Sense-Making Bodies: Feminist Materiality and Phenomenology in Constructive Body Theologies

Constructive body theology provides an ethical commitment to and a set of analytical principles for understanding bodily experience. If we insist upon the theological value of embodied experience, how can we give an adequate account of it? Are feminist appeals to the senses useful in developing theological truth claims based in embodied experiences? Feminist theologies which explicitly seek to overcome body/mind dualisms often reinscribe them when they neglect to attend to perception as a critical element of bodily experience. Phenomenological analyses of perception (such as suggested by Merleau-Ponty) strengthen and refine our conception of embodiment. Grounding constructive theology in experience requires understanding experience as bodily perceptual orientation, as perceptual bodily and cultural acts involved in socially and historically situated contextual meaning-making processes. This shift expands phenomenological concepts such as intentionality and habit, and allows for a comparative investigation of historical and cultural differences in embodied experiences through examples found in sensory anthropology. Body theology, framed as principles, strengthens theological projects (such as those by Carter Heyward and Marcella Althaus-Reid, as well as new constructive possibilities) through opening dialogical avenues of exploration into embodied being in the world. Body theology principles help us conceive of and address how our bodily experiencing--our feeling, tasting, hearing, imaging, remembering and other sensory knowledge --comes to matter in our lives, especially where oppressive forces viscerally affect embodied life.

Contemplative Education CenterStage: Training the Mindful Performer

In the late 20th century and early 21st century, contemplative education/studies courses, concentrations, and initiatives have emerged in the academy. Although there has been significant discussion of postsecondary courses and programs that have integrated contemplative views and practices in the literature, there have been few studies of contemplative curricula and pedagogy in higher education. Additionally, there have been even fewer inquiries of the influence of contemplative education on performing arts training within conservatories and college and university departments. The aim of this qualitative study was two-fold: (1) to describe, interpret, and appraise the impact of contemplative education on the curricula of an interdisciplinary conservatory level performing arts program, MFA Contemporary Performance, at Naropa University; and (2) to disclose, compare, and analyze MFA student perceptions of the influence of contemplative education on their professional and personal development. The following questions guided this study: (1) How do faculty and students characterize contemplative education within the MFA in Theater: Contemporary Performance Program? (2) How does contemplative education impact the intended and operational curricula of courses within the MFA Contemporary Performance Program? (3) How do graduate students perceive the effects of contemplative education, offered by the MFA Contemporary Performance Program, on the development of their communication abilities, presence-in-performance, sociolinguistic perspectives, and aesthetic perspectives? Based on the research methodology of educational criticism and connoisseurship, this investigation provides a vivid description and interpretation of the intended and operational curricula of three core courses within the MFA program. These curricula were examined through five dimensions: intentional, curricular, pedagogical, structural, and evaluative. In order to shape our understanding of the contemplative and performative nature of the curricula, the significant and subtle qualities of the courses were further captured by preparation, context-building, reflective, showing, and closing conventions. Since the courses were grounded in postmodern view, they were evaluated according to Doll's criteria of richness, recursion, relations, and rigor for the evaluation of postmodern curricula. MFA first- and second-year students primarily characterized contemplative education as body/mind training for performance and personal development, sitting meditation, and cultivation of mindfulness and awareness. Student perceptions of the impact of contemplative education on the development of their communication abilities, presence-in-performance, sociolinguistic perspectives, and aesthetic perspectives, throughout the course of their two-year training, are presented in a dimensional analysis. The research reveals eight different themes that intersect the three core curricula and interviews with MFA students and faculty. These thematics include inclusivity, nowness, silence, improvisation, goodness, heart, training, and space. The beginning letter of each theme combines to form the acronym, insights. The framework of insights connects and illuminates the most potent aspects of MFA Contemporary Performance values and training.