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A Narrative Study of How Singing Together Shapes Worldview Wilfrid Laurier University Scholars Commons @ Laurier Theses and Dissertations (Comprehensive) 2021 Singing Difference Amid Relational Connectedness: A Narrative Study of How Singing Together Shapes Worldview Debbie Lou Ludolph Martin Luther University College, [email protected] Follow this and additional works at: https://scholars.wlu.ca/etd Part of the Music Practice Commons, and the Practical Theology Commons Recommended Citation Ludolph, Debbie Lou, "Singing Difference Amid Relational Connectedness: A Narrative Study of How Singing Together Shapes Worldview" (2021). Theses and Dissertations (Comprehensive). 2354. https://scholars.wlu.ca/etd/2354 This Dissertation is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Theses and Dissertations (Comprehensive) by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. SINGING DIFFERENCE AMID RELATIONAL CONNECTEDNESS: A NARRATIVE STUDY OF HOW SINGING TOGETHER SHAPES WORLDVIEW By Debbie Lou Ludolph BMus, Wilfrid Laurier University, 1982 MTS, Wilfrid Laurier University, 2009 DISSERTATION Submitted to Martin Luther University College In partial fulfillment of the reQuirements for the degree of Doctor of Philosophy Human Relationships (Pastoral Leadership) Wilfrid Laurier University 2021 © Debbie Lou Ludolph, 2021 i Abstract The experience of singing together holds the potential to constrain or set free the imagination to shape worldview. Undergirded by Walter Brueggemann’s argument that a contest of narratives exists in twenty-first century North American church and society, the researcher draws from Mary (Joy) Philip’s call for “in-between space” created by safe haven and adjacency and Lee Higgins’ “boundary-walking” to understand the place of difference in a theological orientation to community singing practice. Rooted in a narrative paradigm and undergirded by an interdisciplinary approach, this inquiry explores the storied lives of sixteen singers in a faith-based singing community called Inshallah to consider how the experience of singing together as a relational way of knowing shapes worldview. Narrative methodology guides the conversations between the researcher and a purposive sampling of singers to co-construct narrative accounts which are analyzed using narrative thematic analysis, seeking themes within each account and resonant threads across accounts. By exploring the findings through the lens of experiential knowing, this dissertation discusses how storied songs become boundary- crossers, spirituality offers a horizon of wholeness, hospitality insists on welcoming difference, difference is embraced as necessary, and everyday life performs worldview. The researcher proposes that when a community singing practice nurtures a distinct sacred identity of relational connectedness, engages difference as a resource to be embraced, and renews vision through embodied witness, practiced vulnerability and orientation to wholeness shape the social imaginary with the possibility of awakened authenticity, deepened connectivity, and emboldened solidarity. This leads the researcher ii to assert that singing storied songs together from a horizon of wholeness subversively enlivens the imagination by negotiating and performing identity, relationships, and vision. This dissertation makes a contribution to narrative studies in the fields of community music, congregational song, and practical theology offering a critical interdisciplinary lens on the role of difference as it relates to community singing practice and leadership, while also contributing to sociological studies of world construction and psychological studies of sociological imagination. iii For Inshallah with gratitude iv Contents List of Figures viii Acknowledgements ix Chapter One: Introduction 1 Chapter Two: The Journey to the Research Puzzle 11 Narrative Beginnings 12 The Inshallah Project 14 Inner Spaces of Inquiry 17 Narrative Landscape 20 The Research Puzzle 22 Chapter Three: A Narrative Paradigm 26 Narrative Paradigm 27 Narrative Design: Narrative Beginnings and Landscapes 32 Gathering Participants : A Purposive Sample 33 In the Field: Relational Space 34 Field Texts and Interim Texts: Being with the Stories 36 Narrative Analysis and Presentation 39 Validation 41 Ethical Considerations 44 Limitations 45 Chapter Four: Literature Review 47 Worldview as Social Imaginary 47 v Narratives as Imaginative Agency 50 In-between Spaces 54 A Process of Becoming 56 Experiential Knowing 59 Meaning-making 64 Principles of Practice 80 Summary 82 Chapter Five: Findings 83 Introduction 83 Storied Songs 85 Breath of the Sacred 94 Harmony of Hospitality 103 Counterpoint of Difference 111 Rhythm for Life 124 Summary 133 Chapter Six: