Singing Bowls

Photo by Stacy Satya Cripe

(Story by Lynne Robinson)

Jvala Moonfire, whose sound baths are resonating with the Taos community and beyond, grew up on Staten Island, a ferry ride away from the bright lights of the big city. She is the child of Jewish immigrants, and could hardly have guessed back then that a ubiquitous trip to Israel to spend a summer working on a kibbutz would catapult her into a world of mystery and wonder. A vision in the Jewish ancestral homeland sent her further East, and along the way, she came across singing bowls and their incredible healing modalities.

Jvala, whose name means Blue Flame, spent 15 years going back and forth to and from India, immersing herself in the study and practice of Kundalini Yoga, meditation, Sanskrit and Vag Yoga, the ancient yogic practice of consciousness evolution through sound, which is traditionally used to awaken the kundalini energy; the primordial energy coiled in the root chakra.

I met Jvala one afternoon in Taos, where she lives with her partner Stacy Satya Cripe. Stacy, who ​is a well respected healer in Taos, and Jvala together make up Resonance Healing Arts.  And while Jvala might blend in here in Taos, with her edgy undercut and dreads—her hipster facade an unlikely, if effective disguise—she has cultivated a loyal and sizable following among the yoga community and the Neem Karoli Baba Ashram satsang.

Her sound bath sessions, held at Shree Yoga Taos and AuraFitness, are packed, and last fall, Vogue Magazine featured her in a short article about New Mexico’s spas and wellness retreats.  Having lived and studied in the caves of the Himalayas and in the sacred city of Varanasi, alongside her guruji, Jvala believes, “sound is a potent pathway to the silent awareness of the soul.”

Sound healing has been utilized in various cultures for thousands of years to facilitate shifts by synchronizing our fluctuating brainwaves and creating a stable frequency. This same concept is utilized in meditation by regulating the breath, but with sound, the frequency is the agent that influences the shift.

Yogis have been using singing bowls for centuries, and in recent years, the bowls have gained in popularity in the West

Photo by Stacy Satya Cripe

—they’re used in places as diverse as hospitals, schools, homes, meditation studios and therapy settings. Sound facilitates shifts by synchronizing our fluctuating brainwaves, creating a stable frequency for the brainwave to attune to. By using rhythm and frequency, we can entrain our brainwaves, making it possible to downshift our normal beta state (normal waking consciousness) to alpha (relaxed consciousness), and even to reach theta (meditative state) and delta (sleep, where internal healing can occur). The same concept is utilized in meditation by regulating the breath, but with sound, the frequency is the agent that influences the shift.

When she returned to the West, Jvala began to integrate her accumulated knowledge of mantra and meditation with the crystal bowls, developing her “soundbaths.” She continued to study Sound Healing with Jonathan Goldman and became certified as a Sound Healer with internationally renowned sound healer Tom Kenyon, as well as with the Globe Institute in San Francisco.

Now, she teaches sessions, sometimes at the sanctuary of the Kumari Nadu Temple, using mantra, toning and the vibrations of crystal singing bowls to expand participants’ consciousnesses and invoke healing. About Jvala’s work, Vogue gushed, “It’s out of this world.”

Speaking with people who regularly attend Jvala’s sound baths, it becomes apparent that it’s not just an auditory experience—it’s like receiving a full body sound massage. Most attendees fall into a state of deep relaxation—the soundbath is a pathway to meditation, even if one does not know how to meditate. The sound acts as the mantra, reducing mind chatter, leading to a release of  tensions and emotional blocks.

“Jvala’s sound healings are wonderful,” Genevieve Oswald, co-owner of Shree Yoga Taos, says. “One of the most delightful things about these journeys is their lack of requirement of movement and physical effort.” Often, when one thinks of events in a yoga studio, sweat, effort and postures that generate some degree of discomfort come to mind. But Genevieve says, in the case of the sound baths, it’s different. “It’s more like naptime in a pre-school; set up your mat and get comfy!” she laughs. “The lights get low, the sound gets resonant, and the healing happens—truly no experience is necessary for one to participate and receive the benefits of this work.” Many people emerge from the experience feeling lighter, more in balance, refreshed and rejuvenated by the low lighting, candlelight and incense.

And fans of the sessions say Jvala’s sound baths help open a pathway to a place of stillness, much as a mantra helps one arrive at the still point of meditation. And lately, the combination of yoga asanas and Jvala’s sound baths are proving to be quite popular. This coming spring equinox, in tandem with Ashleigh Beyer, AuraFitness offers a class that will combine yoga asanas with the crystal bowls. “All levels are welcome,” Ashleigh tells me. “We will honor this mystic window of balance between light and dark, as we are guided within using the wisdom of breath, gentle yoga postures and the deep healing power of vibrational Sound and Sacred mantra.”

