3 Questions 200 Words Each APA Writing & References & TURNITIN Required DUE IN 1 HOUR
EM BO DIE D , S P IR IT U AL, A N D N AR RATIV E L EA R N IN G
in
NEW ER A PPRO ACH ES T O A D ULT L E A RN IN G
fr o m
Le arn in g in A dult h ood: A C om pre hensiv e G uid e
Vie w a rtic le o n
Cre do
The w ho le p e rs o n is m ade u p o f m in d, b o dy, a nd s p ir it . R are ly , h o w eve r, a re th e b o dy a nd s p ir it ta ke n
in to a cco unt w he n w e ta lk a bo ut le arn in g. O ur W este rn h e rit a ge h as d e fin e d le arn in g a s a m enta l
pro ce ss th at ta ke s p la ce in th e m in d— ne ve r m in d th at w e c a nno t lo ca te th e “ m in d.” T he b ra in , w hic h w e
ca n lo ca te , b e co m es th e p la ce o f le arn in g, s e ve re d fr o m s o m eth in g a s c o ncre te a s th e b o dy a nd a s
ephe m era l a s th e s p ir it . T his fo cu s o n th e m in d is p artly d ue to W este rn s cie nce 's in ve stig atio n o f
le arn in g a s a m ech anis tic p ro ce ss— one d e sig ne d to p ro duce r e sp o nse s to s tim uli, o r to p ro ce ss
in fo rm atio n, o r m ore r e ce ntly , to c o nstr u ct k n o w le dge la rg e ly th ro ugh r e fle ctio n o n e xp e rie nce (s e e
Chapte r E le ve n fo r a r e vie w o f th e se tr a dit io nal le arn in g th e orie s).
This e m phasis o n th e m in d g o es b ack e ve n b e fo re tw entie th -c e ntu ry le arn in g th e ory to D esca rte s, a
se ve nte enth -c e ntu ry F re nch p hilo so phe r w ho d e cla re d th at “ I [th at is , m y m in d, b y w hic h I a m w hat I a m ]
is e ntir e ly a nd tr u ly d is tin ct fr o m m y b o dy” a nd th at “ b o dy, fig ure , e xte nsio n, m otio n, a nd p la ce a re
mere ly fic tio ns o f m y m in d” (D esca rte s, 16 37/19 60, p p. 16 5, 118 , c it e d in M ic h e ls o n, 19 98, p . 2 18 ). T his
se para tio n o f th e m in d a nd b o dy w as r e in fo rc e d b y e ig hte enth -c e ntu ry E nlig hte nm ent p hilo so phe rs w ho
be lie ve d th at k n o w le dge c o uld b e o bta in e d th ro ugh r e aso n a lo ne ; o th e r s o urc e s o f k n o w le dge a t th at
tim e, s u ch a s fa it h , tr a dit io n, a nd a uth o rit y , w ere r e je cte d b y m any.
As a r e su lt o f C arte sia n a nd E nlig hte nm ent th in kin g, le arn in g h as c o m e to b e e quate d w it h m enta l
pro ce sse s, w it h k n o w in g th ro ugh th in kin g o r c o gnit io n. N ot u ntil th e la st fe w d e ca de s o f th e tw entie th
ce ntu ry h as th e r o le o f th e b o dy a nd th e s p ir it in a dult le arn in g th e ory b e en c o nsid e re d. F e m in is t
th e oris ts a nd m ult ic u lt u ra l th e oris ts in p artic u la r h ave s ig nif ic a ntly s h ape d th is d is cu ssio n, a lo ng w it h a
num be r o f a dult e duca to rs .
This c h apte r w ill fir s t d is cu ss th e n atu re o f w hat is b e in g la be le d
so m atic
o r
em bodie d
le arn in g— th at is ,
le arn in g th ro ugh th e b o dy. A n e ve n la rg e r s e t o f w rit in g a nd s o m e r e se arc h is o n s p ir it u alit y a nd it s r o le
in le arn in g. T his w ill b e r e vie w ed in th e s e co nd s e ctio n o f th e c h apte r. F in ally , w he th e r o ur le arn in g is
lo ca te d in th e m in d, th e b o dy, o r th e s p ir it , o r s o m e c o m bin atio n o f th e se , w e o fte n m ake s e nse o f th is
le arn in g th ro ugh s to ry te llin g. H ow w e le arn th ro ugh n arra tiv e is e xp lo re d in th e la st s e ctio n o f th e
ch apte r.
EM BO DIE D O R S O M ATIC L E A RN IN G
Eve ry o ne c a n n am e tim es w he n th e b o dy c o m munic a te s to u s, w he th e r it b e a p anic a tta ck b ro ught o n
by s tr e ss, a “ g ut” r e actio n to a r a cis t c o m ment, a n u pse t s to m ach a s w e c o nte m pla te c o m pla in in g to a
te ach e r o r b o ss, o r b e in g d ra in e d a nd e xh auste d fr o m a n in te nse e nco unte r. S o w hy h ave w e te nde d
to ig no re th e b o dy a s a s it e fo r le arn in g? T he m ain r e aso n s e em s to b e th e W este rn p riv ile gin g o f m in d
ove r b o dy. T he fo cu s o f le arn in g a nd e duca tio n is “ a c h ange in a m enta l s ta te , fr o m o ne o f ig no ra nce ,
to o ne o f k n o w le dge …. In W este rn e duca tio n, th e h ig he st s ta tu s is r e se rv e d fo r th e m ost a bstr a ct a nd
im mate ria l le arn in g, ir re sp e ctiv e o f it s u tilit y , a nd th e lo w est s ta tu s is a cco rd e d to c o ncre te , m ate ria l
le arn in g, m uch o f w hic h w e le arn in d aily e m bo die d a ctio n” (B ecke tt & M orris , 2 0 01, p . 3 6 ). M ic h e ls o n
(19 96) o bse rv e s h o w a bsu rd th is s e para tio n c a n b e w he n a n in stit u tio n o f h ig he r e duca tio n e ngage s in
aw ard in g c re dit fo r p rio r e xp e rie ntia l le arn in g: “ T o b e a ccre dit e d, k n o w le dge m ust b e d e ta ch e d fr o m th e
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 sit e o f it s p ro ductio n… . K no w le dge is c re dit e d o nly to th e d e gre e th at e xp e rie nce h as b e en
tr a nsce nde d, s o th at b o th th e s it e o f it s p ro ductio n a nd th e p artic u la rit ie s o f th e s e lf h ave b e en e xcis e d”
(p . 19 0).
REJE C TIO N O F T H E B O DY
REJE C TIO N O F T H E B O DY
But th e r e je ctio n o f th e b o dy m ay b e e ve n m ore b asic th an p riv ile gin g c o gnit iv e k n o w le dge .
Gold e nbe rg , P yszczyn ski, G re enbe rg , a nd S olo m on (2 0 00) a dva nce a n in te re stin g h yp o th e sis th at th e
bo dy is p ro ble m atic b e ca use it is a p e rp e tu al r e m in de r o f th e in e vit a bilit y o f d e ath . T he d ile m ma is th at,
on th e o ne h and, “ w e a re a nim als w it h a d e eply r o ote d in stin ct fo r s e lf -p re se rv a tio n; o n th e o th e r, w e
are in te llig e nt b e in gs w it h s o phis tic a te d c o gnit iv e a bilit ie s th at a re im mense ly a daptiv e b ut a ls o r e nde r
us a w are o f th e in e vit a bilit y o f o ur o w n d e ath ” (p . 2 0 1). T o d e al w it h th is d ile m ma, w e e ngage in c o gnit iv e
dis ta ncin g, “ s tr ip [p in g] th e b o dy o f it s c re atu re lin e ss” a nd r e pla cin g it w it h c u lt u ra l s ym bo ls a nd s ta ndard s
of b e auty , s e x, a nd s o o n. T he y c o nclu de th at “ o ur flig ht fr o m o ur p hysic a l n atu re c a use s u s to lo se a b it
of w hat it m eans to b e h um an” (p . 2 15 ).
Fle ein g fr o m th e “ c re atu re lin e ss” o f th e b o dy e xte nds to ig no rin g, c o ve rin g u p, o r s a tir iz in g o ur p hysic a l
ch ara cte ris tic s, b o dily fu nctio ns, a nd s e xu alit y . B ut w e liv e in o ur b o die s, a nd w e le arn a bo ut o urs e lv e s,
abo ut w ho w e a re , th ro ugh w hat o ur b o die s c a n a nd c a nno t d o a nd h o w w e e xp e rie nce s e xu alit y a nd
oth e r b o dily fu nctio ns. C hapm an (2 0 02) fo r e xa m ple , a naly ze s th e in te rre la tio nsh ip o f p o w er a nd h e r
id e ntit y th ro ugh e xa m in atio n o f b o dily fu nctio ns. In a tte ndin g a n E nglis h b o ard in g s ch o ol, e atin g
co nstr u cte d h e r id e ntit y : “ W e a te a t s ch o ol, e ve ry d ay, th e fo od o f E m pir e … s e ate d in th e d in in g r o om
unde r th e g aze o f J o hn S m it h , o ur fa m ous ‘o ld b o y,’ s te rn ly s u bduin g th e fe m ale c o lo nia l b o dy o f w aif -
lik e P oca ho nta s. W e le arn e d/a te to b e fu tu re w iv e s o f th e E m pir e . In fo od a nd e atin g, w e p o sit io n
bo die s in r e la tio n to o th e rs in te rm s o f c la ss a nd e th nic it y , a s w ell a s m ora lly , a s in g o od fo od a nd b ad
fo od” (p p. 7 5-7 6 ).
Popula r c u lt u re r e fle cts a g ro w in g in te re st in r e co nne ctin g th e m in d a nd b o dy. B oth
Tim e
(J a nuary 17 ,
20 05) a nd
New sw eek
(S epte m be r 2 7, 2 0 04) d e vo te d e ntir e is su e s to th is to pic . A s th e le ad s to ry in th e
New sw eek
is su e tit le d “ T he N ew S cie nce o f M in d & B ody” s ta te s:
So w hy is
New sw eek
d evo tin g t h is H ealt h f o r L if e r e port t o t h e m in d-b ody c o nnectio n? B eca use t h e
re la tio nsh ip b etw een e m otio n a nd h ealt h is t u rn in g o ut t o b e m ore in te re stin g, a nd m ore im porta nt, t h an
most o f u s c o uld h ave im agin ed. V ie w ed t h ro ugh t h e le ns o f 2 1s t-c e ntu ry s cie nce , a nxie ty , a lie natio n a nd
hopele ssn ess a re n ot ju st f e elin gs. N eit h er a re lo ve , s e re nit y a nd o ptim is m . A ll a re p hysio lo gic a l s ta te s t h at
affe ct o ur h ealt h ju st a s c le arly a s o besit y o r p hysic a l f it n ess. A nd t h e b ra in , a s t h e s o urc e o f s u ch s ta te s,
offe rs a p ote ntia l g ate w ay t o c o untle ss o th er t is su es a nd o rg ans— fro m t h e h eart a nd b lo od v e sse ls t o t h e g ut
and t h e im mune s yste m . T he c h alle nge is t o m ap t h e p ath w ays lin kin g m enta l s ta te s t o m edic a l o nes, a nd
le arn h ow t o t ra ve l t h em a t w ill. [B enso n, C orlis s, & C ow le y, 2 004, p . 4 6 ]
The m in d-b o dy c o nne ctio n is n o t o nly m ade in te rm s o f h e alt h a nd m edic in e . T ake , fo r e xa m ple , th e
Aca de m y A w ard -w in nin g m ovie
Ray
, d e pic tin g th e lif e a nd m usic o f R ay C harle s. C le arly , th is b lin d
music ia n n avig ate d th e w orld th ro ugh h is b o dy ju st a s th e g e niu s o f h is m usic flo w ed th ro ugh h is b o dy.
But w hile w e c a n fin d th at a tte ntio n is b e in g p aid to u nit in g th e m in d a nd th e b o dy in p o pula r c u lt u re , a nd
we c a n e ve n c o m e u p w it h p e rs o nal e xa m ple s o f tim es w he n w e h ave le arn e d th ro ugh o ur b o die s,
em bo die d o r s o m atic k n o w in g a nd le arn in g a re o nly n o w b e in g s p o ra dic a lly r e se arc h e d a nd th e oriz e d
abo ut in e duca tio n a nd o th e r s o cia l s cie nce s (K e rk a , 2 0 02). W e n o w tu rn to d e fin it io ns, e xa m ple s, a nd
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 th e oriz in g r e la te d to e m bo die d le arn in g.
REC LA IM IN G T H E B O DY IN L E A RN IN G
REC LA IM IN G T H E B O DY IN L E A RN IN G
Em bo die d le arn in g is m ost o fte n lin ke d to e xp e rie ntia l le arn in g in th e s e nse th at w e le arn
in
a n
exp e rie nce . S om atic k n o w in g, a s is a ls o tr u e o f s p ir it u al a nd n arra tiv e k n o w in g, is c o nne cte d to a dult
le arn in g th ro ugh m eanin g-m akin g. A tte ndin g to th e se n o nco gnit iv e d im ensio ns o f k n o w in g c a n b rin g
gre ate r u nde rs ta ndin g to o ur liv e s; th e y e nable u s to m ake m eanin g o f o ur e ve ry d ay e xp e rie nce s.
Le arn in g
in
th e e xp e rie nce is im media te , p hysic a l, e m otio nal. It is , a s S ie ge sm und (2 0 04, p . 8 0 ) w rit e s, “ a
fe lt r e actio n o f r ig htn e ss w it h in a n e xp e rie nce .” T his is n o t to d e ny th at th e b o dy h as a s o cia l a nd
mate ria l lo ca tio n; a s M ic h e ls o n (19 98) p o in ts o ut, “ [L ]e arn in g is a n a ctiv e , w orld -c re atin g p ro ce ss
in scrib e d o n th e b o dy a nd a t th e s a m e tim e s u bje ct to p artic u la r m ate ria l a nd d is cu rs iv e c o ndit io ns th at
co nstr a in th e b o dy w it h in c u lt u re a nd in h is to ry ” (p . 2 25). F o r e xa m ple , a w om an w ho p hysic a lly r e gis te rs
a s e xis t c o m ment m ay in th e m om ent u nde rs ta nd s o m eth in g a bo ut s e xis m o r p atr ia rc h y. A t th e s a m e
tim e, h o w eve r, th is le arn in g w ould b e “ a fu nctio n o f a g e nde re d s u bje ctiv it y , o r a s o cia l e xis te nce liv e d
wit h in a w om an's b o dy in w hic h th e tr a ce s o f p ast a nge rs a nd h urt fe elin gs, o f p e rs o nal a nd c o lle ctiv e
mem orie s r e sid e ” (p . 2 26 ). T he b o dy, in fa ct, h as lo ng b e en a c e ntr a l p o in t o f a naly sis in fe m in is t
re se arc h a nd th e ory (S om erv ille , 2 0 04).
