet has a deeper meaning, and there is a lot of stress for the ballet dancer to uphold this legacy that is weighing on you every time you step on stage.

Linda Egenes: I understand that it was stress that brought you to TM in the first place.

Megan Fairchild: I would have panic attacks where I would pass out and be rushed to the emergency room. They were so intense that, literally, when I was regaining consciousness, I heard someone screaming, and it was me.

This happened every two years since I was eighteen. Life would get stressful, and one little thing like going to get a shot at the doctor’s office would trigger my whole system to shut down. Then it started happening more often, just six months apart. I had to miss some performances. So I thought, “OK, this isn’t cool. This is affecting my job. I need to figure out how to manage my life in a way that is going to be a little more relaxing.”

One of my ballet masters at NYCB, who did TM, suggested that I try it. She was the consummate professional and always in the moment and ready to get her job done. I felt like, well, if she does it, and she swears by it, then I’m going to try it.

Linda Egenes: So these episodes have subsided?

Megan Fairchild: Yes. The last one was before I started TM. There have been moments that, in the past, would have caused me to get light-headed and possibly go into an episode, but now I watch the moment pass by without any big event. My level of pushing my body was up so high that, basically, a fuse would blow. With TM I turn my stress dial back a little bit every day instead of letting it constantly turn up and build on itself.

Linda Egenes: How do you reconcile your own creative interpretation with the way the dances have been done in the past?

Megan Fairchild: Even if you get to a point artistically where you are feeling free with your technique, you are also trying to uphold the tradition while you put your stamp on it. I am lucky to work with wonderful ballet masters who are supportive in making me feel like I am the artist here and now, and it’s OK if what I do is a little different from the way ten other really special ballerinas have done it in the past to great fame. My ballet masters tell me the steps, and I feel how my body wants to do it and what feels true to me.

Linda Egenes: Does transcending in your daily TM practice help with balancing artistry with technique?

Megan Fairchild: I think it helps you be a little more fearless. Before, I would hold on to trying to be really perfect and also was kind of obsessed with certain technical steps. Now, it’s more of a bigger picture, being completely in the moment of each step as it’s happening instead of worrying about that technical step coming up. I am enjoying my own performance more and taking every step and every movement to its fullest.

Megan Fairchild

I used to feel that things would stick to me like Velcro, and now, things just roll off. I still recognize moments happening that would normally frustrate me, but they just don’t irritate me as much as they used to. I am more able to deal with the stresses that come with my job.

I think what makes a great performance is when you are free to dance to the music in a way that feels fresh and spontaneous and isn’t contrived. You are in the moment and reacting to the music as the orchestra plays it.

In general, I have more patience with myself.

Linda Egenes: In what ways?

Megan Fairchild: Say I do a bad turn or I don’t feel my best that day, or maybe I don’t feel like always being in a leotard or something. TM helps me to let the little stresses that come with being a ballet dancer just roll off a little easier. I am a lot more resilient. I am not getting obsessed over the difficulties of working with this partner or that. It’s just a little easier.

I used to feel that things would stick to me like Velcro, and now, things just roll off. I still recognize moments happening that would normally frustrate me, but they just don’t irritate me as much as they used to. I am more able to deal with the stresses that come with my job.

Linda Egenes: I understand that your brother is also a ballet dancer and is also taking a year off to star in the forthcoming Broadway musical, American in Paris?

Megan Fairchild: Yes, my brother, Robert Fairchild, is three years younger than me, and he is in the NYCB and so is his wife. And I am married to a principal at the company, Andrew Veyette. So we have a little family.

Linda Egenes: So your brother, Robert Fairchild, is following in your footsteps?

Megan Fairchild: Actually, in terms of Broadway, I am kind of following in his footsteps. He was always more into tap and jazz than I was. I got him to do ballet to work on his technique. He ended up in the NYCB and loves it. But he also loves the musicals, and he’s a great singer, actually. Who knew? [Writer’s note: After this interview, Robert Fairchild was nominated for a Tony for his leading role in American in Paris.]

