The Clarity To Choose Creativity, With Debbie Rosas

I have often wondered whether my creativity is a curse, a symptom, a calling, or even a temperament—some shimmering blend of my ADHD wiring; heightened sensitivity, neurodivergent intelligence, and relentless imagination. For years I tried to fit it into a category and wondered why I didn’t. Was it my brain? My upbringing? My soul? My biology?

But the truth is much simpler and far more mysterious. Creativity is the way life force moves through me. Wildly. Uncontrollably. Unapologetically. And that much life force; too much for one lifetime and too much for one body can feel like a blessing and a burden. It was a gift and a grief, both a joy and a torment. It is living with an internal river that never stops flowing.

Like many creatives, I live with the ache of knowing I will never bring every idea into form. I will never have the time, the energy, or the linear capacity to complete everything that rises in my consciousness. This is something that can feel maddening. The pressure is not external. It is internal. My ideas themselves feel alive—each one tugging at me, whispering, “Choose me!”

I choose based on resonance, desire, curiosity, human need, and the evolutionary pull that tells me, “This one matters now!” I choose based on service—on what will help others live more healthy, joyful, embodied lives. And for the ideas whose timing has not yet arrived, I give them a home. I tuck them into my enormous “someday file”—an ever-growing record of me.

If I trace the true beginning of my adult creative path, not the paper mâché egg, not the award-winning pen-and-ink drawing, not the monads and circles, not even the art lessons with my mother, it began the moment I took off my shoes. I didn’t know then, but this single act was the opening to my life’s creative work. I didn’t know it would become my life style.

What I did know was that the moment my feet touched the floor, something ancient woke up inside me. A direct, unfiltered connection to sensation, to truth, to myself. My feet became the first “brush,” the very first sensory tool, the very first portal into a world about which I had received no education: the four realms of Whole Being; Body, Mind, Emotions, and Spirit.

What began as a barefoot experiment became an entire living educational curriculum. When I sensed through my feet, I could feel my whole body more clearly. When I began to sense my body’s way more clearly, I could understand my emotions more honestly. When I understood my emotions, my mind reorganized itself, revealing clarity I could never find before.

As I explored sensation, I found myself needing to describe what I was feeling. I felt an ache to put into language what my body knew before my mind could translate it. This was a surprise. Writing was not where I began. But writing became where I would arrive. I returned to words the way a migratory bird returns to a place it has never seen but somehow remembers.

I returned to letters, phrases, fragments, and sentence structure. I wrote the way I moved—nonlinearly, intuitively, sensorially. Writing became my bridge between inner and outer worlds: Words gave structure to sensation. Language gave voice to what was invisible. Metaphor gave shape to what had no form. Story allowed me to translate life into meaning.

My writing begins in the body and becomes language. Metaphors, my lifelong companions, helped me to memorize, learn, and teach. They turn information into imagery and understanding. They allow me to take abstract concepts like movement, healing, sensation, or energy and render them visible, tangible, embodied. This is how The Nia Technique was born.

Neurodivergent creativity was my superpower and my way through. Diagnosed early with dyslexia and learning differences; I always knew I was different. I saw differently. Processed differently. Learned differently. Created differently. But for me, what the 1950’s public school educational experience labeled “dysfunctional,” my creativity one day relabeled, “brilliant.”

My own notes appear chaotic to others, written sideways, in circles, in bursts, in varying sizes, with arrows, doodles, spirals. But to me, they are alive. They possess their own internal logic. They reflect the way my mind moves: complex then simple, integrated then isolated, layered then distilled. My process moves from complex and integrated to simple and isolated.

This is exactly right and also exactly why I create the way I do. Every creation, whether choreography, curriculum, a class, a book, an essay, or a movement experience begins with sensation, expands into complexity, and returns to simplicity. It is the natural rhythm of my neurodivergent brilliance. I do not think my way into creativity. I sense and feel my way into it.

It has been one of the great blessings of my life to work in a field where the body is both the subject and the teacher. To spend decades studying movement, energy, psychology, anatomy, behavior, healing, and sensation has allowed me to create something rare: a new kind of methodology where knowledge becomes experienced, and experience becomes wisdom.

I translate cognitive information into felt sense. I give shape to the invisible. I give language to intuition. I give motion to emotion. I give sound to silence. I give form to what people only knew how to feel. I am an artist. I am a scientist. I am a storyteller. I am a movement mystic. I am a neurodivergent thinker with a sensory soul. I am, truly, a divergent creative. This is a gift.

If we mistake abundance for burden, if we judge nonlinear brilliance by linear standards, if we believe time is the measure of worth, or if we fear the river; rather than learn to swim in it, then our creativity might seem like a curse. It is not. It is evidence that life force trusts us with something extraordinary. It is the signature of our soul that knows too much to hold inside.

And now, as we stand at the threshold of 2026, creativity pulls us all into a new era. One that lives at the meeting point of the physical and the ethereal; the anatomical and the energetic; the yin and the yang; the seen and the unseen. It is calling us all back into the deepest roots of our Whole Being and forward together into an expanded expression of our body’s way.

This pull has guided me into a collaboration in 2026 that feels both destined and evolutionary. The work of Integral Anatomy and The Body’s Way are now weaving themselves together into an educational program unlike anything we have ever experienced. It is anatomy made meaningful. Anatomy made livable. Anatomy made personal. Anatomy made sacred.

I feel ready, more than ever, to create what only I can create, to teach what only I can teach, and to follow the next nudge, the next pull, the next whisper of The Body’s Way guiding me toward what wants to be born next. In 2026, the next beginning, the next creative river that has been flowing through me my entire life will expand The Nia Technique like never before.

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