Oth e r e xa m ple s o f e m bo die d le arn in g a re o ffe re d b y M atth e w s (19 98) a nd C ro w de s (2 0 00). M atth e w s
re ca lls h is e arly s ch o olin g d ays w he re b y a nd la rg e h e h ad to s it s till a nd e ndure , r a th e r th an b e a ctiv e ly
engage d in le arn in g. O ne e xce ptio n w as a fif th -g ra de te ach e r w ho u nde rs to od “ th e p o w er o f e m bo die d
actio n e ve n a t th e le ve l o f r it u al, [w he n] s h e p ro vid e d w hit e la b c o ats fo r u s to w ear, w hic h w e k e pt in
th e c lo ak r o om . S he e xp la in e d th at w he n w e p ut o n th e se c o ats w e w ould
beco m e
s cie ntis ts ” (p . 2 38).
Cro w de s (2 0 00) n o tic e d th e ir o ny o f c rit ic a l s o cia l a naly sis c o urs e s ta ught a t h e r u niv e rs it y in w hic h
stu de nts b e ca m e q uit e s o phis tic a te d in a naly zin g is su e s o f p o w er a nd s o cia l in e quit y b ut w ere
“d e ta ch e d fr o m th e ir b o die s a nd a ge ncy in m atte rs o f c o nflic t r e so lu tio n a nd c h ange ” (p . 2 5). S he
re de sig ne d th e c o urs e a nd c a lle d it “ P ow er, C onflic t, a nd C hange in S ocia l In te ra ctio n: W hat's a B ody to
Do?” In co rp o ra te d in to th e c o urs e a re e m bo die d e xe rc is e s to c o nve y w hat is r e ally m eant b y th e se
te rm s a nd h o w th e b o dy c a n b e e m plo ye d, a lo ng w it h th e in te lle ct, to n e go tia te c h ange . In o ne e xe rc is e
ca lle d
bow in g
, p artn e rs in d ya ds a re a ssig ne d r o le s, w it h o ne b e in g s u pe rio r a nd a ll- p o w erfu l to w ho m
th e o th e r m ust b o w . T he r o le s a re r e ve rs e d in th e s e co nd s te p. A fte r e ach p hase s tu de nts a re a ske d
to r e fle ct o n h o w th e y
fe lt
in e it h e r r o le . T he th ir d s te p w as fo r e ach p artn e r to b o w to th e o th e r in a
mutu ally lo vin g a nd r e sp e ctfu l w ay. T he th re e p hase s o f th e e xe rc is e a llo w s tu de nts to e xp e rie nce th e
mult if a ce te d n atu re o f p o w er a nd p o w er r e la tio ns. It is in th e e xp e rie nce th at p o w er r e la tio ns b e co m e
meanin gfu l
.
It is , o f c o urs e , e asie r to s e e h o w e m bo die d le arn in g ta ke s p la ce in a p hysic a l a ctiv it y s u ch b aske tb all o r
dance . B ut e ve n in th e r e alm o f d ance , “ d ance e duca to rs o fte n s e em e m barra sse d to s p e ak to o m uch
abo ut th e b o dy, th in kin g th at to n o te th e p hysic a l la bo r o f d ance d e m eans it in th e e ye s o f in te lle ctu als ,
and to c a ll a tte ntio n to th e s e nso ry , b o dily p le asu re o f d ancin g m ake s u s s e em m ere h e do nis ts ”
(S tin so n, 19 95, p . 4 6). S tin so n g o es o n to s a y th at fo r h e r to r e ally k n o w s o m eth in g in vo lv e s “ th o ught a s
so m eth in g th at o ccu rs th ro ugho ut m y b o dy, n o t ju st a bo ve m y n e ck” (p . 4 6). D ance c h o re ogra phy is th at
effo rt to c o nve y liv e d e xp e rie nce th ro ugh a rtis tic fo rm .
In th e s a m e w ay, c o nductin g r e se arc h is a n e m bo die d p ro ce ss b e gin nin g w it h a
passio nate
c o nne ctio n
to th e to pic o ne is g o in g to r e se arc h . D ata g ath e rin g, S tin so n (19 95) p o in ts o ut, is v e ry e m bo die d,
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 whe th e r in te rv ie w in g o r o bse rv in g. S ortin g th ro ugh th e d ata g ath e re d is a ls o a n e m bo die d a ctiv it y “ in
[a n] e ffo rt to fin d th e fo rm a nd c o nte nt o f th e w ork ” b e in g c o nstr u cte d (p . 4 9). S o to o, in sig hts w it h
re gard to im po rta nt th e ore tic a l c o nsid e ra tio ns a nd th e fin al fo rm o f th e p ro je ct “ c o uld n o t h ave a ris e n
wit h o ut a tte ntio n to e m bo die d k n o w le dge …. W e c a n th in k o nly w it h w hat w e k n o w ‘in o ur b o ne s,’ a nd …
atte ndin g to th e s e nso ry , fo llo w ed b y r e fle ctio n, is e sse ntia l in r e se arc h ” (p . 5 2).
In y e t a no th e r e xa m ple o f e m bo die d k n o w in g, Y osh id a (2 0 05) d e scrib e s h o w w rit in g J a pane se
ca llig ra phy, a t fir s t c o gnit iv e , b e ca m e a n e m bo die d e xp e rie nce . H e r e co unts w rit in g th e J a pane se
ch ara cte r fo r r iv e r
(K aw a)
, w hic h r e quir e s th re e s tr o ke s:
When I f in is h ed t h e t h ir d s tro ke, I r e co gniz e d a s tro ng f e elin g t h at r e m ain ed in m y b ody. I s to pped a nd p ut t h e
bru sh d ow n, a nd w ent in to t h at f e elin g. It w as s im ila r t o a f e elin g in m y p alm w hic h I r e m em bere d f ro m
ca noein g in t h e w ild ness… . T he b eautif u l s ce ne c a m e b ack . I c lo se d m y e ye s w it h t h is im age. A nd a gain I
wro te
Kaw a
w it h a b ru sh a s if I w as p addlin g w it h t h e f lo w o f t h e r iv e r. In t h e le ft s id estro ke t h e w ate r f lo w s
wit h a p addle (b ru sh ). In t h e m id dle s tro ke, I h old t h e w ate r a nd s to p t h e b ru sh . F or t h e t h ir d , I s in k t h e p addle
deep d ow n, h old in g t h e h eavy w ate r f o r t h e lo ngest s tro ke. I p ush it a ll t h e w ay d ow n.
I f e lt t h e
Kaw a
c h ara cte r w rit te n in t h is w ay c a m e a liv e , a s if f lo w in g in f ro nt o f m e. I e nco unte re d t h e v it a l lif e
of t h e
Kaw a
c h ara cte r in t h is w ay… . T he c h ara cte r is n o lo nger a n o bje ct o uts id e m yse lf , it is s o m eth in g liv in g
wit h in . [p . 1 3 3]
Alt h o ugh th e a fo re m entio ne d e xa m ple s o f e m bo die d le arn in g in vo lv e th e b o dy in le arn in g, th e re a re
als o s u btle d if fe re nce s. A m ann (2 0 03) te ase s o ut th e se d if fe re nce s in h e r fo ur-p art m ode l o f s o m atic
kn o w in g. S he fe els th e re a re fo ur d im ensio ns to th is ty p e o f k n o w in g— kin e sth e tic , s e nso ry , a ffe ctiv e ,
and s p ir it u al. A th le te s, a rtis ts , d ance rs a re a ll c o nce rn e d w it h th e m ove m ent o f th e b o dy, o r
kin esth etic
le arn in g
. T his “ m ove m ent a nd a ctio n … o fte n y ie ld s le sso ns a bo ut d is cip lin e , d ilig e nce , d e alin g w it h
str e ss, o r s o lv in g p ro ble m s” (p . 2 8).
Senso ry le arn in g
, s h e m ain ta in s, is “ in he re ntly s o m atic ” b e ca use b y
de fin it io n it is h o w w e a cce ss in fo rm atio n th ro ugh o ur s e nse s; w e th e n “ re la te th at in fo rm atio n to o ur
exp e rie nce a nd e xtr a po la te m eanin gs s ig nif ic a nt to o ur liv e s” (p . 2 8).
Em bo die d le arn in g h as a s tr o ng e m otio nal o r fe elin g d im ensio n, w hic h A m man la be ls
affe ctiv e le arn in g
.
Dir k x (2 0 01b ), fo r e xa m ple , s p e aks to th e p o w er o f e m otio ns w he re in “ m eanin gfu l le arn in g is
fu ndam enta lly g ro unde d in a nd is d e riv e d fr o m th e a dult 's e m otio nal, im agin ativ e c o nne ctio n w it h th e
se lf a nd w it h th e b ro ade r s o cia l w orld ” (p . 6 4). A ctu ally , s cie nce h as k n o w n fo r s o m e tim e th at n e rv e
endin gs e xte nd th ro ugho ut th e b o dy th ro ugh w hic h w e r e ce iv e im puls e s fr o m o uts id e th e b o dy (s e e
Chapte r F if te en). F u rth e r, “ e m otio ns a re e nm esh e d in n e ura l n e tw ork s in vo lv in g r e aso n… . E m otio ns
in cre ase th e s tr e ngth o f m em orie s a nd h e lp to r e ca ll th e c o nte xt o f a n e xp e rie nce , r e nde rin g it
meanin gfu l” (H ill, 2 0 01, p . 7 6 ). M ulv ih ill (2 0 03, p . 3 22) is e ve n m ore e xp lic it a bo ut th e n e uro lo gic a l
dim ensio n o f le arn in g:
There is n o s u ch t h in g a s a b ehavio ur o r t h ought, w hic h is n ot im pacte d in s o m e w ay b y e m otio ns. T here a re
no n euro tra nsm it te rs f o r “ o bje ctiv it y ”; r a th er e ve n t h e s im ple st r e sp onse s t o in fo rm atio n s ig nals a re lin ked
wit h p ossib ly s e ve ra l “ e m otio nal n euro tra nsm it te rs ” (H aberla ndt, 1 9 98). B eca use t h e n euro tra nsm it te rs ,
whic h c a rry m essa ges o f e m otio n, a re in te gra lly lin ked w it h t h e in fo rm atio n, d urin g b oth t h e in it ia l p ro ce ssin g
and t h e lin kin g w it h in fo rm atio n f ro m t h e d if fe re nt s e nse s, it b eco m es c le ar t h at t h ere is n o t h ought, m em ory ,
or k now le dge w hic h is “ o bje ctiv e ,” o r “ d eta ch ed” f ro m t h e p ers o nal e xp erie nce o f k now in g.
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 In m akin g th e c a se fo r in clu din g d ance a nd th e a rts in e duca tio n, R oss (2 0 00) u nde rs co re s th e
in te rc o nne cte dne ss o f e m otio ns w it h s o m atic k n o w in g: “ T he a rts a re fir m ly r o ote d in th e se e xch ange s
be tw een th e p sych e (m in d) a nd s o m a (b o dy), a nd th e s e nse s a nd e m otio ns a re th e c o nduit s o f th e se
exp e rie nce s” (p . 3 1). E m otio ns a re e m bo die d a nd th us a re a n in te gra l c o m po ne nt o f th is ty p e o f
le arn in g.
The fo urth c o m po ne nt o f A m ann's s o m atic le arn in g m ode l is
sp ir it u al
. T he s p ir it u al a sp e ct o f s o m atic
le arn in g is m eanin g-m akin g th ro ugh m usic , a rt, im age ry , s ym bo ls , a nd r it u als a nd o ve rla ps o r in te rs e cts
wit h th e o th e r th re e d im ensio ns (s e e C hapte r N in e ). In te re stin gly , Y osh id a p re se nts h is e xa m ple o f
so m atic k n o w in g in w rit in g th e J a pane se w ord fo r r iv e r a s r e la tin g to h is “ s p ir it u al” r o ots : “ A s s o on a s
th e c h ara cte rs u nfo ld th e ir lif e , th e y u nfo ld th e s o ul, n o t o nly in m e, b ut a ls o in a ll th e s o uls o f th e
pe ople w ho liv e d a nd w ro te th is c h ara cte r th ro ugho ut J a pane se h is to ry ” (2 0 05, p . 13 3). G ötz (2 0 01) lin ks
th e e m bo die d w it h th e s p ir it u al in a n um be r o f w ays, c it in g, fo r e xa m ple , n um ero us a th le te s w ho th ro ugh
in te nse p hysic a l a ctiv it y h ave e xp e rie nce d s p ir it u al m om ents .