Linda Egenes: I’m curious about the influences that made you and your brother both become professional ballet dancers?

Megan Fairchild: My mom always liked musicals, and because I was dancing around the house, she took me to tap class when I was growing up. There was never any pressure to become a dancer. I’d be thinking, “Oh, wow! I like this!” Then “I like ballet,” so I would be in the Nutcracker; and then “Oh, this is going well. I am going to do ballet full time.” So it was always, “Oh, I enjoy this. Let’s go to the next level.” It was never a grand plan.

 

(I originally wrote this interview for Enlightenment Magazine, Issue number 22. Reprinted with permission.)

BY LINDA EGENES

My dad holding me at 6 months old

Growing up, I was taught that creativity was a highly prized commodity. My father was a product engineer for International Harvester, designing plows and farm equipment, and earned 22 patents. When he retired from that, he and his brother designed a nifty cable-laying machine that laid wires in the ground while leaving behind only a tiny slit—and is still popular 40 years later. His most amazing creative achievement, though, was a passive-solar home that he designed in 1959 and built out of all-natural materials with his own hands. Our family dearly loved the magical and beautiful home he built for us.

My dad taught us that anyone can be creative. You didn’t have to be a famous scientist like Madame Curie or a famous dancer like Isadora Duncan to be highly creative in your everyday life, he said. He pointed out that the world is filled with people who create amazing things every day.

Yet even as a child it was clear to me that some people come by the creative gene more easily than others. So I was interested to read a new study on creativity by Fred Travis, Ph.D., and Yvonne Lagrosen, Ph.D., published recently in Creativity Research Journal. The researchers found that brain integration is a common feature among highly creative people.

“It’s a simple fact that some people stand out as creative, and we’re trying to tease out why,” Dr. Travis says. “We hypothesized that something must be different about the way their brains work, and that’s what we’re finding.”

Dr. Travis has developed a measure that he calls “brain integration.” He analyzes EEG patterns to assess brain wave coherence (connectedness) in the frontal brain. He also assessed alpha power, a measure of inner directedness of attention, and the brain’s preparation response, which measures how efficiently the brain responds to a stimulus.

In this study, Dr. Travis and Dr. Lagrosen studied 21 Swedish product engineers—who, like my dad, were designing new products as part of their jobs. The researchers found that those with the highest brain integration scored the highest in creativity as measured by standardized Torrance measures — as well as other characteristics of highly creative people such as speed of processing information, speed of executive decision-making and a factor called “Sense-of-Coherence,” which means a sense of being in control of one’s situation.

In previous studies in collaboration with Dr. Harald Harang, Dr. Travis had found greater brain integration in world-class athletes, top managers and professional musicians. In other words, he is finding that brain integration may be the underlying factor that leads to success in many different areas.

Dr. Travis says, “While there’s a common notion that 10,000 hours of practice is necessary for high achievement, some people put in long hours and do not excel. This new research and previous studies suggest that brain integration may be the inner factor that leads to outer success.”

So the next question is—can a person develop greater brain integration, and thus increase their creativity and ability to succeed?

As Dr. Travis points out, the regular practice of the Transcendental Meditation technique has been found to increase levels of brain integration and to increase creativity in many randomized controlled, peer-reviewed studies.

There are other ways that the TM technique heightens mental abilities. For instance, it helps relieve the mental fatigue that can stand in the way of creativity. For instance, when women are tired or stressed, they can’t be as clear, present or creative as they would like to be.

I found my own creativity soaring when I started to practice TM at age 19. Gone was the writer’s block, the struggle with realizing my inner vision on paper. And as I was able to express my true self in my writing, I felt happier and more self-confident in other areas of life as well.

It is my belief that creativity is an essential part of being a woman—after all, we have the ability to create the miracle of human life. So a practice that allows us to come in contact with our inner source of creativity, happiness, and power is something that can benefit every woman.