Ancient religions and modern sciences agree that our reality is an ocean of living energy, that all matter is simply interpenetrating waves of energy that have crystallized into form and structure. Jvala says the crystal bowls work directly with this universal energy and channel it into the body to enliven our entire being. “Sound awakens consciousness,” she says.

Visit to sign up for Sun & Moon Within Restorative Yoga & Crystal Singing Bowls March 21. Visit to learn more about Jvala or her sound bath sessions.

Why I Cook

(Story by Mark Oppenheimer)
Asking “Why?” is both a personal and philosophical question. In the asking, there’s an innocence, a sense of wonder, an encounter with the mystery. Sometimes, to question “Why?” is simply enough; it’s part of the endless search for who we are. Twelve chefs, 12 whys. We got to talking.

Mark Oppenheimer: Why do you cook?

Chef and Writer Cheryl Alters-Jamison: I cook because I have to. It’s what I love, it’s what I do. It’s what I do when I’m happy and sad, when I need to think, or when I don’t want to think, how I express who I am, and it’s how I make use of my creativity. It’s just really everything to me, absolutely central to my existence, and it has been that way since I was a little kid. My parents weren’t adventuresome cooks––they were very much Midwestern, straight-meat-and-potatoes style of cooking, and actually that’s part of what inspired me to cook. I felt like there was a lot more out there, and through cooking different cuisines you’d learn about what they were eating in other parts of the world.

Chef Joel Coleman of Fire and Hops: It didn’t start off as a love for it. In the beginning, I didn’t know what I was doing. My first love was music. When I started cooking, I was still serious about pursuing a career as a music producer. My Mom always reminds me, I was just born with it: “You’ve had it from the beginning; I’ve know for a long time this is just what you’re supposed to do.” I feel like there’s the emotional side that’s really meaningful, knowing your work has touched people deeply, and it creates a memory that they’ll have forever. It warms my heart to have that effect on people.

Photo by Richard K White

Photo by Richard K White

Chef Ahmed Obo of Jambo Café: In our culture, men don’t cook. With my dad, we would go to work, to cook lunch, we would bring corn meal, water, salt and dried fish. We called that Ugali. We’d collect firewood, boil water, mix it up and grill the dried fish. We would eat, and that was the day. Sometimes, the tide would be low and we just put a pile of wood and make a fire and the tide would rise and come right through the fire while we were making the Ugali. So those are memories.

I also remember hunting for small crab, and right there, we would grill and eat them with Ugali. My dad taught me how to work hard. You got to go for it––be tough. He doesn’t tell you to be tough, but he made me carry that heavy load, pulling the boat, bailing the water. He taught me how to manage, controlling the flow. Here in Santa Fe, being a chef, I don’t do that kind of thing, but still you have to manage people, food, creativity, what it takes to get it done. Cooking gives me joy. I’ve created those things, so now I am comfortable that I can cook. I can feed people and they appreciate that. I love that I can jump into the kitchen, create something out of nothing, and then I feel like, Wow! It feels good, and what it gives me is that it drives me to the next stage. I am seeing it. I am grateful for the journey, all that it guided me to be.

Chef Jose Kiko Rodriguez of Izanami: I cook because cooking together was always a big part of our family tradition. I wanted to give people something that I created and share my cooking with them. I also like to show them the good things that cooking creates such as the bonds that are made while working together. I love to watch people enjoy my food and see my love and passion for cooking in my dishes. When they compliment my food, it helps me to build more passion and love for what I do.

Chef Joseph Wrede of Josephs of Santa Fe: I cook to please others. I cook to bring honor to my house and the house shall honor you. I cook because I can. The discipline suits me like a chef’s coat. It’s very reassuring to have place and purpose to bump cult and culture.

Chef James Campbell Caruso of La Boca: Food matters, hospitality matters, the social aspects of dining out and sharing food and drink are an important part of how we interact with each other as a community. Making sure, when people come in, they are going to have a good time is an intimate relationship I take very seriously. That’s why I cook. It’s a real, ancient, primitive act to say, “Come to my house, I’m cooking something, please join me.” That’s what we do [as chefs]––it’s a way we continually engage with each other as a community. One of the ways I have a conversation is everything I do—every decision I make before our guests arrive is inextricably fused with that goal. That’s the big thing as a chef and a restaurateur––people are coming to the house, [and] I want to treat them very well. So I cook.