Oth e r w rit e rs h ave c o nce ptu aliz e d e m bo die d o r s o m atic le arn in g a s
em bodie d c o gnit io n
(C he ville ,
20 05), a s
onto lo gic a l p erfo rm ance
(B ecke tt & M orris , 2 0 01), o r a s a
so m atic e pis te m olo gy fo r e duca tio n
(B ro ckm an, 2 0 01). C he ville p ro po se s “ a th e ore tic a l fr a m e th at lo ca te s th e h um an b o dy a t th e
in te rs e ctio n o f c u lt u re a nd c o gnit io n”; th at is , “ th e h um an b o dy is a t o nce a n o bje ct o f c u lt u re a nd a
su bje ct o f c o gnit io n” (p . 8 6 ). T o illu str a te h o w th e b o dy is a t th e in te rs e ctio n o f c u lt u re a nd c o gnit io n,
Che ville c o nducte d a n e th no gra phic s tu dy o f th e a th le tic a nd a ca de m ic le arn in g o f a w om en's
baske tb all te am . C ult u ra l e xp e cta tio ns m anif e ste d th e m se lv e s in th e p la ye rs h avin g to a sse rt th e ir
fe m in in it y o ff th e c o urt to c o unte r th e ir p hysic a lit y (a sso cia te d w it h m ale s) o n th e c o urt. F u rth e r, th e
Afr ic a n-A m eric a n p la ye rs fo ught a gain st b e in g s e en s o le ly a s a th le te s, w hic h , a lo ng w it h e nte rta in e rs ,
were a m ong th e c o m mon c u lt u ra lly p re scrib e d r o le s fo r B la cks. C ourt le arn in g w as a m atte r o f
ne go tia tin g o ne 's b o dy b o th s p atia lly a nd te m po ra lly ; th is le arn in g w as o ve rla id w it h a sym metr ic a l p o w er
re la tio ns b e tw een c o ach a nd p la ye rs a nd m ore e xp e rie nce d a nd le ss e xp e rie nce d p la ye rs . C he ville
su m mariz e s: “ O nly b y ‘b e in g th e re ’ to ge th e r in b o dy d id p la ye rs e nte r in to r e fle xiv e c o nscio usn e ss. F o r
Je nny [o ne o f th e p la ye rs ] a nd h e r te am mate s, th e o rc h e str a tio n o f b o dily a ctiv it y w as th e m eans to a
co lle ctiv e m in dse t. L e arn in g w as n e ce ssa rily a p o lit ic a l p ro ce ss, d e m andin g th at c o ach e s a nd p la ye rs
ne go tia te th e ir u nde rs ta ndin g th ro ugh s o cia l a nd b o dily e ngage m ent” (p . 9 8).
The r e la tio nsh ip b e tw een id e ntit y , le arn in g, a nd th e b o dy is e xp lo re d in B ecke tt a nd M orris 's (2 0 01)
artic le . T o illu str a te th e ir th e sis th at id e ntit y is c o nstr u cte d th ro ugh e m bo die d a ctio ns in c o nte xt, th e y
stu die d tw o w ork s e ttin gs, o ne a n a ge d-c a re fa cilit y (A C F) a nd th e o th e r a n E nglis h a s a S eco nd
La nguage (E S L) c la ssro om . In th e A C F, m ost o f th e s ta ff w ere fe m ale w it h lit tle fo rm al tr a in in g o r
educa tio n. H ow eve r, th e ir p hysic a l e xp e rie nce in th e fa cilit y , r e adin g e ach s it u atio n a s it o ccu rre d a nd
fin din g “ w hat w ork s,” c re ate d a c o m munit y o f p ra ctic e w he re th e ir id e ntit ie s a s h e alt h p ra ctit io ne rs w ere
se cu re . T he a uth o rs c h ara cte riz e th is w ork p la ce a s a “ s it e o f p o w erfu l a dult le arn in g fo r th e s ta ff,” a
pla ce w he re “ p ra ctic a l lo gic , a im ed a t w hat w ill w ork b y d ra w in g la te ra lly o n e m bo die d e xp e rie nce s,
pre va ils ” (p . 4 1).
Becke tt a nd M orris (2 0 01) g o o n to c it e tw o e xa m ple s fr o m th e E S L c la ssro om o f w hat th e y c a ll
onto lo gic a l p e rfo rm ance . T he fir s t h ad to d o w it h a M uslim w om an w ho a t fir s t w ore th e h e adsca rf b ut
la te r in th e c o urs e c a m e c o ve re d in a fu ll v e il a nd g lo ve s. T he te ach e r c o uld n o t u nde rs ta nd th e
ch ange , w hic h w as e xp la in e d b y s tu de nt a s, “ W ell, I'm c lo se r n o w to m y r e lig io n. I'm m ore … I'm a b e tte r
pe rs o n n o w b e ca use I d o th is ” (p . 4 2). T he a uth o rs p o in t o ut th at w hile th e te ach e r s a w th e b o dy a s a
cu lt u ra l r e pre se nta tio n, “ th e le arn e r p re se nts a v e ry d if fe re nt v e rs io n o f c u lt u re , o ne th at is liv e d, w he re
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 kn o w le dge , b e lie fs , a nd e xp e rie nce s a re lo ca te d in th e b o dy, w he re th e b o dy is th e m ediu m fo r h avin g
a w orld ” (p . 4 2). In th e s e co nd e xa m ple fr o m th e E S L c la ssro om , le arn e rs w ere p re parin g fo r a tw o-
week w ork e xp e rie nce p la ce m ent. T he te ach e r's v e rs io n o f th e “ g o od w ork e r” w as o ne w ho s ta ys in
his o r h e r p la ce , a cts p o lit e ly , a nd d o es n o t c h alle nge th e b o ss. T he s tu de nts , s e ve ra l o f w ho m h ad
many y e ars o f w ork e xp e rie nce in th e ir h o m e c o untr ie s, c o ntin ually q ue stio ne d a nd r e sis te d th e
te ach e r's c o nstr u ctio n o f th e m a s d o cile w ork e rs . T he se le arn e rs w ere “ ‘a ctiv e b o die s’ c o nstr u ctin g a nd
re co nstr u ctin g th e ir s e nse o f s e lf a nd o cca sio nally r e sis tin g o th e rs ’ c o nstr u ctio n o f th e m ” (p . 4 3).
Bro ckm an's (2 0 01) s o m atic e pis te m olo gy fo r e duca tio n is th e fin al c o nce ptio n o f s o m atic k n o w in g. In
to day's w orld o f d iv e rs it y , p o stm ode rn is m , a nd m ult ic u lt u ra l e duca tio n, h e a sks th e im po rta nt q ue stio n o f
ho w w e a re to a sse ss a nd d e al w it h c u lt u ra l “ e vils .” A ll c u lt u re s p e rp e tu ate c e rta in b e lie fs , v a lu e s,
cu sto m s, p ra ctic e s, a nd id e olo gie s th at a re o ppre ssiv e a nd e ve n p hysic a lly a busiv e (s a nctio ne d
vio le nce a gain st w om en, fo r e xa m ple ). Y et c u lt u ra l r e la tiv is m m it ig ate s a gain st o ur m akin g a m ora l
ju dgm ent o f th e se b e havio rs . A s a n e xa m ple , h e a sks w hat a U .S . s ch o olt e ach e r s h o uld d o if th e
te ach e r o bse rv e s a T urk is h b o y b e atin g h is s is te r w ho h as flir te d w it h b o ys a t s ch o ol. “ In T urk is h c u lt u re ,
a s tr o ng v a lu e is p la ce d o n a g ir l's h o no r, s o h e r b ro th e r is m ere ly p uttin g in to e ffe ct th e n o rm s o f th e ir
cu lt u re ” (p . 3 28). R ely in g o n c u lt u ra l- lin guis tic k n o w le dge d o es n o t p ro vid e a s a tis fa cto ry b asis fo r
de alin g w it h th is m ora l d ile m ma.
What is n e ede d, B ro ckm an (2 0 01) m ain ta in s, is a n e pis te m olo gy b ase d o n s o m atic k n o w in g. K no w in g
th ro ugh th e b o dy is m ore fu ndam enta l th an w hat w e k n o w th ro ugh c u lt u re . “ In s h o rt, n e it h e r c u lt u re n o r
la nguage a re th e
so urc e
o f s o m atic k n o w le dge . S om atic k n o w le dge is r e ce iv e d fr o m w it h
in
th e h um an
be in g; c u lt u ra l k n o w le dge is r e ce iv e d fr o m w it h
out
th e h um an b e in g” (p . 3 31). W it h r e gard to th e T urk is h
sch o olg ir l, w hile s h e m ay c o gnit iv e ly k n o w th at h e r b ro th e r's a ctio ns a re c u lt u ra lly a ppro pria te , s h e
“k n o w s s o m atic a lly th e a busiv e a nd h arm fu l n atu re o f h e r b ro th e r's b e havio r; it is a c u lt u ra l e vil” (p . 3 31).
The te ach e r s h o uld “ s to p th e b e atin g, in th e n am e o f th e b o dy— he r b o dy” (p . 3 33). F o r th o se w ho w orry
th at a n o uts id e s ta ndard o f m ora l b e havio r is b e in g p la ce d o n a p artic u la r c u lt u ra l c o nte xt, B ro ckm an
re sp o nds, “ T he b o dy is a c rit e rio n o f k n o w in g in clu siv e w it h in e ve ry c u lt u ra l c o nte xt, th o ugh n o t
in de pe nde nt o f c o nte xt. T he re fo re , s o m atic k n o w in g o ffe rs g re at p ro m is e in a nsw erin g th e p ro ble m o f
re la tiv is m , b e ca use it r e co gniz e s d im ensio ns o f k n o w in g (a nd r e alit y ) c o m mon w it h in a ll c u lt u ra l
co nte xts ” (p . 3 32). A s o m atic e pis te m olo gy a ls o h o ld s g re ate r p ro m is e fo r “ a b ro ade r th e ory o f le arn in g
th an w ould a s tr ic tly m ult ic u lt u ra l th e ory ” (p . 3 32).
In s u m mary , r e cla im in g th e b o dy in le arn in g c o ntr ib ute s to a b ro ade r th e ory o f le arn in g, o ne th at
re co gniz e s th e b o dy a s a s o urc e o f k n o w le dge . T his r e co gnit io n a lo ne c h alle nge s th e d o m in ant
cu lt u re 's c la im s to k n o w le dge b ase d p re do m in ate ly o n r e aso n. L e git im iz in g s o m atic k n o w in g c a n a ls o
le ad to d e ve lo pin g e m path y, a s C ro w de s (2 0 00) a tte m pte d to d o w it h h e r c o urs e o n c rit ic a l s o cia l
th e ory . It is a ls o , a s M atth e w s (19 98, p . 2 37) p o in ts o ut, “ a p o lit ic a l a rg um ent fo r g re ate r e duca tio nal
equit y .” F in ally , e m bo die d k n o w in g is lin ke d to a dult le arn in g th ro ugh it s p o w er to c o ntr ib ute to m akin g
se nse o f, o r m akin g m eanin g o f, o ur liv e s.
SPIR IT UALIT Y A ND L E A RN IN G
One o f u s (M erria m ) o ffe rs th is in sig ht:
As is t ru e o f m ost d eca de b ir th days I w as n ot lo okin g f o rw ard t o t u rn in g s ix ty . I b asic a lly ig nore d it a nd
managed t o s ch edule s o m e w ork sh ops in S outh K ore a a t t h at t im e. O n t h e e xa ct d ate o f m y b ir th I a nd a
Kore an c o lle ague w ere h ig h in t h e m ounta in s in t h e s o uth east p art o f t h e c o untry e ngagin g in a n o ve rn ig ht
Buddhis t t e m ple s ta y. W e a tte nded p ra ye rs , a te in s ile nce w it h t h e m onks, a nd s p ent a n e ve nin g in s e m in ar
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 wit h a m onk w ho e xp la in ed t h e lif e o f t h e m onaste ry a nd b asic B uddhis t b elie fs . D urin g t h e v is it I f e lt a s e nse
of p eace a nd o f b ein g “ p re se nt” t h at I h ad n ot e xp erie nce d b efo re ; t h e f a ct t h at I h ad ju st t u rn ed s ix ty s e em ed
not t o m atte r a nd m y a ngst a bout it e va pora te d.
Fo r th e a uth o r, th is w as a s p ir it u al le arn in g e xp e rie nce in th at th e “ flo w ” o r “ lif e fo rc e ” th at s h e fe lt in
th at m ounta in r e tr e at e nable d h e r to m ake m eanin g o f h e r o w n a gin g. L ik e s o m atic -e m bo die d k n o w in g,
sp ir it u al k n o w in g o r le arn in g is a ls o a bo ut m eanin g-m akin g, th o ugh p e rh aps m ore d if fic u lt to
acco m modate th an e m bo die d le arn in g, w hic h d o es h ave a tie to p hysic a l s e nsa tio ns. W hile m ost w ould
ackn o w le dge th at h um an b e in gs a re s p ir it u al b e in gs a s w ell a s c o rp o ra l a nd th in kin g b e in gs, o ur im age
of th e a dult le arn e r h as b e en b e re ft o f a nyth in g r e m ote ly “ s p ir it u al.” R ath e r, th e le arn e r is “ m ere ly a n
anim al to b e s o cia liz e d, a c o m pute r to b e p ro gra m med, a u nit o f p ro ductio n to b e h arn e sse d a nd
utiliz e d, a c o nsu m er to b e w on” (S lo an, 2 0 05, p . 2 7). F u rth e r, th e s e nse o f w onde r a nd a w e
ch ara cte ris tic o f a s p ir it u al s ta nce h as b e en “ tr iv ia liz e d” in “ th e c o nte m po ra ry m ark e t-d riv e n w orld ” to
th e p o in t th at “ w e h ave e nde d u p a tte m ptin g to r e in ve nt it in D is n e yla nd o r th ro ugh v ir tu al r e alit y
(M ande r, 19 91)” (O 'S ulliv a n, 2 0 05, p . 7 0 ).
The se g lo om y im age s o f le arn e rs in a v ir tu al w orld a re b e in g c o unte re d b y a n o utb urs t o f w rit in g a nd
dis cu ssio n o n th e p la ce o f s p ir it u alit y in o ur liv e s g e ne ra lly , a nd in a dult a nd h ig he r e duca tio n a nd
hum an r e so urc e d e ve lo pm ent s p e cif ic a lly . P opula r c u lt u re v e hic le s o f m ovie s, b o oks, te le vis io n s h o w s,
and m agazin e a rtic le s a re r e fle ctin g th is in te re st, p e rh aps, a s s o m e w rit e rs h ave s p e cu la te d, b e ca use o f
th e a gin g b aby b o om g e ne ra tio n. D eve lo pm enta l p sych o lo gis ts d atin g b ack to C arl J u ng h ave a sse rte d
th at a s a dult s m ove in to m id lif e a nd b e yo nd, th e re is a n in w ard tu rn in g to c o nte m pla te th e m eanin g o f
lif e a nd s p ir it u al a sp e cts o f o ne se lf . In de ed, in a lo ngit u din al s tu dy o f s p ir it u al d e ve lo pm ent in a dult h o od,
“a ll p artic ip ants , ir re sp e ctiv e o f g e nde r a nd c o ho rt, in cre ase d s ig nif ic a ntly in s p ir it u alit y b e tw een la te
mid dle (m id -5 0 s/e arly 6 0s) a nd o ld e r a dult h o od” (W in k & D illo n, 2 0 02, p . 7 9 ).