So if you want to give your creativity a boost, consider learning the Transcendental Meditation technique and seeing the effect of regular transcending on inner happiness and outer success.

I think that Madeleine L’Engle, the author of A Wrinkle in Time, says it so well: “But unless we are creators we are not fully alive. What do I mean by creators? Not only artists, whose acts of creation are the obvious ones of working with paint or clay or words. Creativity is a way of living life, no matter our vocation or how we earn our living. Creativity is not limited to the arts, or having some kind of important career.”

Here’s a video by my friend Cheryl Fusco Johnson where I talk about my creative process. Check out other videos of writers talking about their writing on Cheryl Fusco Johnson’s YouTube channel. 

Linda Egenes writes about green and healthy living and is the author of six books, including Super Healthy Kids: A Parent’s Guide to Maharishi Ayurveda, co-authored with Kumuda Reddy, M.D.

(I originally wrote this post for Transcendental Meditation for Women Blog, May 12, 2014. Reprinted with permission.)

BY LINDA EGENES

Mindy Weisel

For Mindy Weisel, art is about feelings. Take the time she was driving to New York City one winter’s day in 1995 and heard a radio report of the devastating Kobe earthquake in Japan. That day she started an immense painting and collage called “The Day the World Ripped Open” because, as she says, “I’m sure for those people it did.”

An oil painter who in recent years has turned to glass as a medium, Weisel has shown her work in solo shows in prestigious galleries and is the recipient of numerous awards. Her art appears in the Hirshhorn Museum, the National Museum of American Art, the Israel Museum, the U.S. Embassy, the Baltimore Museum of Art, and the Archives of American Artists at the Smithsonian Institution.

“My process is about what I’m feeling most, what I respond to, and it isn’t always about my own story,” she says. “I care about what is going on in the world.”

For someone whose art is so personal and expressive, it’s hard to imagine that Weisel has ever struggled to find her artistic voice. Yet she identifies this to be her main challenge as an artist.

Drawing from Personal Experience

“I have an unusual background,” Mindy says. “I was born in 1947 in Bergen-Belsen, Germany, in a displaced persons camp, one of the first children born to Holocaust survivors after the war. Growing up as the only daughter of Holocaust survivors, I don’t think I had a clue what it meant to live my own life.”

She did know she liked her art and literature classes in high school, and decided to major in art in college. But finding her place as an artist was daunting.

“It was during the time when my kind of art, which is a very emotional, expressive, abstract expressionist painting, was not taught,” she says. “I really struggled with my professors, but despite a lot of crying and frustration, I stuck with it.”

Weisel continued her graduate studies at American University, and with the help of mentors she found there, she established her own studio by age 27 and launched her first solo painting show.

But it wasn’t until she dug deep into her own personal experiences that she found her own voice and gained recognition in the art world.

“Basically after I learned drawing and painting through all the rigorous study, I understood that you could learn all the technique in the world, but if you don’t feel it, no one else will feel it either.”

In 1978 Weisel started a series using her father’s number at Auschwitz, which was tattooed on his arm. Weisel says, “The paintings started out colorful, but I wrote his number all over them and they became blackened out, dealing not only with the destruction of beauty, but to my surprise there was light coming through the paintings—so it became the survival of beauty.”

Created long before there was a Holocaust museum, before Schindler’s List, Weisel’s paintings of 1978 were well received by art critics and laypersons alike and were shown in a traveling exhibition in museums around the country.

Mindy Weisel: Following Her Heart with Art

Working in the Moment

Yet as her art evolved, Weisel says she continued to struggle emotionally with each piece to discover what she wanted to say.

She quotes the German artist, Hans Hoffman, and the Jewish philosopher, Abraham Joshua Heschel, who both said that an artist should not have a memory.