Chef/Baker Annamaria OBrien of Dolina: I simply cook because I love the process. Great connections and conversations usually happen around the table with friends over sharing a wonderful meal, and I love that I am able to provide that and share pieces of myself and my Slovakian culture. I’m doing what I love to do. Baking is very fulfilling and gives me an outlet to be creative in a way that I love, and it’s very rewarding to see people eating food and being thankful for the experience. It’s an instant satisfaction to see someone eating food that you put your love and energy into.

Chef Mark Connell of State Capital Kitchen: Sometimes, I wonder why. It’s just one of those things. When I was 7 or 8 years old, living in Montana, we ran out of peanut butter and we wanted to make some PBJs. I looked at my friends: “I got this!” I put a bunch of peanuts in a plastic bag and ran over them with my bike a bunch of times [laughs]. It didn’t work. But I had the idea.

I think there’s always been a real interest in cooking, it comes naturally, and I really like making people happy, and I’ll bend over backwards for vegetarians and vegans, anybody with dietary issues––because that’s what I’m trying to do is make people happy. I’m not making this dish for myself. It’s not for myself, it’s for other people, and I’m hoping to leave them with a memorable experience.

Chef David Sellers of the Street Food Institute: I really started cooking after I cooked my way through every page of all three of the Chez Panisse Café Cookbooks. That is what lit my fire, and from that point on, I started cooking more and more seriously. To me, the basis for my cooking became this existential awareness––the authenticity of the craft.

If you don’t love cooking, you can’t do it in a professional manner. You have to be able to live it. During the time I had my restaurant, I lived the restaurant. It was literally part of my being, I lived it 24/7. That’s what it was. That’s what my family’s life was. For the first three years, it was the most unbelievable thing I’d ever done. Because what happened was, there was nothing like that feeling––as the Chef, when you walk out from the kitchen into a full dining room and people are having such a good time and it’s vibrant energy that’s simply unexplainable. It was a soul-feeding moment.

Whatever it is you’re making, make it the best you possibly can. I’ve been a chef now for 25 years, and still every single time I make a dish, I try to make it better than I did the last time. The authenticity of craft has been there the entire time––even when I cook for the kids or that steak on the grill at home––that thought is always present. How perfect can I make this steak? How much better can it be? Every single time. That’s the idea that always drives me.

Chef Olive Tyrrell of The Kitchen: It’s simply to give pleasure. It’s my way of making the world a little bit better one meal at a time and leave the world a better place. That’s what we should be doing, and food to me is doing that. It’s imparting a little bit of happiness to somebody, even for an hour, and hopefully they’ll take that happiness out to the world.

A huge part of it for me is that I get to support local farmers. I get to be part of that whole game. There’s some young people who started farming last year, I buy their produce and that’s awesome, as well as growing our own food at the nursery. Every morning, I’m out there harvesting the freshness––people eat it and they’re jazzed about it. In my little restaurant, I get to be a part of that conversation, and that makes me really happy because it’s real.

 Private Chef and Writer Mark Oppenheimer: There were times in my life when I remember saying to myself, “I wish I were as fearless in life as I am in the kitchen.” I am an amateur. From the beginning, I made it all up, with no idea of what I was doing. I wandered there because the idea of cooking anything kept the memories of my grandmother close to my heart. I’ve never had a cooking lesson, unless you consider reading cookbooks, cooking magazines and inadvertently watching others. When I was 12, on a Boy Scout overnighter in the middle of winter, completely happy in a frozen landscape, while sitting alone on a log, I made fried chicken on an open fire for the troop. I figured I knew how after watching Mary Gaffney, our housekeeper, make it for my brothers and I: 1/2 Crisco, 1/2 bacon fat, flour, salt, pepper, garlic salt and a paper shaking bag was the basic recipe. I quickly learned that cooking pleased others––but it also taught me that at some basic level I would always be able to take good care of myself. Later, after college, I’d seek out local ethnic dives. I became good at reverse engineering any meal––I’d break down the components then try to imitate it at home. My friends continually tease me that every story I tell would not be complete unless it includes what meal I might have cooked. Few meals ever go by without my planning the next one.

Photo by Gabriella Marks

Photo by Gabriella Marks

Chef Cristian Pontiggia of El Nido: First of all, I like to eat. Second, it is a more complete form of art. In cooking you have everything. Think about [how] an artist makes a painting. You have the color, the paints, the frame, the picture in their mind. And with the food there are similar things: the plate is a frame, we don’t paint just with the color and the presentation, but we incorporate every sense––smell, taste, visualization, everything. The process is unique. Everything is on the plate; you can see it with your eyes, you can smell it, taste it. Sometimes, you can hear it, too. For me, it’s the most complete form of art ever. It satisfies my creative and artistic intentions, but in a more complex and amazing way. I can create something and destroy it right away by eating it. For me, it is pure poetry. You can buy a painting and everybody can see it forever. With the plate, we can recreate the same dish, but it’s never going to be exactly the same. It’s just for you.