In te re st in th e to pic is m anif e st in b o oksto re tit le s, c o ntin uin g e duca tio n c o urs e s, a nd s o lid ly
co nse rv a tiv e a ge ncie s s u ch a s th e N atio nal In stit u te s o f H ealt h a nd th e A m eric a n M edic a l A sso cia tio n,
bo th o f w hic h a re in ve stig atin g h o w s p ir it u al p ra ctic e s s u ch a s m edit a tio n, y o ga, a nd p ra ye r c a n a ffe ct
physic a l h e alt h . S pir it u alit y h as b e co m e a p o pula r to pic in e ve n a s u nlik e ly a s it e a s A m eric a 's p ro fit -
driv e n c o rp o ra te w orld . D oze ns o f a rtic le s a nd b o oks s u ch a s M it r o ff a nd D ento n's
A S pir it u al A udit o f
Corp ora te A m eric a
(19 99), B olm an a nd D eal's
Le adin g w it h S oul: A n U nco m mon J o urn ey o f S pir it
(19 95),
and B ris kin 's
The S tir rin g o f S oul in th e W ork p la ce
(19 96) a re c a llin g fo r m anage m ent to in te gra te
sp ir it u alit y in to w ork p la ce p ra ctic e s a nd a llo w fo r it s e xp re ssio n in th e w ork p la ce . C om in g fr o m a no th e r
pe rs p e ctiv e , a nd p e rh aps in flu e nce d b y G ole m an's (19 95) p o pula r b o ok o n e m otio nal in te llig e nce (E Q ),
Zohar a nd M ars h all (2 0 00) a re p ro po sin g a s p ir it u al in te llig e nce (S Q ) to g o a lo ng w it h E Q a nd IQ . T his
kin d o f in te llig e nce h e lp s u s “ s o lv e p ro ble m s o f m eanin g a nd v a lu e ” (p . 4 ).
It is a s im ila r p ic tu re in h ig he r a nd a dult e duca tio n. B ooks, c o nfe re nce p re se nta tio ns, jo urn al a rtic le s,
and s tu de nt th e se s a nd d is se rta tio ns a re g ra pplin g w it h th e to pic a nd m akin g v is ib le w hat h as lo ng b e en
ig no re d— th at th e re is a s p ir it u al s id e to o ur le arn in g d e sp it e th e d o m in atio n o f r a tio nalit y in th e
cla ssro om . P erh aps b e ca use o f th e n atu re o f th is to pic , w it h o nly a fe w e xce ptio ns, th e g re at m ajo rit y o f
th e w rit in g h as b e en p hilo so phic a l in n atu re . D ra w in g fr o m th e se m any s o urc e s, w e fir s t g ra pple w it h
de fin in g s p ir it u alit y a nd it s p la ce in a dult a nd h ig he r e duca tio n. N ext, w e h ave d is tille d fr o m th e lit e ra tu re
a n um be r o f p ra ctic e s a nd s tr a te gie s th at c a n c u lt iv a te th e s p ir it u al d im ensio n o f o ur le arn in g.
DEFIN IN G S PIR IT U ALIT Y
DEFIN IN G S PIR IT U ALIT Y
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 The re a re a s m any d e fin it io ns o f s p ir it u alit y a s th e re a re p e ople w rit in g a bo ut it . S om e u se o th e r w ord s,
su ch a s g ra ce , h e art, flo w , lif e fo rc e , a nd s o ul, p e rh aps p artly to a vo id th e in e vit a ble c o nfu sio n o f
sp ir it u alit y w it h r e lig io n. W hile fo r s o m e p e ople s p ir it u alit y a nd r e lig io n m ig ht b e r e la te d, w rit e rs o n th e
to pic o f s p ir it u alit y a re e m phatic a bo ut th e d if fe re nce b e tw een th e tw o. A s T is d e ll (2 0 03, p . 2 9 ) w rit e s,
“R elig io n is a n o rg aniz e d c o m munit y o f fa it h th at h as w rit te n d o ctr in e a nd c o de s o f r e gula to ry b e havio r.
Spir it u alit y , h o w eve r, is m ore p e rs o nal b e lie f a nd e xp e rie nce o f a d iv in e s p ir it o r h ig he r p urp o se , a bo ut
ho w w e c o nstr u ct m eanin g, a nd w hat w e in div id ually a nd c o m munally e xp e rie nce a nd a tte nd to a nd
ho no r a s th e s a cre d in o ur liv e s.”
Tis d e ll's (2 0 03) d e fin it io n o f s p ir it u alit y is d e riv e d fr o m a s tu dy o f th ir ty -o ne h ig he r a nd a dult e duca to rs
sp e cif ic a lly e ngage d in a nti- o ppre ssio n p e dago gy. S he p re se nts s e ve n a ssu m ptio ns a bo ut th e n atu re o f
sp ir it u alit y , e sp e cia lly a s th e y r e la te to a n e duca tio nal s e ttin g. T he se a ssu m ptio ns a re h e lp fu l in g ra sp in g
what th is d im ensio n in le arn in g is a ll a bo ut:
1 .
Spir it u alit y a nd r e lig io n a re n o t th e s a m e….
2 .
Spir it u alit y is a bo ut a n a w are ne ss a nd h o no rin g o f w ho le ne ss a nd th e in te rc o nne cte dne ss o f a ll
th in gs… .
3 .
Spir it u alit y is fu ndam enta lly a bo ut m eanin g-m akin g.
4 .
Spir it u alit y is a lw ays p re se nt (th o ugh o fte n u nackn o w le dge d) in th e le arn in g e nvir o nm ent.
5 .
Spir it u al d e ve lo pm ent c o nstit u te s m ovin g to w ard g re ate r a uth e ntic it y o r to a m ore a uth e ntic s e lf .
6 .
Spir it u alit y is a bo ut h o w p e ople c o nstr u ct k n o w le dge th ro ugh la rg e ly u nco nscio us a nd s ym bo lic
pro ce sse s, o fte n m ade m ore c o ncre te in a rt fo rm s s u ch a s m usic , a rt, im age , s ym bo l, a nd r it u al
whic h a re m anif e ste d c u lt u ra lly .
7 .
Spir it u al e xp e rie nce s m ost o fte n h appe n b y s u rp ris e . [p p. 2 8-2 9 ]
Unlik e m ost w ho w rit e a bo ut s p ir it u alit y fr o m th e in div id ual's p e rs p e ctiv e , T is d e ll e m be ds s p ir it u alit y a nd
le arn in g in a c u lt u ra l c o nte xt. T hat is , o ne 's s p ir it u alit y is in fo rm ed b y a nd m anif e ste d in c u lt u ra lly d e fin e d
exp e rie nce s, s ym bo ls , m yth s, a nd r it u als . W hile s ig nif ic a nt s p ir it u al e xp e rie nce s a re fo und in a ll c u lt u re s,
“th e m eanin g o f th o se e xp e rie nce s is n o t o nly v a lu e d d if fe re ntly b y d if fe re nt c u lt u ra l c o m munit ie s, it is
als o m anif e ste d a nd g iv e n fu rth e r e xp re ssio n s ym bo lic a lly d if fe re ntly in d if fe re nt c u lt u re s— in a rt, m usic ,
or r it u al” (p . 8 6 ).
Tis d e ll's p artic ip ants w ere a ls o s e le cte d fo r th e ir s o cia l ju stic e o rie nta tio n to p ra ctic e . E nglis h (2 0 05a)
id e ntif ie s th is fo rm o f s p ir it u alit y a s “ s e cu la r” o r “ p ublic ” in n atu re v e rs u s s p ir it u alit y a s p ure ly p riv a te a nd
in div id ual in n atu re . E nglis h m ake s th e c a se th at th is p ublic fo rm o f s p ir it u alit y g o es h and in h and w it h
adult e duca tio n's s o cia l c h ange a ge nda a nd th at “ a cce ptin g a s tr o ng tw ofo ld p urp o se — sp ir it u alit y a nd
so cia l c h ange — will m ove a dult e duca to rs c lo se r to r e co ncilin g th e p e rs o nal a nd c o lle ctiv e d iv id e in o ur
fie ld ” (p . 118 7).
In o ne o f th e fe w o th e r e m pir ic a l s tu die s o f s p ir it u alit y , C ourte nay a nd M ilt o n's (2 0 04) s a m ple o f a dult
educa to rs a nd le arn e rs id e ntif ie d th re e c o m po ne nts o f s p ir it u alit y : a s e nse o f c o nne cte dne ss, a s e arc h
fo r m eanin g, a nd a n a w are ne ss o f a tr a nsce nde nt fo rc e o r e ne rg y b e yo nd th e s e lf . A nd in a n
in te re stin g a ngle o n s p ir it u alit y , M cD onald (2 0 02) lo oke d a t th e r o le o f s p ir it u alit y in th e lif e a nd w ork o f
co m mit te d e nvir o nm enta lis ts . T en o f th e e ig hte en p artic ip ants e xp re sse d a p anth e is t v ie w in w hic h
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 eve ry th in g is a n e xp re ssio n o f th e “ v it a l fo rc e ” (p . 2 70 ). A ll e ig hte en w ere e ngage d in “ th e m akin g o f
sp ir it ” — th at is , “ th e a ctio ns a nd e xp e rie nce s th at b rin g s p ir it in to b e in g” (p . 2 6 9).
Alt h o ugh th e y a re n o t e m pir ic a lly b ase d, th e re a re s o m e h e lp fu l d is cu ssio ns in th e lit e ra tu re a bo ut th e
natu re o f s p ir it u alit y . L e m ko w (2 0 05, p . 2 4 ) c it e s D avid B ohm , a p hysic is t-p hilo so phe r: “ W hat is s p ir it ? T he
word is d e riv e d fr o m a L a tin w ord m eanin g ‘b re ath ’ o r ‘w in d’— lik e r e sp ir a tio n o r in sp ir a tio n. It is
su gge ste d b y th e tr e es m ovin g w it h th e in vis ib le fo rc e o f th e w in d. W e m ay th us th in k o f s p ir it a s a n
in vis ib le fo rc e — a lif e -g iv in g e sse nce th at m ove s u s d e eply , o r a s a s o urc e th at m ove s e ve ry th in g fr o m
wit h in .”
A n um be r o f w rit e rs c a ptu re th is n o tio n o f w in d, e ne rg y, o r m ove m ent a s c h ara cte ris tic o f s p ir it u alit y .
Fo ehr (19 97) s p e aks o f “
sp ir it u ally e m pow erin g fo rc e s
o r
energ ie s…
h avin g to d o w it h c re ativ it y ,
im agin atio n, in sp ir a tio n, in tu it io n, k in e sth e tic k n o w le dge , fe lt s e nse , p assio n fo r k n o w in g, th e a ha
exp e rie nce , a rc h e ty p al e ne rg y, a nd th e c o lle ctiv e u nco nscio us” (p p. 4 6-4 7; it a lic s in o rig in al) .
Usin g th e w ord
gra ce
in ste ad o f s p ir it u alit y , a nd s p e akin g o f it s p la ce in p e dago gy, G ra ve s (19 97) n o te s
it s tr a nsce nde nt n atu re a s w ell a s it s m ore c o m mon u nde rs ta ndin g a s “ h arm ony o f m ove m ent,
co ord in atio n, p o is e u nde r p re ssu re ” (p . 15 ). G ra ve s's n o tio n o f g ra ce is n o t tie d to a r e lig io us
pe rs p e ctiv e ; r a th e r, g ra ce , h e w rit e s, “ m ove s to it s o w n r h yth m , fo llo w s it s o w n a ge nda, a nd it is a lw ays
be yo nd o ur p o w er to c o ntr o l o r m anip ula te ” (p . 16 ). G ra ce h appe ns “ in th e o rd in ary e xp e rie nce s o f d aily
lif e … in e ve ry d ay r o utin e s a nd h abit s … in th e s m all jo ys a nd d is a ppo in tm ents o f lif e . M ore ove r, it s h o w s
up in th e m ost u nlik e ly p la ce s. G ra ce lu rk s a m ong th e v e ge ta ble s in th e s u pe rm ark e t. G ra ce s it s o n a
bar s to ol a nd s m oke s a c ig are tte . G ra ce r o am s th e c o rrid o rs o f a b ig c it y h o sp it a l. G ra ce is a lw ays th e re ,
eve ry w he re ; w e d o n't s e e it , b ut it c h ange s o ur liv e s w he n w e e xp e rie nce it ” (p . 16 ).
He r e co unts s e ve ra l s to rie s o f h o w g ra ce c a n tr a nsfo rm h um an c o nscio usn e ss, s u ch a s o ne s to ry o f a
te ach e r, w id o w ed w it h s m all c h ild re n, fe elin g d e pre sse d. U po n lo okin g o uts id e h e r c la ssro om w in do w
sh e s e es a r a bbit o n th e la w n b e lo w : “ S om eho w I r e aliz e d th at if th at r a bbit , w ho s e em ed s o fu ll o f
pe ace a nd s o m uch a p art o f n atu re , w ould b e a ll r ig ht th e n I w ould b e to o” (p . 17 ). G ra ve s g o es o n to
sa y th at w e d o n o t fin d g ra ce ; r a th e r, “
to b e fo und b y g ra ce
—we m ust liv e n o t o nly in th e im media te
mom ent b ut le t g o o f e go in vo lv e m ent in th at m om ent, fo r g ra ce c o m es in b y th e b ack d o or… . W hile th e
atte ntio n is e ls e w he re , g ra ce is a t w ork in th e u nco nscio us” (p . 16 ).
This n o tio n o f g ra ce a s s e re ndip it o us is e ch o ed in D ir k x's (2 0 01b ) u nde rs ta ndin g o f th e s o ul b e in g
acce sse d th ro ugh im age s. “ E m otio nally c h arg e d im age s,” h e w rit e s, “ a re n o t u nde r th e w illf u l c o ntr o l o f
th e e go .” R ath e r, th e y te nd to a ppe ar s p o nta ne ously d urin g th e le arn in g p ro ce ss. “ T he y a rriv e a s th e y
so c h o ose , a s a cts o f g ra ce ” (p . 6 9). D ra w in g fr o m J u ngia n p sych o lo gy, th e se im age s r e fle ct a rc h e ty p e s
fr o m th e c o lle ctiv e u nco nscio us. “ F ro m a n a rc h e ty p al p e rs p e ctiv e , to te ach in a dult o r h ig he r e duca tio n
se ttin gs is to p artic ip ate in a tim ele ss s to ry o r m yth ” (D ir k x, P ra tt, & T aylo r, 2 0 02, p . 9 5). S uch c o nscio us
partic ip atio n “ c a n h e lp u s c o nne ct in a m ore p ro fo und m anne r w it h th e a nim atin g fo rc e s o f o ur liv e s” (p .