Understanding the Findings 134 Introduction 134 Experiential Knowing: Singing’s Subversive Way 138 Engaging Difference amid Relational Connectedness: A Necessary Dialectic 148 A Word about Leadership: Practicing what You Seek 178 Summary 186 Chapter Seven: Conclusion 188 Validation 194 vi Ethical Considerations 196 Limitations 197 Contributions 198 Further Studies 199 Final Comments 200 Appendix A: Narrative Accounts 202 Bambelela 202 Between Darkness and Light I 204 Between Darkness and Light II 209 Deep in our Hearts 214 Draw the Circle Wide 217 Este Momento 221 For the Troubles 224 Hamba Nathi 227 Hinei ma Tov 230 Humma 233 Stay with Us 237 The Earth does not Belong to Us 240 There is No Child 243 Um Menino 245 Until All are Fed 248 Utukufu 251 Appendix B: Research Communication 256 Data for Sampling Selection 256 Information Letter 257 Informed Consent Form 259 Research Ethics Board Approval 262 Bibliography 264 vii List of Figures 1 Inshallah singing with audience 81 2 Inshallah singing with multi-cultural, multi-faith, and Indigenous partners 131 3 How does singing together shape worldview? 134 4 Singing’s way of knowing 145 5 The subversive agency of singing together from a horizon of wholeness 184 viii Acknowledgements For the land on which we sing where this dissertation story has evolved, the traditional territory of the Haudensaunee, Anishinaabe, and Neutral Peoples, and for the transforming experience of singing with Mino Ode Kwewak Ngamowak and neighbours from diverse cultures and faiths: together you sang me towards the journey of right relations deep gratitude For the community of Inshallah (singers, band, and alumni), where courage, vulnerability, generosity, compassion, joy, sorrow, and hope emerge, for the advisory wisdom and gifts of time of volunteers, the trust of musicians, the song leaders and storytellers among us, and for the sixteen Inshallah participants in this study who shared their storied lives: together you sang with me week after week, shaping me beyond my knowing, until this dissertation story was ready to be told deep gratitude For the place where we sing and I work, Martin Luther University College, colleagues and students breathing life into faith seeking understanding, musical collaborations singing fires of justice, and diversity offering new ways of seeing: together your spirituality and compassion accompanying my academic journey deep gratitude For the commitment of my colleagues to the long journey of this dissertation, especially those who have reflected with me from inside the singing experience, my community music mentors, Lee and Gerard the critical visionary support of David Pfrimmer, my first advisor the stubborn belief of Mark Harris, my current advisor, in my capacity to write this story, and his gentle strong wisdom throughout the process, and the insights of my defence committee, Daniel Maoz, Mary (Joy) Philip, Lee Willingham, and Swee Hong Lim: together you encouraged and challenged me deep gratitude For my family and friends who waited patiently for the process of this research puzzle to do its work, for a long line of curious educators, lovers of life, and supporters in my family, especially my mom and dad, Joan and RJ Creighton, and for and my husband Fred, faithful companion on the journey, our children Rebekah and Paul who continue to shape my life, and our grandchildren Sonja and Oscar who grace my life with joy and rest: together our stories have made my story alive with possibilities and love deep gratitude ix CHAPTER ONE Introduction You’ve got to Accentuate the positive, Eliminate the negative, Latch on to the afFirmative, Don’t mess with Mister In-between!1 In my family, all ages sang this 1940s popular post-war American jazz standard. We sang it in the car, around the campfire, and on the stage. It represented well our family values and to this day holds warm personal memories. Accentuate the positive -- the good life, all the possibilities; Eliminate the negative -- anything that will get in the way of thriving; Latch on to the affirmative: make the most of what is working, what gives life; and don’t mess with Mister In-between – don’t linger in the space where your personal dream might be thwarted or dwell on the gloomy bits of life. Spread joy. Have faith. It sang deep into the dominant narrative of the American Dream, the Power of Positive Thinking, and even the Christian church.2 Fast forward to seven years ago to another song that has come to have layers of meaning for me from the contexts and communities in which I sing. Between darkness and light I will always walk And wherever I will go I will open the window of light And will plant the seeds of love.3 1 Words by Johnny Mercer, music by Harold Arlen, 1944. 2 Walter
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