Snow, Solitude, Sun, Silence & Cycles of Water


Image by Kitty Leaken

The storm had lifted and the temperature had begun to plummet as we turned off the pavement onto a Rio Arriba county road. It’s sunny in Santa Fe, but here a foot of fresh snow blankets the dirt track. I slow the Frontier down and shift into low but the footing seems solid, as long as we keep moving.

Rounding a corner, we are startled to see a county plow truck coming toward us. Luckily, there is a bit of extra room to the right and I ease off the road, graze a hidden boulder and coast back into the now-cleared road—smooth sailing ahead. “You gotta be lucky,” my father-in-law used to saw. Amen.

We roll on down into the hidden valley of the Rio Vallecitos. We park off the road at the river crossing, load up the kids’ old plastic toboggan and I do my Alaskan husky imitation, ferrying water, food and other gear for a winter foray to our cabin, about a quarter mile downstream. In summer, we drive across this waterway to access the property, but heavier trucks had been through it, breaking through the unset ice and turning it into a jumbled impasse.

Rope around my chest, I am off like a tortoise, dragging the sled over hill and dale. Kitty has gone ahead, and I see her off in the distance doing a sort of ballet movement with arms extended and a twirl or two as she drops out of sight. Continue reading

Giving the Gift of Time

Ross Chancey

Ross Chaney

In the second of our two-part series featuring Santa Fe volunteers, we celebrate a firefighter, a raptor handler, a homeless provider, a GED instructor, a Santa Fe River steward and a grief counselor. We’re grateful here at Local Flavor for the time these folks generously give, not just during the holiday season, but from one New Year to the next.

Ross Chaney

I experienced a lot of death as a young person. Both my parents died when I was a teenager and I didn’t have a place to go to like Gerard’s House. Then I met one of the founding board members of Gerard’s House—retired District Court Judge Michael E. Vigil, whose jurisdiction included Santa Fe, Rio Arriba and Los Alamos counties and who was very aware of the impact that grief has on the community itself. Unresolved grief—that spoke to me in two ways. I wanted to be contributing to the community in healing, on the cause side. If grief was leading to violence, substance abuse and other negative behaviors, then I wanted to work with our community members to help them process their grief. So that’s why I got involved. I saw that the impact would be the right way to contribute and to help people process their grief. In the short term, you’re able to help people who are in pain today. In the long term, you’re hopeful that by supporting their grief process, they’ll have a life that isn’t full of or avoiding that pain. By working with these individuals, the hope is there are concentric circles of impact. So if the child is able to process the grief, then maybe he or she will heal. And peer support is a really powerful part of the process. You can share and they can support each other. Just being in the room, you feel that support. Continue reading

Local Flavor Says Thank You to Local Volunteers

In the pages of Local Flavor, we’ve long celebrated chefs, artists and other luminaries who place Santa Fe squarely in the international spotlight. Now, in this two-part series, we celebrate the unsung heroes—volunteers who feed the homebound, teach literacy, work with troubled teens, maintain pristine mountain trails and even lead tours through the city’s crown jewel, La Fonda. We’re lucky to have these volunteers in our community who, through the act of freely giving, give the city its heart. This is our way of saying, Thank you.

Continue reading

Celebrating the Churro

Sheep-DSCF7494“In our Native way, food is our medicine,” Walter says. “We use the herbs in our ceremonies, we pray with them. Our food is art and it’s our prayer, too.”

The ultra-modern seven-story administration building at Diné College in Tsaile, Ariz.—the tallest building on the Navajo Nation—is affectionately referred to as the “lug nut” building for its rounded six-sided shape and metallic reflective finishes. So it’s something of a pleasantly dissonant surprise to pull into its nearby parking lot and hear the sound of bleating sheep.

For the past 21 years, the annual three-day Sheep is Life celebration is held to honor and deepen the long and valued relationship between the Navajo people and the old-time Navajo sheep, or Churro. Sponsored by The Navajo Lifeways nonprofit, or Diné be’ iiná, Inc., the conference and celebration took place this year, and is contracted for the next several, at Diné College in Tsaile, “the place where the stream flows into the canyon.” Canyon de Chelly is about a 30-minute drive away and is the place in the Navajo creation stories where Navajo deity Spider Woman, who taught weaving to her people, lives on a spectacular 800-foot spire. Continue reading