Weisel explains, “What that means is that each time you approach your work it should be as if for the first time. So you’re not thinking, ‘How did I make this painting before?’ or ‘What color did I use?’ as that takes away from the immediate experience of making the art. For me, creating art is not premeditated at all. It’s literally surrounding myself with my materials and going right into it.”

“I really struggled a lot to find an honest voice to say what I want to say,” says Mindy. “I noticed that after I started the Transcendental Meditation technique, my TM practice has really helped me be in the moment.” Weisel continues, “It seems to me that in the last eight years, since I started meditating, that’s what’s changed. If the art is not coming, I don’t even struggle with it. I simply put myself in a place where it’s possible to make art.”

She’s also more at peace. “I was very much a Holocaust survivor’s daughter, running to stay ahead of everything, to fill up the loss,” she says. “And that running had made me very, very sick. Since meditating I can just be. I take better care of myself, I take the time to meditate, and I love the experience.”

“Art is the skillful expression of life. The artist, constantly utilizing his creative impulses, continues to draw from the reservoir of creativity present in his own being. This is how his consciousness, bathing in the fresh springs of creativity, rises to the prodigious brilliance of natural creation. Exposed to the beautiful process of unfoldment, an artist, when he opens his awareness to the fullness of pure creative intelligence within, draws together the strokes of inspiration and ultimate achievement and enjoys them in the oneness of freedom.
—Maharishi, 1975

Another dramatic shift for Weisel is that she is now using brilliant-colored glass as a medium. “This is amazing to me, because I never knew anything about glass,” she says. “I’m doing things creatively that I never ever would have imagined. I walked into this glass studio, I recognized something, I was ready to learn, and I didn’t doubt it. I can attribute this switch in materials to meditating, because it kept me open enough to try it and enough in the present to make it.”

Weisel took classes at Pilchuck Glass School in Seattle to learn her new medium, and just a year and a half later, her vibrant, colorful works appeared in a solo exhibition, “Words on a Journey of Glass,” at Katzen Art Museum, American University.

Describing her experience in meditation as a deep, profound, meaningful rest that is beautiful, easy, and simple, she says, “You are in a state of being, of being in the moment, and somehow that lasts—it accumulates.”

Weisel says that this experience of awareness carries over into the process of making her art. “I’m being more present in the creative process as well,” she says. “Work doesn’t have to be so hard. Work can come from a place of flowing, of openness, of responsiveness, of hearing, of listening. You don’t have to fight so hard to get to that work.”

Somehow Weisel finds time to express herself in writing as well. The author of five books, she is currently working on her memoir, Making Marks, in which she writes about making marks of longing, of loss, of survival, of beauty.

“I think that’s what my work is about. It’s very emotional, and I’m always thrilled that somebody feels something when they look at it. You can change your mind about things but you can’t change your feelings about things. You really have to understand them. They won’t go away until you understand them.”

(I originally wrote this interview for Enlightenment Magazine, Issue number 3. Reprinted with permission.)

 

BY LINDA EGENES

Sharon IsbinSharon Isbin is considered, quite simply, the leading classical guitarist of our time. Among her many honors, she was named “Best Classical Guitarist” by Guitar Player magazine and is the first guitarist in over 40 years to receive two classical GRAMMY Awards (in 2001 and 2010). A former student of Andrés Segovia and a graduate of Yale University, she has performed to sold-out audiences around the world—from Carnegie Hall to London’s Barbican to the White House. As head of the guitar department at the Aspen Music Festival and The Juilliard School, she has developed an original technique for teaching classical guitar. Yet she doesn’t limit herself to classical music—she has mastered a musical palette that ranges from bossa nova to jazz to folk, collaborating with other guitarists in new ways. Here she explains how she has been able to combine her virtuosity, her technique, and her passion in order to create music that reaches into the heart and touches the soul.

Sharon Isbin Best Classical Guitarist Transcendental Meditation and Music

 

What do you feel has made your music stand out from the crowd?