95).
In r e la tin g g ra ce to p e dago gy, G ra ve s (19 97) d e lin e ate s s e ve ra l c h ara cte ris tic s o f g ra ce . F ir s t, it is
tr a nsfo rm in g
, a s in th e p re ce din g s to ry o f th e te ach e r. S eco nd, it is
healin g
; s tr e ss a nd a nge r, g rie f, th e
most im po ve ris h e d, c a n fin d h e alin g in m om ents o f g ra ce . T hir d , g ra ce
tr a nsce nds th e e go
. “ G ra ce
pro vid e s th e p e rs p e ctiv e to s e e o urs e lv e s in th e la rg e r c o nte xt, n o t ju st a s s tu de nts a nd te ach e rs b ut
as in div id uals c o nne cte d w it h e ach o th e r a nd w it h th e w orld b e yo nd o urs e lv e s” (p . 18 ).
Openin g th e
possib le
is th e fo urth c h ara cte ris tic . “ G ra ce c u ts th ro ugh th e b o undarie s o f c u lt u re , la nguage , r a ce ,
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 so cia l c la ss, e co no m ic le ve l, a ge , h andic a ps, in te llig e nce le ve l, g e ogra phy, a nd b ir th . G ra ce in te rru pts
th e e xp e cte d a nd c re ate s it s o w n c h anne l” (p . 19 ).
Poin tin g to w ard w hat is r ig ht
is th e fif th c h ara cte ris tic .
The m ora l a nd e th ic a l to ne o f g ra ce e ch o es o th e rs ’ w rit in gs. E nglis h , F e nw ic k, a nd P ars o ns (2 0 03, p . 3 )
fo r e xa m ple , w rit e th at “ th e m ost s tr a ig htfo rw ard w ay to p ro m ote a s p ir it u al d im ensio n in te ach in g a nd
le arn in g is to m ake a d e lib e ra te a tte m pt to th in k a nd a ct e th ic a lly ,” s im ply b e ca use “ e th ic a l c h o ic e s
im plic it ly in clu de a b asic r e co gnit io n o f th e p e rs o n a s s p ir it u al” (p . 4 ). G ra ce is a ls o a bo ut
enhancin g
cre ativ it y
, G ra ve s's s ix th c h ara cte ris tic . F in ally , g ra ce is
su rp ris in g
, it — “s h o w s u p in u ne xp e cte d p la ce s, in
co in cid e nce s th at p ro ve to b e e xtr a o rd in ary , a nd in s yn ch ro nis tic e ve nts ” (p . 19 ). It m ig ht b e r e ca lle d th at
su rp ris e is o ne o f T is d e ll's (2 0 03) s e ve n a ssu m ptio ns.
Giv e n th e n atu re o f s p ir it u alit y a s d e lin e ate d b y th e se a nd o th e r w rit e rs a nd r e se arc h e rs , it is n o t
su rp ris in g th at s tr a te gie s fo r e nhancin g o r fo ste rin g s p ir it u alit y , s o ul, o r g ra ce d urin g th e te ach in g-
le arn in g tr a nsa ctio n a re a bo ut m akin g s p ace fo r it to h appe n.
FO STER IN G S PIR IT U ALIT Y IN A D ULT L E A RN IN G
FO STER IN G S PIR IT U ALIT Y IN A D ULT L E A RN IN G
To th e e xte nt th at s p ir it u alit y is a bo ut m eanin g-m akin g, it c a n b e a rg ue d th at it h as a p la ce in a dult
le arn in g. U nfo rtu nate ly , fo rm al p ro gra m s o f a dult e duca tio n, lik e a ny o th e r in stit u tio naliz e d fo rm o f
le arn in g, s u ffe r fr o m “ o rd e r, h ie ra rc h ie s, g ra de s, te sts , a g lo rie d p ast, c o ntr o l, d e priv a tio n, r e m ote ne ss
of v a rio us k in ds, a nd w eig hty s e rio usn e ss” (M oore , 2 0 05, p . 13 ). F o r s p ir it u alit y o r m om ents o f g ra ce to
happe n, “ w eig hty s e rio usn e ss” m ust b e r e pla ce d w it h p la yfu ln e ss, o pe nne ss, c re ativ it y , a nd im agin atio n.
If , a s h o oks (19 94) w rit e s, “ w e b e lie ve th at o ur w ork is n o t m ere ly to s h are in fo rm atio n b ut to s h are in
th e in te lle ctu al a nd s p ir it u al g ro w th o f o ur s tu de nts ,” th e n w e m ust “ te ach in a m anne r th at r e sp e cts a nd
ca re s fo r th e s o uls o f o ur s tu de nts … [a nd] p ro vid e th e n e ce ssa ry c o ndit io ns w he re le arn in g c a n m ost
de eply a nd in tim ate ly b e gin ” (p . 13 ).
One o f th e “ n e ce ssa ry c o ndit io ns” id e ntif ie d b y s e ve ra l w rit e rs is th at th e in str u cto r m ust e xa m in e h e r
or h is o w n b io gra phy, a ckn o w le dgin g a nd “ p e rh aps r e co ncil[ in g] th e in flu e nce o f o ur r e lig io us
upbrin gin g o n o ur c u rre nt s p ir it u al p re fe re nce s a nd r e sis ta nce s” (F e nw ic k, E nglis h , & P ars o ns, 2 0 01, p .
6). T hat o ur o w n s p ir it u al o r r e lig io us b io gra phy h as a n im pact is u nde rs co re d in T is d e ll's s tu dy o f th ir ty -
one e duca to rs . S he fo und th at w hile o nly s ix p ra ctic e d in th e ir c h ild ho od r e lig io us tr a dit io ns, a ll
“c o ntin ually s p ir a le d b ack a nd r e cla im ed im age s, s ym bo ls , m usic th at s till h ad im po rta nt m eanin g fo r
th e m fr o m th e ir c h ild ho od r e lig io us tr a dit io ns” a nd th at th e se “ o fte n c o nne cte d to th e ir c u lt u ra l
backg ro unds” (2 0 05c, ¶ 12 ).
Fo r m om ents o f s p ir it u al le arn in g to o ccu r th e re m ust b e s p ace in th e le arn in g e nvir o nm ent. S uch a
sp ace is s a fe , s u ppo rtiv e , o pe n, “ s a cre d.” V ella (2 0 00) o utlin e s th re e a sp e cts o f a s a cre d s p ace —
dia lo gue , r e sp e ct, a nd a cco unta bilit y . A s a cre d s p ace a llo w s fo r d ia lo gue w he re o ne lis te ns to o th e rs ’
exp e rie nce s w it h o ut ju dgm ent. T he te ach e r is a cco unta ble fo r d e sig nin g a le arn in g e xp e rie nce th at
bo th s u ppo rts a nd c h alle nge s th e le arn e rs . W e a re a cco unta ble “ to m ake th e b e st p la ns p o ssib le ,” b ut
at th e s a m e tim e w e m ust “ b e r e ady to a bando n th e m ” (G ra ve s, 19 97, p . 2 0 ). A s G ra ve s o bse rv e s, “ If
gra ce e ve r c o m es in to p e dago gy, it w ill b e th e re n o t b e ca use it w as p la nne d b ut b e ca use th e
co ndit io ns w ere r ig ht a nd b e ca use s o m e s e nsit iv e s o ul h ad th e w is d o m n o t to th w art it ” (p . 2 0 ). T he
sp o nta ne ous a nd flu id n atu re o f s p ir it u alit y r e quir e s s p ace w he re it c a n h appe n. A n o ve rly p ro gra m med,
in fo rm atio n d is se m in atio n-d riv e n c la ssro om le ave s n o s p ace fo r s ig nif ic a nt, in de ed, s p ir it u al, le arn in g to
occu r.
A n um be r o f w rit e rs u nde rs co re th e im po rta nce o f a llo w in g fo r d ia lo gue . E nglis h (2 0 00) d e fin e s
dia lo gue a s “ th e in te rp e rs o nal c o nne ctio ns a nd in te rc h ange s a m ong p e ople th at e nco ura ge a nd
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 pro m ote th e ir s p ir it u al d e ve lo pm ent… . D ia lo gue … r e co gniz e [s ] th e o th e r a s a n e xte nsio n o f o ne 's s e lf ”
(p . 3 4 ). It is a ls o th ro ugh d ia lo gue th at a s e nse o f c o m munit y c a n b e e ffe cte d. It m ig ht b e r e ca lle d th at
“c o nne ctio n” is o ne o f th e c o m po ne nts o f s p ir it u alit y . A c o m munit y o f le arn in g is p e ople -c e nte re d, a nd
th ro ugh d ia lo gue , d is cu ssio n, a nd s h arin g, le arn e rs h ave th e o ppo rtu nit y to c o nne ct w it h o th e rs , w it h
th e ir in ne r, s p ir it u al s e lv e s, a nd p e rh aps w it h a fo rc e o r e ne rg y b e yo nd th e s e lf . T his is n o t to ig no re th e
dif fic u lt ie s in c re atin g c o m munit y in th e c la ssro om , e sp e cia lly in o ne th at is c u lt u ra lly d iv e rs e (H art &
Holt o n, 19 93; T is d e ll, 2 0 03).
Mento rin g is a n a ctiv it y th at c a n p ro m ote s p ir it u al d e ve lo pm ent. D alo z's (19 99) c o nce pt o f th e m ento r a s
a g uid e to th e h o lis tic d e ve lo pm ent o f th e m ente e s p e aks o f th e p ro ce ss a s a jo urn e y. T he r e la tio nsh ip
is a ls o r e cip ro ca l a nd n urtu rin g o f b o th th e m ento r a nd m ente e. E nglis h , F e nw ic k, a nd P ars o ns (2 0 03)
po sit io n m ento rin g a nd c o ach in g in a dult e duca tio n a nd h um an r e so urc e d e ve lo pm ent s e ttin gs. T he y
are c a re fu l to p o in t o ut th at th is a ctiv it y “ is n o t a bo ut in cre asin g th e b o tto m lin e . It is a bo ut r e la tio nsh ip ,
su ppo rt, a nd in cre asin g th e h um an s p ir it ” (p . 9 3). T hat is n o t to s a y th at th e p o w er d yn am ic s o f s u ch a
re la tio nsh ip b e ig no re d; r a th e r, it is a s ta nce o r r e ve re nce in w hic h “ th e s p ir it u alit y o f th e r e la tio nsh ip is
th e r e cip ro cit y th at c o nstit u te s th e r e la tio nsh ip ” (p . 9 5).
In a ddit io n to e xa m in in g o ne 's o w n s ta nce , c re atin g s p ace , a nd m ento rin g, o ne c a n fo ste r s p ir it u alit y
th ro ugh th e u se o f c re ativ e a nd im agin ativ e a ctiv it ie s s u ch a s v is u aliz a tio n, s to ry te llin g, a nd th e u se o f
lit e ra tu re , p o etr y , a rt, a nd m usic . T he se a ctiv it ie s c a n a ssis t u s in lo okin g fo r “ c o nne ctio ns in u nlik e ly
pla ce s, b e tw een a ppare ntly u nco nne cte d a nd d is p ara te id e as a nd e xp e rie nce s” (M acK e ra ch e r, 19 96, p .
17 9 ). D ir k x (2 0 01b ) s p e aks o f th e se te ch niq ue s a s th e
im agin al m eth od:
Jo urn al w rit in g, lit e ra tu re , p oetry , a rt, m ovie s, s to ry -te llin g, d ance , a nd r it u al a re s p ecif ic m eth ods t h at c a n b e
use d t o h elp f o ste r t h e lif e o f t h e im age in o ur r e la tio nsh ip s w it h a dult le arn ers . B y a ppro ach in g e m otio nally
ch arg ed e xp erie nce s im agin ativ e ly r a th er t h an m ere ly c o nce ptu ally , le arn ers lo ca te a nd c o nstru ct, t h ro ugh
endurin g m yth olo gic a l m otif s , t h em es, a nd im ages, d eep m eanin g, v a lu e, a nd q ualit y in t h e r e la tio nsh ip
betw een t h e t e xt a nd t h eir o w n lif e e xp erie nce s. [p . 7 0 ]
Im agin atio n, a nd m ore s p e cif ic a lly c u lt u ra l im agin atio n, is th e fo cu s o f T is d e ll's (2 0 05c) w ork in lin kin g
sp ir it u alit y w it h d iv e rs it y a nd m ult ic u lt u ra l is su e s in to day's h ig he r e duca tio n c la ssro om . Im agin atio n is a
meanin g-m akin g a ctiv it y in th at w e p ut to ge th e r in sig hts , im age s, s ym bo ls , a nd id e as in n e w w ays s o th at
ne w m eanin g is r e ve ale d. T is d e ll m ain ta in s th at th is im agin ativ e a ctiv it y c a nno t b e s e para te d fr o m th e
pe rs o n's c u lt u ra l c o nte xt a nd h is to ry . W he n im agin atio n, w hic h “ h e lp s p e ople to s e e fr o m m ult ip le
pe rs p e ctiv e s, to v is u aliz e n e w p o ssib ilit ie s, a nd p o te ntia lly to c re ate s o m eth in g n e w ” in vo lv e s “ c u lt u ra l
sto rie s, h is to rie s, a nd is su e s, it e ngage s c u lt u ra l im agin atio n” (¶ 5 0 ). U sin g te ach in g s tr a te gie s th at c ro ss
cu lt u ra l b o rd e rs s u ch a s “ s e rv ic e le arn in g o ppo rtu nit ie s, e ngage d d ia lo gue a bo ut c u rre nt is su e s, a nd
pro ble m -p o sin g te ch niq ue s” a lo ng w it h th e c u lt u ra l im agin atio n (s u ch a s s h arin g p e rs o nal c u lt u ra l
sym bo ls w it h o th e rs ) c a n b rin g a bo ut tr a nsfo rm atio n. “ Im age , s ym bo l, m usic , r it u al, a rt, p o etr y , o fte n
to uch o ff m em ory in c o nscio us a nd u nco nscio us w ays, w hic h s o m etim es c o nne cts to s p ir it u alit y … . O ne
ca n c o m bin e th e se w ays o f k n o w in g th at a re p art o f c u lt u ra l im agin atio n, w it h th e in te lle ctu al a nd c rit ic a l
analy sis a sp e cts o f h ig he r e duca tio n to fa cilit a te g re ate r s tu de nt le arn in g a nd g re ate r e quit y in s o cie ty ”
(a bstr a ct).
