AGORA - tidsskrift for forskning, udvikling og idéudveksling i ...

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AGORA - tidsskrift for forskning, udvikling og idéudveksling i professioner reification (described by forms, points of focus, documents, monuments, instruments, projection) (see figure 1). Figure 1: The duality of participation and reification (Wenger, 1998, p. 63) This complementarity or duality of participation and reification is “a fundamental aspect of the constitution of communities of practice” (ibid., p. 65). Participation and reification are two sides of the same coin. Participating in a community of practice and negotiating meaning through action and cooperation, lead to different forms of reification which can be defined as artefacts and phenomena for the manifestation of culture. Bruner (1990) also stresses, that meaning-making is a fundamental process that constitutes culture – a perspective, which – in his view – should be a central position in psychology. In a community of practice, action and co-operation merge with the process of negotiating meanings. This process of negotiation can happen verbally in communicative processes and/or by meeting each other in the activity itself, i.e., by mutual engagement. In this constantly developing process of interaction and cooperation, people develop a common repertoire of strategies, action patterns, convictions, habits, etc. – all elements that characterize the emergence of culture. Communities of practice develop not only in the activity itself, but also through narratives that form and re-form every single participant, but also the culture of the community itself. A narrative can be considered as one of the organizing principles for human life (Crossley, 2000). Narratives and stories knit experiences together, either experiences of a single individual (i.e., the individual life stories) or experiences from different people being in relation to each other (i.e., stories that configure a group or culture). In general, narratives both configure the setting and are, at the same time, embedded in the specific social or cultural context. Narratives structure events, form a timeline and knit different events, reflections, thoughts and feelings together. Following Polkinghorn (1988), narratives need to have a plot: “The plot is able to weave together a complex of events to make a single story. ... A plot is constructed in the realm of meaning, recording relationships among perceptions” (p 18). In that sense, narratives form an inner drama and establish coherence. By telling stories and forming narratives, our life becomes meaningful. The narrative process often begins with ones own experiences. Further on, in the cocreation of narrative in the social realm we tend to hear the other’s stories through the lenses of our own experience and meaning-making and reflect the meaning-making and stories of the other in the light of our own meaning-making and stories. But hearing the words of another is an encounter, an interchange of experiences, feelings, thoughts, where we not only respond to the other, but reflect on our own experiences, feelings and thoughts. And life is constantly filled with moments and situations where we re- www.cvustork.dk/agora/ 14
AGORA - tidsskrift for forskning, udvikling og idéudveksling i professioner shape our own narratives or where the involvement in specific settings or communities of practice pushes ahead changes in our individual stories about situations or our life in a broad perspective. In communities of practice, narratives of the community go beyond the individual stories. Rules, norms, habits, rituals and ways of doing evolve from the situated learning process, and narratives are formed relating to the acting and cooperating in the community. As a conclusion, I would like to put emphasis on the interrelation of all the dimensions described: Experiencing, meaning-making, embodied and situated action, co-creation of meaning in a community of practice, and the forming and re-forming of narratives as part of our being a social creature are all processes that are interwoven. In some situations, the experience is dominant on the personal level, in others, the cooperation and situated action in a community of practise. But usually things cannot be held apart and distinguished in real life situations. Body-anchored and experience-based learning – how does it work? Any learning process can be stimulated or supported, both by personal strategies and through the help and guidance of a second person, a teacher, coach, friend or therapist. Attention to and awareness of our body is a possibility we have, but we often do not make use of it. Many people are not very conscious of their body and its resources in regard to learning and developing, both in professional and personal matters. But the first-person approach and different strategies which mobilize bodily resources can help us to develop ourselves. On the basis of the premises and reflections presented in the previous sections, a number of principles, strategies and techniques will be presented in the following as dimensions for a methodology of body-anchored and experience-based learning. This will be done by presenting a set of general guidelines and by concretising some selected techniques in relation to specific learning situations, several of them directly related to sports and games – which is my scope of work, some of them with a more general approach to body and experience. Focusing Focusing is a method developed in and for psychotherapy, and intended to unlock the wisdom of ones body (Gendlin, 1981). Focusing is an approach where the attention is on the immediate, sensuous experience of the present moment and on embodied awareness as the key to pre-reflective or implicit knowledge which is embedded in our consciousness. The focusing process takes its starting point from what Gendlin (1981; 1996; 1997) calls the felt sense or felt meaning. Gendlin (1981) defines the felt sense as follows: “The felt sense is not a mental experience but a physical one. Physical. A bodily awareness of a situation or person or event. An internal aura that encompasses everything you feel and know about the given subject at a given time – encompasses it and communicates it to you all at once rather than detail by detail. Think of it as a taste, if you like, or a great musical chord that makes you feel a powerful impact, a big round unclear feeling.” (p. 32; italic in the original) Cox and Theilgaard (1987) support Gendlin’s ambition of gaining access to the pre-reflective by describing the position of the second person, e.g., of the coach or therapist, as standing on the “perceptive ‘tip-toe’, trying to detect what is on the brink of being called into existence for the first time” (p. 23). The felt sense of a specific event is not an unchanging phenomenon. Working with the felt sense can be described as a spiral process: A specific felt sense becomes explicit and finally expressed in words. This imagery and the verbal representation of this specific felt sense often lead to a change in the felt sense. Gendlin calls this operation “resonating”. It is a going back and forth between the felt sense and the word, phrase or image which grows out of this resonating. Gendlin (1981) gives the following advice: “Let the www.cvustork.dk/agora/ 15
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Det videnskabelige redaktionspanel
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accoustic images.” 25 Paul Scheel
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