I explore a variety of genres, from my home base in classical to unusual collaborations in jazz, bossa nova, folk, country, rock, and even film music, performing on Scorsese’s The Departed. But most important to me and to listeners is the emotion, lyricism, sensuality, and passion.

What is your process of interpreting the music that you play? How do you go about it?

I choose music that I love and which speaks to me, and that makes it easy to be expressive. The more I play a new work, the more I discover in it. My goal is to enter the mind of the composer while feeling and expressing the emotion from within. In a way, I explore different characters of a piece much like actors do with a script. And when I choose dynamics and shadings to delineate the different layers and levels of voicing, architecture, and structure within a work, it’s much like a director staging and guiding actors in the foreground, middle, background, etc.

Are there any principles of creativity that you employ when you create an album such as Sharon Isbin and Friends or prepare for a concert performance?

Developing an album is a varied process. For example, my solo disc Dreams of a World (2001 GRAMMY Award) came together from a pile of scores I’d assembled over time, which I’d found to be particularly beautiful and which happened to be all folk-inspired. Journey to the Amazon has music from countries bordering the Amazon, and evolved from making several trips to the rainforest and then performing with a composer/organic percussionist from a tribe in the Amazon, Thiago de Mello, and saxophonist Paul Winter. J.S. Bach Complete Lute Suiteswas a natural after ten years of study with the great keyboard artist/Bach scholar Rosalyn Tureck. When I was invited to make the New York Philharmonic’s first and only guitar recording, I chose Latin music from Spain, Brazil, and Mexico. Other collections include Baroque concerti, American concerti, Latin Romances, etc.

My recent Journey to the New World (2010 GRAMMY Award) is an exploration of folk music beginning in the 16th century British Isles, Ireland, and Scotland and crossing the ocean with the immigrants to the New World. Its centerpiece, “Joan Baez Suite,” was written for me by John Duarte and inspired by music Baez made famous in the early part of her career. When Joan heard it, she offered to sing on the album and performs beautiful renditions of “Wayfaring Stranger” and “Go ’Way from my Window.” Virtuoso country fiddler Mark O’Connor concludes the journey, joining me in the folk suite he wrote for us.

My latest, Sharon Isbin & Friends: Guitar Passions (Sony), pays tribute to my guitar heroes and includes guest rock stars Steve Vai, Steve Morse, and Nancy Wilson (from Heart); jazz virtuoso Stanley Jordan; bossa-nova singer/guitarist Rosa Passos; and more. The Latin-flavored disc also honors past heroes like Andrés Segovia, with whom I studied; Joaquin Rodrigo, who wrote the famous “Adagio”; and Tom Jobim, with whom I had collaborated.

Do you feel different when you perform a piece by Joan Baez versus a classical piece? Is the creative process any different?

Though I explore a different kind of rhythmic and stylistic freedom when playing with Joan Baez or Steve Vai than I do playing Bach (though Bach’s music, with all its improvised ornaments and embellishments, was the jazz of its time!), my goal is always to make the music sound fresh, imaginative, and heartfelt.

You have been called “the Monet of classical guitar—a master colorist.” Why do you think people have such an emotional reaction to your music?

I love to be expressive on the guitar with lyricism, dynamic contrasts, nuances, phrasing, articulation, and a panoply of colors and timbres. I cultivate these techniques to serve the music and to communicate it with feeling and emotion. For example, I can make the guitar sound like a human voice by connecting notes of a melody with nuances of sound while shaping the contour of the line as a vocalist would do. This also creates a three-dimensional quality and depth.

Sharon Isbin Classical Guitarist Transcendental Meditation TechniqueI understand that you have written a teaching guitar book. Are there new techniques that you have developed and are passing on to your students? What was the process for developing those?