Any s u m mary o f th e r o le o f s p ir it u alit y in le arn in g w ould b e o nly a p artia l v ie w g iv e n th e a rra y o f
unde rs ta ndin gs, d e fin it io ns, a nd c o nce ptu aliz a tio ns o f th e p he no m eno n. S pir it u alit y is , b y it s v e ry n atu re ,
dif fic u lt to c a ptu re in th e r a tio nal p ro se o f a ca de m ia . H ow eve r, g iv e n th at th is d im ensio n o f o ur
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 exp e rie nce d e als w it h m eanin g-m akin g, it is a n a ppro pria te to pic to c o nsid e r b e ca use m ost s ig nif ic a nt
adult le arn in g is a bo ut m eanin g-m akin g. W hate ve r la be l o ne p re fe rs , s p ir it u alit y a nd th e c re ativ e a nd
im agin ativ e te ch niq ue s fo r e lic it in g it s p re se nce h ave a r o le to p la y in a m ore c o m ple te u nde rs ta ndin g
of a dult le arn in g. H ow eve r, w hat e xa ctly th at r o le is is o pe n to q ue stio n. W hile w e h ave d e fin it io ns o f
sp ir it u alit y a nd c o ndit io ns th at m ig ht e lic it it in a n in str u ctio nal s e ttin g, w hat w e d o n o t y e t h ave is a n
unde rs ta ndin g o f o r th e ore tic a l m ode ls o f
sp ir it u al le arn in g
a s w e d o , fo r e xa m ple , w it h s e lf -d ir e cte d
le arn in g o r tr a nsfo rm atio nal le arn in g. C ourte nay (p e rs o nal c o m munic a tio n, J u ne 13 , 2 0 05) s p e cu la te s
th at if w e a ssu m e s p ir it u al le arn in g is a bo ut m eanin g-m akin g, th e n:
What d oes t h at m ean? A m I a ble t o m ake m eanin g b ette r b eca use I u se s p ir it u alit y in s o m e w ay? Y es, O K,
th en in w hat w ay? N otic e I d id n't a sk “ u se s p ir it u al le arn in g” in s o m e w ay, b eca use I d on't k now w hat
sp ir it u al le arn in g m eans, n or h ave I s e en a n a cce pta ble d efin it io n in t h e lit e ra tu re . S ta yin g w it h m eanin g-
makin g f u rth er, w ould it b e e asie r t o e xp la in t h e lin k b etw een s p ir it u alit y a nd m eanin g-m akin g if w e p ro vid ed
th e o pportu nit y f o r in stru cto rs a nd le arn ers t o a sk a nd d is cu ss t h e f u ndam enta l q uestio ns t h at a ll o f u s h ave
about t h e m eanin g o f lif e ? W hy a re w e h ere ? W hat a re w e t o d o w hile w e a re h ere ? Is t h is a ll t h ere is a nd
what a re t h e im plic a tio ns o f m y a nsw er t o t h is q uestio n? W hat d o I v a lu e a nd w hy? W hat is n on-n egotia ble in
my lif e a nd w hy? … F urth er is su es— when m eanin g m akin g is f a cilit a te d b y s p ir it u alit y , h ow is it m anif e ste d?
How m ig ht it o ccu r in a n a dult e duca tio n c la ssro om ?
The se a nd o th e r q ue stio ns w ill, w e h o pe , s h ape fu tu re r e se arc h a nd th e ory b uild in g in th is a re a.
NARRA TIV E L E A RN IN G
At th e c lo se o f 2 0 04, w hile p e ople w ere v a ca tio nin g in T haila nd, fis h in g in a c o asta l v illa ge o f In dia , o r
ju st r e la xin g in th at lu ll b e tw een C hris tm as a nd N ew Y ear's , a n e arth quake -c a use d tid al w ave o f d e ath
and d e str u ctio n e ngulf e d s o uth e ast A sia . W hat w as im po ssib le to g ra sp w as m ade h um an th ro ugh th e
sto rie s
o f in div id uals — sto rie s o f h o w th e y fa ce d th e n r a n fr o m th e ts u nam i, o f a v illa ge le ve le d, o f fa m ily
mem be rs b e in g s e para te d, s o m e n e ve r fo und, o f film in g th e w all o f w ate r fr o m a h o te l r o ofto p. O nly
th ro ugh th e se s to rie s c o uld w e m ake s o m e s e nse o f w hat h ad h appe ne d.
Narra tiv e s a re s to rie s, “ th e o ld e st a nd m ost n atu ra l fo rm o f s e nse m akin g” (J o nasse n & H ern ande z-
Serra no , 2 0 02, p . 6 6), a nd th e y h ave a p la ce in a dult le arn in g b e ca use s to rie s e nable u s to m ake
meanin g o f o ur liv e s. T he v ig ne tte p re se nte d e arlie r in th is c h apte r o n tu rn in g s ix ty d urin g a s ta y a t a
Buddhis t te m ple w as a
sto ry
u se d to illu str a te s p ir it u al le arn in g. A nd lik e e m bo die d a nd s p ir it u al le arn in g,
narra tiv e le arn in g is fir m ly lo dge d in w hat m ay b e c a lle d th e n o nscie ntif ic . D ra w in g fr o m B ru ne r (19 86 ),
Rossit e r (2 0 05) s u m s u p th e d if fe re nce b e tw een s cie ntif ic a nd n arra tiv e k n o w in g: “ N arra tiv e k n o w in g …
is c o nce rn e d m ore w it h h um an m eanin g th an w it h d is cre te fa cts , m ore w it h c o he re nce th an w it h lo gic ,
more w it h s e que nce s th an w it h c a te go rie s, a nd m ore w it h u nde rs ta ndin g th an w it h p re dic ta bilit y a nd
co ntr o l” (p . 4 19 ).
We n o t o nly v ie w o ur o w n liv e s a s n arra tiv e s b ut a re s u rro unde d b y a nd e m be dde d in n arra tiv e s. W e
watc h n e w s s to rie s o n te le vis io n, te ll s to rie s o f o ur d ay a t s ch o ol o r w ork , p e rh aps w rit e th e s to ry o f o ur
day in o ur d ia ry . R ossit e r a nd C la rk (in p re ss) o rg aniz e th e se s u rro undin g n arra tiv e s in to fo ur ty p e s
— cu lt u ra l, fa m ilia l, in div id ual
(K e en & V alle y-F o x, 19 89 ), a nd
org aniz a tio nal
(N euhause r, 19 93).
Cult u ra l n arra tiv e s o r m yth s a re th o se th at d e fin e th e s o cio -c u lt u ra l m ilie u in w hic h w e liv e ; th e y fo rm th e
ta ke n-fo r-g ra nte d a ssu m ptio ns o n w hic h w e liv e o ur liv e s in th e w ay th at w e d o . T he c u lt u ra l n arra tiv e “ is
dif fic u lt to r e co gniz e — to n o tic e a nd r e fle ct u po n— be ca use w e'r e im mers e d in it . It is a s in vis ib le to u s a s
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 th e a ir w e b re ath e ” (R ossit e r & C la rk , in p re ss, p . 2 4 o f m s.) . In th e U nit e d S ta te s, th e in div id ual b e in g
re sp o nsib le fo r h is o r h e r o w n s u cce ss, th e r ig ht to m ate ria l w ealt h , th e U nit e d S ta te s a s s u pe rp o w er,
and s o o n, a re p arts o f o ur c u lt u ra l n arra tiv e b ut s o e m be dde d th at w e r a re ly r e co gniz e th e m a s s u ch .
Som etim es it ta ke s a c a ta str o phic e ve nt to e xp o se th e se n arra tiv e s. F o r e xa m ple , th e a uth o rit ie s’ la ck
of p re pare dne ss a nd H urric a ne K atr in a's d e va sta tio n o f th e c it y o f N ew O rle ans c h alle nge d th e c u lt u ra l
narra tiv e o f th e U nit e d S ta te s b e in g a ll- p o w erfu l a nd in c o ntr o l. F a m ily n arra tiv e s e m bra ce c e rta in v a lu e s
and b e lie fs , c u sto m s, r o le s, a nd r it u als . “ W ho a re th e h e ro es o f th e fa m ily , w ho se s to rie s a re to ld w it h
prid e a cro ss th e y e ars ? A nd w ho a re th e v illa in s, th e b la ck s h e ep, w ho se c rim es … [a re ] o nly s u gge ste d
or w his p e re d?” (p . 2 6 o f m s.) . In div id ual n arra tiv e s a re h o w w e s to ry o ur o w n liv e s.
Fin ally , “ ju st a s c u lt u re s, fa m ilie s a nd in div id uals h ave n arra tiv e s, s o d o o rg aniz a tio ns, a nd o rg aniz a tio nal
narra tiv e s e xp re ss a nd c re ate th e lo re o f th e o rg aniz a tio n a s in c u lt u re s a nd fa m ilie s” (R ossit e r & C la rk ,
in p re ss, p . 3 0 o f m s.) . In a dult e duca tio n, th e se n arra tiv e s c a n b e e xa m in e d, r e fle cte d u po n, c h alle nge d,
and e ve n r e vis e d. In te re stin gly , th e fie ld o f a dult e duca tio n it s e lf is in vo lv e d in c o nstr u ctin g a n arra tiv e o f
it s id e ntit y : “ A re w e h e ro es e ngage d in th e e m ancip atio n o f th e o ppre sse d? … A re w e to ur g uid e s in th e
busin e ss o f a ctu aliz in g th e h um an p o te ntia l o f p e ople w ho h ave le is u re tim e? A re w e e ntr e pre ne urs
who s e ll jo b tr a in in g in a c o m pe tit iv e m ark e tp la ce ? A re w e a ll o f th o se c h ara cte rs ?” (p . 3 3 o f m s.) .
LE A RN IN G T H RO UGH N ARRATIV E
LE A RN IN G T H RO UGH N ARRATIV E
The u se o f n arra tiv e s is c o m mon in n um ero us d is cip lin e s, s u ch a s p sych o lo gy a nd lit e ra tu re , a nd fie ld s
of p ra ctic e , lik e m edic in e , la w , s o cia l w ork , a nd m ore r e ce ntly , e duca tio n (H opkin s, 19 94). A lt h o ugh it h as
only b e en s in ce th e 19 90s th at n arra tiv e le arn in g h as r e ce iv e d s o m e a tte ntio n in a dult e duca tio n, th e
fie ld 's h is to ric a l r e co gnit io n o f th e im po rta nce o f e xp e rie nce in le arn in g, a s w ell a s le arn in g a s a
meanin g-m akin g a ctiv it y , h ave m ade fo r th e r e ady a cce pta nce o f n arra tiv e a s le arn in g. S pe akin g o f
jo urn als , a fo rm o f n arra tiv e , K e rk a (2 0 02, p . 1) w rit e s th at “ a jo urn al is a c ru cib le fo r p ro ce ssin g th e r a w
mate ria l o f e xp e rie nce in o rd e r to in te gra te it w it h e xis tin g k n o w le dge a nd c re ate n e w m eanin g.”
Narra tiv e s c a n ta ke a n um be r o f fo rm s, e ach u se fu l a s a v e hic le fo r le arn in g. R ossit e r (2 0 05) a nd
Rossit e r a nd C la rk (in p re ss) id e ntif y th re e w ays in w hic h s to rie s a ppe ar in p ra ctic e : “ s to ry in g” th e
cu rric u lu m , s to ry te llin g, a nd a uto bio gra phy. In th e fir s t, th e c u rric u lu m o r th e te xt o f a c o urs e is tr e ate d a s
a s to ry a nd s tu de nts in te ra ct w it h th e se te xts to c o m e to s o m e u nde rs ta ndin g o r in te rp re ta tio n o f th e
su bje ct m atte r. F o r e xa m ple , in a g ra duate r e se arc h s e m in ar o n th e d e ve lo pm ent o f th e k n o w le dge
base o f a dult e duca tio n, M erria m m ade u se o f r e se arc h jo urn als d atin g b ack to th e 19 30 s, p e rio dic
re vie w s o f r e se arc h , a nd h is to ric a l lit e ra tu re o n th e fo undin g o f p ro fe ssio nal a sso cia tio ns a nd g ra duate
pro gra m s in a dult e duca tio n. T he se m ate ria ls w ere r e ad a nd e xa m in e d w it h th e g o al o f te llin g a s to ry
(n o t n e ce ssa rily
th e
s to ry ) a bo ut h o w th e k n o w le dge b ase o f a dult e duca tio n h as c o m e to b e
co nstr u cte d a s it h as. E ach s tu de nt w as a ske d to in te rp re t th e se m ate ria ls a nd to w rit e a p ape r (a s to ry )
abo ut th e d e ve lo pm ent o f th e k n o w le dge b ase .
This s to ry in g o f th e c u rric u lu m is in it s e lf a le arn in g p ro ce ss. C la rk (p e rs o nal c o m munic a tio n, J u ly 3 0 ,
20 05) e xp la in s th is le arn in g: “ W he n w e a re le arn in g s o m eth in g n e w , w e'r e tr y in g to m ake s e nse o f it , to
fig ure o ut it s in te rn al lo gic a nd h o w it 's r e la te d to w hat w e a lr e ady k n o w . W e d o th is b y n arra tin g it , o r
tr y in g to — th at is , w e w ork to s to ry it , to m ake th is n e w id e a c o he re nt to o urs e lv e s… . T he c o nstr u ctio n o f
th at n arra tiv e is h o w w e s e e o ur u nde rs ta ndin g c o m e to ge th e r a nd m ake s e nse …. T he n arra tiv iz in g o f
our u nde rs ta ndin g is h o w w e m ake o ur le arn in g v is ib le to o urs e lv e s, if o nly in o ur h e ads.”
