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Aan de basis van narratief-gebaseerd leren/ narratief-gebaseerde reflectie ligt de narratieve ethiek: de theorie dat mensen door verhalen te delen, meer heelheid (‘wholeness’) ervaren. In narratieve ethiek gaat het om de wisselwerking tussen ethiek en de verhaalstructuur, die evident aanwezig is in literatuur, film en theater, waarin het menselijke leven wordt weerspiegeld. Door het menselijke leven te spiegelen aan bestaande verhalen krijg je meer grip op de context van acties, andere perspectieven in het krachtenveld, (de gevolgen van) keuzes, en de coherentie van het samenspel.
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The unity of a human life is the unity of a narrative quest. Quests sometimes fail, become frustrated, are abandoned, or fall into disarray; and in all these ways, human lives may also fail. Yet the criteria for success or failure in a human life as a whole are the same as the criteria for success or failure in a quest that has been told, or is still to be told.
And that quest is ‘for the good life’ for all persons.
Walter Fisher, quoting Alasdair Macintyre’s After Virtue (1981) in Narration as a Human Communication Paradigm (1984)
People are storytellers. Storytelling is one of the oldest and most universal forms of communication. Therefore, Fisher argued that individuals approach their social world in a narrative manner and make decisions and act within this narrative framework.
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Imagination is the power of the soul
Asait (2016)
Imagination allows us to create new ideas, concepts and images, even if they are not directly based on reality. This creative force can lead to innovation, art, and problem solving.
Our imagination influences how we perceive and interpret the world around us. It can help us see new possibilities and experience reality in a more positive way. Imagination helps apply knowledge to solve problems and is fundamental to the integration of experience and the learning process.
The soul is associated with intuition and our deepest inner self. Imagination is a tool to get in touch with these aspects of the soul and use them for inspiration and direction. In this way, imagination can help us feel more connected to our inner world, our dreams and desires. It can also be a path to self-discovery and personal growth.
Imagination is an essential force that nourishes our inner life and allows us to create, experience and grow.
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For any thing so over-done, is frõ the purpose of Playing, whose end both at the first and now, was and is, to hold as ‘twer the Mirrour vp to Nature; to shew Vertue her owne Feature, Scorne her owne Image, and the verie Age and Bodie of the Time, his forme and pressure.
Hamlet, 3.2
Acting is the imagining of reality, as though one were ‘holding a mirror up to nature’. In that mirror, you see both virtues and vices that challenge the prevailing perspective of your time. With these words, Shakespeare’s Hamlet describes the power of allegory. It broadens your field of vision, helps you understand the perspectives of others, and makes you aware of your own role and influence within the far greater forces of the world in which we live and work. When you look into the allegorical mirror, you see not only yourself, but also what and who moves beside, above, below, and behind you, and to what end.
Based on her doctoral thesis The little’o’th’earth, Shakespeare’s Sustaining Allegory (Utrecht University, 2015), Iris Casteren van Cattenburch developed the method Shakespeare Applied for Sustainable Decision-Making together with colleague Mike Duijn from Erasmus University Rotterdam. The method is comparable to systemic work and builds on insights from educational science, particularly theatre-based learning (in the Learning Stage model past de methode in stage 3). ‘Shakespeare applied’ kan worden ingezet voor strategische teamsessies, organisatorische en maatschappelijke duurzaamheidsuitdagingen.
See also Case Mainfreight
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Kleiner & Roth’s Learning History methodology (MIT, 1996) can be used to map the learning experiences of individuals, teams or organizations. By collecting and analyzing stories and experiences of those involved, a more complete picture is created, on which we can reflect together. This leads to more shared understanding and to a more solid starting point for learning (of the organization) in the future.
We use the Learning History methodology for various assignments, such as evaluations of construction or innovation projects, as an intervention for organizational culture issues, for both governments and the business community.
The Learning History gives people a voice. They can express their views in an open and inclusive environment, where people feel free to share their stories and where these stories are taken seriously. Asking the right (and in-depth) questions is important for a relevant and broadest possible outcome. This outcome must be shared with all parties involved for joint reflection and the formulation of action points to improve the learning process. For the analysis, we use instruments such as timelines, narrative analyses (including the ‘2-column narrative’), pattern recognition, validation and reflection.
See also Case Rijkswaterstaat: learning from and for renovation.