Among the topics I explore with my students at Juilliard and in my Classical Guitar Answer Book are techniques I’ve developed of preparation, memorization, and visualization to encourage peak performance. These are the secrets and methods I’ve discovered and refined over years of performing which I am able to share with others. I find it particularly effective to practice these techniques at the end of a session of meditation when the mind is especially stress free and receptive to suggestions and learning. The end of a meditation is an ideal time, in fact, to plant any suggestion about a goal or task you wish to achieve.

I read that you have been practicing the Transcendental Meditation technique since you were 17. Do you feel that transcending on a regular basis has had an influence on your artistry and work, and if so, how?

Practicing TM has inspired heights of creativity for me on many levels: as a musician, arranger, educator, writer, and artistic director. Because TM is so effective at eliminating stress and distraction, it encourages laser-sharp focus and concentration for any task.

As a musician, TM enhances my mental stamina, memory, concentration, and ability to learn. It puts me in touch with my innermost creative core and enables its expression through music. Most importantly, it facilitates instant access to a state of “cosmic immersion,” that feeling of being in the flow, or in “the zone.” When I perform onstage, I enter a state of being very similar to the one I enter daily when practicing TM. It’s a sense of communion with the energy of the universe, the audience, the composer, and the music—without ego or interference. It’s a feeling of unity between me and the listeners, a sense of “oneness” in which we are all experiencing the beauty of the music together. That sensation is one of the reasons live performances can be so powerful—everyone is focused and transported, and the experience is unique and in the moment, never to be replicated.

(I originally wrote this interview for Enlightenment Magazine, Issue number 7. Reprinted with permission.)

BY LINDA EGENES

When Keelan Dimick was three years old, he started tinkering on the piano. At first he taught himself to play by ear, then took two years of instruction in classical piano. But it wasn’t until he switched to jazz that great things started to happen.

Transcendental Meditation with Pianist Keelan Dimick

At age 13, just four months after taking his first jazz piano lesson, he won first place in the Lionel Hampton International Jazz Festival, junior division. Two years later, he won first place at the senior division and was recruited by top music schools.

It turns out that Keelan had a secret weapon that set him apart from other contestants: his practice of the Transcendental Meditation technique.

“It’s easier to get into the zone when you do your meditation regularly,” he says. “It also balances the whole system, calms you down so it’s easier to let go. That’s the main thing when playing jazz, to let go. Then the music will play itself.”

Keelan, who recently graduated from the Manhattan School of Music, says that with regular meditation, composing music is easier too. “You plant a seed and then let the music write itself. Meditation helps you stay on the feeling level. The more intellect you put into your music, the less moving it’s going to be to an audience.”

Right now he’s excited about opportunities that are popping up, including a New Year’s Eve gig in Santa Barbara with a big jazz band that will be playing Keelan’s own compositions. And he’s taking two months to help set up a jazz music program and train faculty at a Filipino university this fall.

Keelan is one of thousands of young people who are turning to the TM technique not only to give them a cutting edge as students, but also to help them launch their careers in the competitive field of the arts.

Transcendental Meditation helps Overcome Dyslexia Anxiety Depression Dana FarleyOvercoming Dyslexia, Anxiety, and Depression

Take Dana Farley, age 22, a Long Island native who credits the Transcendental Meditation technique with helping her to overcome the challenges of dyslexia as well as teenage anxiety and depression. A chance meeting with director David Lynch started her on the path to TM and filmmaking.

“I was a sophomore in high school, and my mom asked me, ‘Do you want to go to the city and meet a director?’ I was really into film, so I hate to admit that I didn’t know who David Lynch was at the time. But I went to the meeting where he showed us a video of kids in an inner city school who, because of the David Lynch Foundation, started practicing TM. They sat quietly and meditated twice a day, there was no more school violence, and the kids did better in school. After hearing that, I was interested in learning the technique and seeing what it could do for me.”

Having struggled with severe dyslexia since childhood, Dana says, “I had a lot of insecurities when it came to school. Since starting TM I’m not putting myself down all the time. The negative thoughts just don’t appear. Instead of thinking, ‘I can’t do this’ I’m thinking ‘Why not?’”