A s e co nd fo rm o f n arra tiv e , s to ry te llin g, in v a rio us fo rm s— su ch a s fic tio n (B aum gartn e r & M erria m , 19 99),
ca se s tu die s, e xe m pla rs fr o m p ra ctic e , r o le -p la yin g, o r c rit ic a l in cid e nts — is a c o m mon m eans o f
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 engagin g s tu de nts in u nde rs ta ndin g c o nce pts , p rin cip le s, o r th e orie s. J o nasse n a nd H ern ande z-S erra no
(2 0 02) a rg ue th at s to rie s in th e fo rm o f c a se s a re a g o od in str u ctio nal te ch niq ue to te ach p ro ble m
so lv in g. T he y c it e a n um be r o f s tu die s w it h p ra ctit io ne rs w ho u nde rs to od th e ir p ra ctic e n o t fr o m a
te ch nic a l o r r a tio nal p e rs p e ctiv e b ut r a th e r th ro ugh s to rie s a nd e xa m ple s fr o m e xp e rie nce . T he se
sto rie s o f p ast e xp e rie nce w ere w hat g uid e d fu tu re a ctio n. If p ra ctit io ne rs in r e al- lif e s it u atio ns s o lv e ill-
str u ctu re d p ro ble m s th ro ugh n arra tiv e s, s to rie s, o r c a se s, th e n “ s to rie s c a n fu nctio n a s a s u bstit u te fo r
dir e ct e xp e rie nce , w hic h n o vic e p ro ble m s o lv e rs d o n o t p o sse ss. S uppo rtin g le arn in g w it h s to rie s c a n
he lp s tu de nts to g ain e xp e rie nce v ic a rio usly ” (p . 6 9).
Usin g s to rie s to e ngage s tu de nts in id e as th at a re p art o f c o urs e c o nte nt m ay b e th e o nly w ay to a llo w
unde rs ta ndin g to o ccu r. It is a ls o a p o w erfu l m eans o f m akin g c o nne ctio ns n o t o nly w it h id e as b ut w it h
oth e r le arn e rs , p e rh aps u lt im ate ly c re atin g a le arn in g c o m munit y . W he th e r th e se s to rie s a re g e ne ra te d
by s tu de nts th e m se lv e s, a re c a se s tu die s, o r a re fic tio nal a cco unts , th e y d ra w u s in , th e y a llo w u s to s e e
fr o m a no th e r's p e rs p e ctiv e . In to day's m ult i- c u lt u ra l c la ssro om s w e c a nno t a ssu m e th e r e st o f th e w orld
se es th in gs th e w ay w e d o . “ T he a uth e ntic it y a nd im media cy o f a s to ry o f liv e d e xp e rie nce ta ke s u s in to
th e e xp e rie nce o f a no th e r. In th at w ay it d e epe ns a nd e xp ands o ur c a pacit y fo r ta kin g th e p e rs p e ctiv e
of a no th e r. In s h o rt, lif e s to ry s h arin g r e duce s r e sis ta nce to n e w o r d if fe re nt p o in ts o f v ie w a nd s e rv e s
to b ro ade n th e p e rs p e ctiv e s o f a ll p artic ip ants ” (R ossit e r & C la rk , in p re ss, p . 10 7 o f m s.) .
The th ir d fo rm o f n arra tiv e , a uto bio gra phie s, a re b y th e s e lf a nd a bo ut th e s e lf a nd c a n in clu de
jo urn alin g, d re am lo gs, th e ra py, b lo gs, a nd w hat D om in ic e (2 0 00) c a lls “ e duca tio nal b io gra phy.” H um an
be in gs h ave k e pt r e co rd s o f th e ir liv e s fo r c e ntu rie s. S om e o f th e se s e lf -a uth o re d s to rie s h ave b e co m e
fa m ous, s u ch a s S t. A ugustin e 's
Confe ssio ns
, o r
The D ia ry o f A nne F ra nk
. O th e rs , th o ugh n o t b y fa m ous
pe ople , h ave p ro ve d e no rm ously h e lp fu l to h is to ria ns w ho w ant to te ll th e s to ry o f s o m e p ast tim e o r
eve nt. S la ve n arra tiv e s, im mig ra nt jo urn als , a nd m em oir s o f p ris o ne rs in N azi c o nce ntr a tio n c a m ps a re
exa m ple s o f s u ch h is to ric a l n arra tiv e s. B lo gs a re th e m ost r e ce nt fo rm . A b lo g is a W eb s it e w he re “ y o u
writ e s tu ff o n a n o ngo in g b asis .” A b lo g ta ke s a ny n um be r o f fo rm s; it c a n b e “ a p e rs o nal d ia ry . A d aily
pulp it . A c o lla bo ra tiv e s p ace . A p o lit ic a l s o apbo x. A b re akin g-n e w s o utle t. A c o lle ctio n o f lin ks. Y our o w n
priv a te th o ughts ” (
http :/ /w ww.b lo gge r.c o m /s ta rt
).
An e arly a ppro ach to o ne fo rm o f a uto bio gra phic a l m eth o ds— jo urn alin g— be gan in th e w ell- k n o w n
in te nsiv e w ork sh o ps o f th e 19 70 s b y P ro go ff (19 75). In th e se w ork sh o ps, w hic h a re s till h e ld to day,
jo urn alin g is u se d to fo ste r th e p artic ip ant's p o te ntia l fo r g ro w th a nd d e ve lo pm ent. In de ed, r e se arc h
su gge sts th e re a re a n um be r o f b e ne fit s in w rit in g to th e s e lf a nd a bo ut th e s e lf . B ra dy a nd S ky (2 0 03)
stu die d fif te en o ld e r le arn e rs w ho k e pt a jo urn al c u rre ntly a nd h ad d o ne s o fo r a t le ast th re e y e ars .
In te re stin gly , p artic ip ants k e pt jo urn als n o t a s a lif e lo ng a ctiv it y b ut r a th e r a s a s p o ra dic a ctiv it y , w hic h
would b e r e ig nit e d b y s o m e c rit ic a l lif e e ve nt, s u ch a s illn e ss, d e ath , fa m ily p ro ble m s, a nd s o o n. T he se
partic ip ants s p o ke o f th re e b e ne fit s to jo urn al w rit in g. F ir s t, th e y d e scrib e d it a s a m eans o f c o pin g w it h
th e ir d ay-to -d ay liv e s, in clu din g w it h d e cis io ns, w it h r e la tio nsh ip is su e s, a nd “ a s a n a ntid o te to fa ilin g
mem ory ” (p . 15 9 ). A s e co nd b e ne fit th e r e se arc h e rs te rm ed “ th e jo y o f d is co ve ry ,” m eanin g th at jo urn als
were “ a s o rt o f m ile sto ne fo r m easu rin g o ne 's o w n p ro gre ss in th e jo urn e y o f h um an d e ve lo pm ent” (p .
15 9 ). F in ally , jo urn alin g a llo w ed fo r th e n urtu rin g o f o ne 's v o ic e a nd s p ir it ; th at is , jo urn alin g c o nfir m ed
th at th e y h ad “ s o m eth in g m eanin gfu l to s a y” (p . 16 0), a nd it a llo w ed fo r c o nte m pla tio n a nd s o m etim es
th e r e aliz a tio n o f a n e w le ve l o f s p ir it u al c o nscio usn e ss.
Alt h o ugh th e b e ne fit s o f jo urn alin g fo r B ra dy a nd S ky's o ld e r a dult le arn e rs m ig ht b e p artia lly e xp la in e d
by th e ir lif e s ta ge , th e ir fin din gs h ave s im ila rit ie s w it h th o se o f o th e r s tu die s. W ie ne r a nd R ose nw ald
(19 93) in te rv ie w ed tw elv e p e ople b e tw een e ig hte en a nd fif ty y e ars o f a ge to id e ntif y th e s u bje ctiv e
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 utilit y o f k e epin g a d ia ry , a m ore s tr u ctu re d fo rm o f jo urn alin g. O ne b e ne fit w as in e sta blis h in g a nd
main ta in in g b o undarie s a m ong d if fe re nt s e nse s o f th e s e lf , a nd d if fe re nt e m otio ns a nd e xp e rie nce s.
Lik e B ra dy a nd S ky, th e r e se arc h e rs in th is s tu dy w ere s u rp ris e d to le arn th at m ost p artic ip ants k e pt
mult ip le d ia rie s. P artic ip ants k e pt s e para te jo urn als fo r fa m ily m atte rs , e m otio nal w rit in g, tr a ve l, d aily
eve nts , a nd s o o n. W hile o ne b e ne fit w as m ain ta in in g b o undarie s o f th e s e lf , a no th e r s e em in gly
oppo sit e b e ne fit w as d is so lv in g b o undarie s. P artic ip ants r e po rte d u sin g d ia rie s “ to a llo w r e pre sse d
mate ria l to s u rfa ce ” (p . 4 2) a nd to b rin g to th e fo re v a ry in g a sp e cts o f th e s e lf .
Thre e o th e r b e ne fit s u nco ve re d b y W ie ne r a nd R ose nw ald (19 93) a re th at d ia rie s h e lp m anage
em otio ns, m anage tim e (a d ia ris t c a n p re se rv e th e p ast, o r c o nde nse p ast a nd p re se nt), a nd fu nctio n a s
“th e s e lf in a m ir ro r” (p . 4 3). B y th is la st th e a uth o rs m ean th at a d ia ry c a n b e lik e lo okin g in to a m ir ro r
—“d e fin in g th e s e lf b y o bje ctiv a tin g a nd th e n o bse rv in g it ” (p . 4 5).
Jo urn al w rit in g, w he th e r it is a bo ut th e s e lf o r a bo ut o ne 's le arn in g, h as b e en a dvo ca te d a s a to ol fo r
adult le arn in g, e sp e cia lly if th e le arn e r is a ske d to
re fle ct
o n th e d ay's (o r c la ss's ) e ve nts a nd a ctiv it ie s.
Ke rk a (2 0 00, p . 1) o ffe rs a s e t o f a ssu m ptio ns a bo ut h o w th is le arn in g o ccu rs :
Artic u la tin g c o nne ctio ns b e tw een n e w a nd e xis tin g k n o w le dge im pro ve s le arn in g.
Writ in g a bo ut le arn in g is a w ay o f d e m onstr a tin g w hat h as b e en le arn e d.
Jo urn al w rit in g a cce ntu ate s fa vo ra ble le arn in g c o ndit io ns— it d e m ands tim e a nd s p ace fo r
re fle ctio n, e nco ura ge s in de pe nde nt th o ught a nd o w ne rs h ip , e nable s e xp re ssio n o f fe elin gs, a nd
pro vid e s a p la ce to w ork w it h ill- s tr u ctu re d p ro ble m s.
Refle ctio n e nco ura ge s d e ep r a th e r th an s u rfa ce le arn in g.
Conne ctio ns a nd r e fle ctio n a re tw o a sp e cts o f le arn in g th at a re a ls o p re se nt in th e c o nstr u ctio n o f
auto bio gra phic a l s to rie s a nd e duca tio nal b io gra phie s. A uto bio gra phic a l w rit in g r e quir e s a b it m ore
dis ta nce fr o m th e s e lf th an d o es jo urn al w rit in g. “ B eca use a uto bio gra phy in vo lv e s n o t o nly r e co untin g
mem orie s a nd e xp re ssio ns b ut a ls o fin din g th e ir la rg e r m eanin g, a nd to th e e xte nt th at th e a ctiv it y
exp ands th e in div id ual's k n o w le dge o f s e lf a nd th e w orld , it c o nstit u te s le arn in g” (K arp ia k, 2 0 00, p . 3 4 ). It
is in a uto bio gra phy th at w e c a n id e ntif y “ p atte rn s a nd m eanin g in o ur lif e , p e rh aps e ve n b uild in g a
th e ory o f o ur lif e , o r o f lif e in g e ne ra l. H avin g s te ppe d b ack a nd r e fle cte d, w e k n o w s o m eth in g n o w th at
we d id n o t k n o w b e fo re ” (p . 3 4 ). K arp ia k (2 0 00) m ain ta in s th at a uto bio gra phie s a re a p artic u la rly p o te nt
in str u ctio nal a ctiv it y , e sp e cia lly fo r c o urs e s in a dult le arn in g a nd a dult d e ve lo pm ent. A s o ne s tu de nt s h e
in te rv ie w ed s a id , “ A uto bio gra phy h e lp s a n in div id ual fin d h o w th e c o urs e m ate ria l fit s in to th e ir lif e , a s
oppo se d to h avin g th e in str u cto r d o it fo r y o u” (p . 4 1). A no th e r s tu de nt s a id th at in w rit in g h e r
auto bio gra phy, th e c o nce pt o f lif e lo ng le arn in g, w hic h h ad p re vio usly b e en ju st a “ b uzz w ord ,” n o w h ad
meanin g. S he c o uld “ s e e th at in o ne 's lif e e ach m om ent is a le arn in g e xp e rie nce …. T hat a ctu al liv in g
was le arn in g” (p . 4 2).
Fo cu sin g o n o ne 's e duca tio nal h is to ry o r h o w o ne h as c o m e to k n o w w hat o ne k n o w s is w hat D om in ic e
(2 0 00) c a lls
educa tio nal b io gra phy
. H e h as d e ve lo pe d th is te ch niq ue in to a tw o-s e m este r s tu de nt
exp e rie nce o f o ra l a nd w rit te n n arra tiv e s in vo lv in g in div id ual a nd c o lla bo ra tiv e le arn in g. T hro ugh th e se
bio gra phie s s tu de nts s e e h o w fa m ily , s ch o olin g, a nd th e s o cio cu lt u ra l e nvir o nm ent h ave h e lp e d th e m
co nstr u ct th e ir id e ntit ie s a s a dult le arn e rs . “ L o okin g a t th e p ast, c h e ckin g r o ots , a nd g iv in g n am es to
exp e rie ntia l le arn in g h e lp a dult s c la rif y th e fu tu re th e y w ant to b uild ” (D om in ic e , 2 0 00, p . 14 3).
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 NARRATIV E L E A RN IN G, A D ULT D EV ELO PM EN T, A N D T R AN SFO RM ATIO NAL L E A RN IN G
NARRATIV E L E A RN IN G, A D ULT D EV ELO PM EN T, A N D T R AN SFO RM ATIO NAL L E A RN IN G
As is e vid e nt in th e te ch niq ue s a lr e ady r e vie w ed, n arra tiv e le arn in g h as v e ry s tr o ng lin ks to b o th a dult
de ve lo pm ent a nd tr a nsfo rm atio nal le arn in g. A s a m eans o f u nde rs ta ndin g a dult d e ve lo pm ent, a
narra tiv e fr a m ew ork s e es th e lif e c o urs e a s a n u nfo ld in g s to ry , o ne c o nstr u cte d a nd in te rp re te d b y th e
in div id ual. W hile th e s o cio cu lt u ra l- h is to ric a l c o nte xt in te ra cts w it h a nd to s o m e e xte nt s h ape s th e lif e
co urs e , th e m eanin g o f o ur lif e e xp e rie nce s c o nstit u te s o ur p artic u la r d e ve lo pm enta l tr a je cto ry .
In c o ntr a st to s ta ge a nd p hase th e orie s o f a dult d e ve lo pm ent, m ost o f w hic h h ave a n e nd s ta te (s u ch a s
Erik so n's [19 63] fin al s ta ge o f e go in te grit y v e rs u s d e sp air , fo r e xa m ple ), lif e n arra tiv e s a re
re tr o sp e ctiv e , a lw ays in p ro ce ss, u nfo ld in g. A nd a s R ossit e r a nd C la rk (in p re ss) p o in t o ut, d e ve lo pm ent
fr o m a n arra tiv e p e rs p e ctiv e c a n b e “ e m po w erin g. W hile w e d o n o t h ave c o ntr o l o ve r m any o f th e
eve nts o r c ir c u m sta nce s o f o ur liv e s, w e d o h ave s o m e c h o ic e a s to h o w w e in te rp re t th e m . If
so m eth in g u nple asa nt h appe ns it is n o t im pe ra tiv e th at w e w ill s e e it a s th e e nd o f a ll h appin e ss fo re ve r
and e ve r. T his r e aliz a tio n o f c h o ic e in m eanin g-m akin g is o ne o f th e m ost v a lu able a sp e cts o f th e
narra tiv e o rie nta tio n” (p p. 3 8-3 9 o f m s.)
Adult d e ve lo pm ent a nd tr a nsfo rm atio nal le arn in g a re c lo se ly in te rtw in e d (s e e C hapte r S ix ). T he c h ie f
arc h it e ct o f tr a nsfo rm atio nal le arn in g th e ory , J a ck M ezir o w , u ne quiv o ca lly s ta te s th at th e p ro ce ss o f
pe rs p e ctiv e tr a nsfo rm atio n is “ th e c e ntr a l p ro ce ss o f a dult d e ve lo pm ent” (19 91, p . 15 5). T he p ro ce ss th at
he d e lin e ate s, h o w eve r, is q uit e c o gnit iv e a nd d e pe nds o n th e c rit ic a l e xa m in atio n o f a ssu m ptio ns,
re fle ctio n, a nd r a tio nal d is co urs e . R andall (19 96) m ake s a c o nvin cin g c a se fo r h o w n arra tiv e c a n b e
se en a s tr a nsfo rm atio nal le arn in g. B oth m eth o ds a re p rim arily c o gnit iv e d e alin g w it h th e le arn e r's liv e d
exp e rie nce th ro ugh in te rp re ta tio n, th ro ugh c re atin g n e w m eanin g. W hile M ezir o w 's p ro ce ss m ost o fte n
be gin s w it h a “ d is o rie ntin g d ile m ma” th at c a use s u s to e xa m in e o ur u nde rly in g a ssu m ptio ns a nd v a lu e s,
Randall s u gge sts th at w he n w e e nco unte r a lif e e xp e rie nce th at c a nno t b e a cco m modate d b y o ur o ld
sto ry o f o urs e lv e s a nd th e w orld , w e s e ek to
re sto ry
o ur liv e s: “ W e s e ek r e sto ry in g w he n o ur c u rre nt
lif e sto ry (in sid e , a t le ast) n o lo nge r c o he re s w it h in it s e lf , w he n it b e co m es in co he re nt, w he n th e m any
are a t w ar w it h th e o ne . W e s e ek it w he n o ur c e ntr a l s e lf -s to ry h as e it h e r to o lit tle c o nflic t a nd s o fa ils to
go a nyw he re , o r to o m uch a nd s o th re ate ns to fly a part… . W e m ig ht s e ek r e sto ry in g, fo r e xa m ple , w he n
a p artic u la r e pis o de fa ils to fit w it h th e d o m in ant s to ry w e te ll o urs e lv e s a bo ut w ho w e a re , w he re w e
have c o m e fr o m , a nd w he re w e a re g o in g” (p . 2 38).
In M ezir o w 's fr a m ew ork , tr a nsfo rm atio nal le arn in g r e su lt s in a “ m ore in clu siv e , d is crim in atin g, p e rm eable ,
and in te gra tiv e p e rs p e ctiv e ,” o ne th at b e tte r a cco m modate s th e m eanin g o ne m ake s o f o ne 's
exp e rie nce (19 90b, p . 14 ). R esto ry in g o ne 's lif e is q uit e s im ila r: “ S pe cif ic a lly , it is th e q ue stio n a s to h o w I
ca n c o m po se a s to ry
big
e no ugh, w it h a h o riz o n
bro ad
e no ugh, to a cco unt fo r a s m uch a s p o ssib le o f
my a ctu al lif e a nd r e nde r it a va ila ble to m e a s a c o he re nt, r e m em be re d w ho le ” (G lo ve r, c it e d in R andall,
19 96, p . 2 4 0).
But a dult d e ve lo pm ent a nd tr a nsfo rm atio nal le arn in g a ls o in vo lv e e m bo die d a nd s p ir it u al le arn in g. H ow
we s to ry o ur liv e s in clu de s n o t ju st c o gnit iv e b ut e m otio nal, b o dily , a nd s p ir it u al d im ensio ns. In a s tu dy o f
a c u lt u ra lly d iv e rs e s a m ple o f m id lif e m en a nd th e ir tr a nsfo rm ativ e s p ir it u al d e ve lo pm ent, D avis (2 0 04)
fo und th at th e m en “ c it e d th e ir e xp e rie nce s o f s p ir it a s a tim e o f c h alle nge a nd o ppo rtu nit y to e xp re ss
em otio n, c o nne ct w it h p e ople , r e lin quis h c o ntr o l, a nd m ove b e yo nd th e r a tio nal” (p . 12 2).
Lif e tr a nsit io ns a nd c ris e s th at tr ig ge r d e ve lo pm ent, w he th e r s o cia l, p sych o lo gic a l, o r s p ir it u al, a re o fte n
hig hly c h arg e d, p hysic a l, a nd s o m etim es s p ir it u al (s e e C hapte r T w elv e ). T he b ir th o f a c h ild , a m ajo r
he alt h p ro ble m , th e lo ss o f a jo b, a nd s o o n a re e xp e rie nce s th at a re h o lis tic in n atu re . In a d is cu ssio n
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 of th e r o le o f s o m atic le arn in g in tr a nsfo rm atio nal le arn in g, A m ann (2 0 03) e xp lo re s h o w k in e sth e tic ,
se nso ry , a ffe ctiv e , a nd s p ir it u al a sp e cts “ c e ntr a liz [e ] th e b o dy s o th at it is in te gra l to th e le arn in g
exp e rie nce . C om bin e d w it h o ppo rtu nit ie s fo r r e fle ctio n, s o m atic le arn in g c o ntr ib ute s a n e w p e rs p e ctiv e
to th e s co pe o f tr a nsfo rm ativ e le arn in g” (p . 3 1). B ro oks a nd C la rk (2 0 01) p o in t o ut th at n arra tiv e s o f
tr a nsfo rm ativ e le arn in g a re c o m pe llin g
beca use o f
th e ir a ffe ctiv e , s o m atic , a nd s p ir it u al d im ensio ns.
To s u m mariz e th is s e ctio n o n n arra tiv e le arn in g, it is c le ar th at a dult e duca to rs h ave a m eans o f
fa cilit a tin g le arn in g th at a ll a dult s c a n r e la te to — sto rie s th at s u rro und u s, th at d e fin e u s, th at w e c a n
co nstr u ct, a naly ze , r e fle ct u po n, a nd le arn fr o m . S to rie s c a n b e u se d to u nde rs ta nd c o nte nt, o urs e lv e s,
and th e w orld in w hic h w e liv e . N arra tiv e s a re a ls o w in do w s in to d e ve lo pm ent a nd tr a nsfo rm atio nal
le arn in g. T he y e nable u s to m ake s e nse o f o ur e xp e rie nce , w hic h is w hat a dult le arn in g is a ll a bo ut.
SU M MARY
Em bo die d, s p ir it u al, a nd n arra tiv e le arn in g a ll h ave in c o m mon m eanin g-m akin g th at is e m bo die d,
co nstr u cte d, a nd in te rp re te d. T he se a re n o t m ode s o f le arn in g th at a dhe re to a w ay o f th in kin g th at
ele va te s r e aso n, lo gic , a nd th e ory o ve r th e b o dy, th e s p ir it , o r th e “ s to ry ” o f o ur e xp e rie nce .
Em bo die d o r s o m atic k n o w in g is k n o w in g th ro ugh th e b o dy. It is d ir e ctly r e la te d to o ur p hysic a l b e in g,
our s e nse s, a nd th e e xp e rie nce s o f th e b o dy. E xa m ple s o f e m bo die d le arn in g w ere p re se nte d a nd
dis cu sse d; th e se e xa m ple s r e fle ct A m ann's (2 0 03) m ode l o f s o m atic k n o w in g, w hic h c o nsis ts o f th e fo ur
ove rla ppin g d im ensio ns o f k in e sth e tic , s e nso ry , a ffe ctiv e , a nd s p ir it u al. T his s e ctio n o f th e c h apte r
co nclu de d w it h a r e vie w o f th re e c o nce ptu aliz a tio ns o f e m bo die d le arn in g: e m bo die d c o gnit io n,
onto lo gic a l p e rfo rm ance , a nd a s o m atic e pis te m olo gy fo r e duca tio n.
In th e s e co nd s e ctio n o f th e c h apte r o n s p ir it u alit y a nd le arn in g, w e fir s t g ra pple d w it h d e fin in g
sp ir it u alit y a s s o m eth in g d if fe re nt fr o m b ut p e rh aps r e la te d to r e lig io n. M ost o f th e a uth o rs w e r e vie w ed
lin k s p ir it u alit y to m eanin g-m akin g in o ur liv e s, a nd o n th at b asis it is a n a ppro pria te to pic fo r e xp lo ra tio n
in a dult le arn in g. A n um be r o f in str u ctio nal te ch niq ue s w ere r e vie w ed th at fo ste r s p ir it u alit y in a dult
le arn in g, in clu din g s e lf -e xa m in atio n b y th e in str u cto r o f h e r o r h is v ie w s a nd a ssu m ptio ns, c re atin g a s a fe
sp ace fo r th is k in d o f le arn in g to o ccu r, m ento rin g le arn e rs , a nd e ngagin g in c re ativ e a nd im agin ativ e
in str u ctio nal a ctiv it ie s.
The fin al s e ctio n o f th e c h apte r d e alt w it h n arra tiv e le arn in g. N arra tiv e le arn in g is th e u se o f s to rie s in
th e c o nstr u ctio n o f m eanin g, w he th e r th e m eanin g-m akin g h as to d o w it h th e s e lf , w it h th e c o nte nt o f
in str u ctio n, o r w it h th e w orld a ro und u s. U sin g R ossit e r a nd C la rk 's (in p re ss) m ode l, th re e u se s o f
narra tiv e in p ra ctic e w ere r e vie w ed: n arra tiv e a s s to ry in g th e c u rric u lu m , n arra tiv e a s s to ry te llin g, a nd
narra tiv e a s a uto bio gra phy. A fin al s e ctio n fo cu se d o n a n arra tiv e p e rs p e ctiv e o f a dult d e ve lo pm ent a nd
tr a nsfo rm atio nal le arn in g.
20 07 b y J o hn W ile y & S ons, In c. A ll r ig hts r e se rv e d.
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0 APA
Em bo die d, s p ir it u al, a nd n arra tiv e le arn in g. (2 0 07). In S . B . M erria m , R . S . C affa re lla , & L . M . B aum gartn e r,
Le arn in g in a dult h ood: a c o m pre hensiv e g uid e
(3 rd e d.) . H obo ke n, N J: W ile y. R etr ie ve d fr o m
http :/ /lib e zp .lib .ls u .e du/lo gin ?
url= h ttp :/ /s e arc h .c re do re fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bo die d_sp ir it u al_ and_narra tiv e _le arn in g/0 ?
in stit u tio nId =4 63
Chic ag o
"E m bo die d, S pir it u al, a nd N arra tiv e L e arn in g." In
Le arn in g in A dult h ood: A C om pre hensiv e G uid e
, b y
Shara n B . M erria m , R ose m ary S . C affa re lla , a nd L is a M . B aum gartn e r. 3 rd e d. W ile y, 2 0 07.
http :/ /lib e zp .lib .ls u .e du/lo gin ?
url= h ttp :/ /s e arc h .c re do re fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bo die d_sp ir it u al_ and_narra tiv e _le arn in g/0 ?
in stit u tio nId =4 63
H arv ard
Em bo die d, s p ir it u al, a nd n arra tiv e le arn in g. (2 0 07). In S .B . M erria m , R .S . C affa re lla & L .M . B aum gartn e r,
Le arn in g in a dult h ood: a c o m pre hensiv e g uid e
. (3 rd e d.) . [O nlin e ]. H obo ke n: W ile y. A va ila ble fr o m :
http :/ /lib e zp .lib .ls u .e du/lo gin ?
url= h ttp :/ /s e arc h .c re do re fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bo die d_sp ir it u al_ and_narra tiv e _le arn in g/0 ?
in stit u tio nId =4 63 [A cce sse d 2 8 J u ly 2 0 17 ].
M LA
"E m bo die d, S pir it u al, a nd N arra tiv e L e arn in g."
Le arn in g in A dult h ood: A C om pre hensiv e G uid e
, S hara n B .
Merria m , e t a l., W ile y, 3 rd e dit io n, 2 0 07.
Cre do R efe re nce
, h ttp :/ /lib e zp .lib .ls u .e du/lo gin ?
url= h ttp :/ /s e arc h .c re do re fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bo die d_sp ir it u al_ and_narra tiv e _le arn in g/0 ?
in stit u tio nId =4 63. A cce sse d 2 8 J u l 2 0 17 .
h ttp ://lib ezp .lib .ls u .e du/lo gin ?
u rl= http ://s e arc h .c re dore fe re nce .c o m /c o nte nt/e ntr y /w ile yla /e m bodie d_sp ir itu al_ and_narra tiv e _le arn in g/0