Aware of the high stress levels and a troubling rise in suicide rates and depression in American teenagers, Dana had the idea to create a documentary about her own TM experience. She started making the film in high school, and continued working on it even while an undergraduate at Bucknell University. Even though Dana majored in English, she joined a film club to get more practice behind the camera.

Dana’s perseverance paid off. While still a junior in college her documentary Beyond the Noise: My Transcendental Meditation Journey, which featured David Lynch and Dana, was released and received a favorable response at the Marbella International Film Festival.

In the film, Dana talks about how TM practice can help young people deal with stress. “Instead of running away from or avoiding the problems and hassles you have by taking drugs or fooling around in other ways, TM practice helps bring a sense of inner freedom, of being ‘high’ in a completely natural way. It gives you a lift in your spirits—a freedom from the stress you are feeling and the sense of burden you are feeling.”

Since the film came out in 2011, Dana has created another documentary, completed internships with Howard Stern radio, and graduated from college. She is currently pursuing work in documentary film and the nonprofit sector. She says, “I think of where I want to be in ten years, and it would be nice to in some way make a difference, to help people, to leave the world a little bit better than it was before.”

Transcendental Meditation helps women model Tanell Pretorius

Looking For Something More

Tanell Pretorius of South Africa has taken a different route—postponing college to pursue a glamorous London modeling career that included TV commercials for Sony PlayStation, catalogue work for Marks and Spencer, and shoots with Rankin, the legendary British photographer.

“The TV work was really fun,” she says. “You’d arrive at five a.m. and see hundreds of lighting people, gaffers, and set designers running around, and often you’d be the hero of the whole thing.”

But the long hours (one shoot started at 3:00 in the afternoon and lasted until 9:00 a.m.) and the pressure of constant self-scrutiny started to take their toll.

“In modeling your body is your product,” Tanell says. “Like most models, I started to develop weird habits with food. I was working out too much and injured myself. That’s when I found meditation.”

Tanell says that all her life, she had been looking for something more, even after becoming a top model. “When I started the TM technique, I immediately felt that this is the missing part of life, this is the thing that makes life complete, that makes it full and amazing. I started to feel so deeply in touch with myself, a lot more connected to my body and my needs. It even healed my sports injuries.”

At that point Tanell decided to leave full-time modeling and explore her love of learning at Maharishi University of Management in Fairfield, Iowa. A media and communications major, she is also earning certification as a Maharishi Ayurveda wellness consultant. She plans to use her skills in writing to share what she’s learned about health, yoga, and fitness with other women.

“I’d love to help women to get more in touch with themselves, to work out and choose what to eat from an intuitive level rather than from what a magazine or an article is telling them to do,” she says.

As an undergraduate, Tanell is already writing for a regional magazine on health and fitness topics. She says that TM practice helps writers because “the fog of stress goes away and you’re able to experience life more richly. With the TM technique, you get more in touch with the universal truths of life. That’s what makes any art powerful—whether it’s writing or film or music. TM practice allows the writer to feel and experience those truths more deeply, and so the audience can also feel more deeply.”

These three creative twenty-somethings have one thing in common—they all highly recommend the TM technique to other young people.

“When you’re a student, it’s easy to float around and get lost, defeating the purpose of going to college—which is to get grounded and to learn, not to party all the time,” says Keelan. “Meditation helps you to prioritize and puts you automatically on the right path.”

Tanell agrees. “It’s helped me to not be so confused by the little things, moment to moment,” she says. “The great thing about the TM technique, you’re not just talking about the bigger picture, you’re experiencing it. And it’s so freeing, so liberating, to feel the largeness of life, how big you really are as a person, within yourself. Then you don’t get lost in the small things.”

(I originally wrote this interview for Enlightenment Magazine, Issue number 14. Reprinted with permission.)