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Educating for Cross-Cultural Syncretism Through the Arts. Marian R

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Educating for Cross-Cultural Syncretism Through the Arts. Marian R University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1983 Educating for cross-cultural syncretism through the arts. Marian R. Templeman University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Templeman, Marian R., "Educating for cross-cultural syncretism through the arts." (1983). Doctoral Dissertations 1896 - February 2014. 3922. https://scholarworks.umass.edu/dissertations_1/3922 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. EDUCATING FOR CROSS-CULTURAL SYNCRETISM THROUGH THE ARTS A Dissertation Presented By MARIAN R. TEMPLEMAN Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION May 1983 School of Education Marian R. Templeman All Rights Reserved ( EDUCATING FOR CROSS-CULTURAL SYNCRETISM THROUGH THE ARTS A Dissertation Presented By MARIAN R. TEMPLEMAN Approved as to style and content by: Dr. George E. Urch, Chairperson of Committee Dr. Richard Konicek, Member Dr. Hariharan Swaminathan, Acting Dean School of Education i ii DediGated to the Creating Spirit and to my father and mother Mr. and Mrs. James G. Tempieman also to persons of the St. Regis-Akwesasne Reservation and aeolianimic persons everywhere IV ACKNOWLEDGEMENTS Dr. George Urch, as chairperson, is most worthy of deepest gratitude for his wisdom, considerate assistance, patient encouragement--for being the epitome of "a perfect gentleman and a scholar." Dr. Richard Konicek and Dr. Georgina Moroney, completing the most excellent and synergistic of committees, are sincerely appre¬ ciated for their creative insight, knowledgeable advice, and stimu¬ lating discussions. "Skennon goal" is extended to Dr. Solomon Cook, Chief, representing the many persons on the St. Regis-Akwesasne Reservation whose time, interest and generosity will be forever appreciated. Dr. Christine Hilary and Sharon Winn Beatty deserve particular appreciation for their invaluable professional expertise in the creation and completion of this study. V ABSTRACT Educating for Cross-Cultural Syncretism Through the Arts May 28, 1983 Marian R. Templeman, B.A., B.F.A., Emmanuel College M.Ed., Westfield State College, Ed.D., University of Massachusetts Directed by: Professor George Urch When one culture discourages another from expressing spiritual beliefs, the result is suppression, misunderstanding, intolerance and the assumption of dominance by the one culture over the other. Members of the dominated culture tend to undervalue their culture in comparison to the dominant culture. The purpose of this study is to address the problem with an educational paradigm which incorpor¬ ates spiritual expression through the arts (aeolianima) and its role as a facilitator for encouraging syncretism. A survey of the literature examines the relationship of aeolianima to culture and its expression in symbols, myths, and traditions. Examples of syncretism of spiritual beliefs provide background information for developing educational programs to encour age spiritual expression through nonformal educational techniques procured from the literary search. Obstacles to syncretism such as technology, intolerance, ethnocentrism and a "Western" mode of thinking are also reviewed. Experimentation with aeolianima as a syncretizer was carried out in a cross-cultural case-study. A community was observed and artists interviewed to ascertain aeolianimic needs. From this infor¬ mation, an educational paradigm was developed to encourage spiritual expression through the arts and ultimately aeolianimic syncretism. General nonformal educational methods were adapted for the purpose. The case-study suggested unexpected organizational changes. Meetings were replaced by workshops or dialogues. This important change facilitated greater participation and control of the para¬ digm by members of the case-study. Three religions were repre¬ sented with major syncretic projects transpiring between tv/o of them, and limited syncretism slowly involving the third religion. The strategy for encouraging aeolianimic syncretism has since been evaluated and revised. An idea in particular need of further research is the possi¬ bility that modes of thinking cause cross-cultural domination. Recurring patterns in cross-cultural interaction which discourage spiritual expression warrants further investigation. Also, further development of the concept of syncretism is strongly recommended. TABLE OF CONTENTS ACKNOWLEDGEMENTS ABSTRACT . INTRODUCTION . 1 Chapter I. STUDY DESIGN. 10 Statement of the Problem. 10 Purpose of the Study. 16 Purpose of the review of the literature. 17 Purpose for developing an educational paradigm ... 18 Purpose of a cross-cultural case-study . 19 Purpose for recommendations and suggestions .... 20 Research Procedure . 22 Review of literature . 23 Case-study by the participant-observer . 24 Development of an educational paradigm . 24 Summary of study. 25 Clarification and delimitation . 25 Definition of terms. 27 Scope. 28 II. REVIEW OF THE LITERATURE. 30 Aeolianima and Cross-cultural Syncretism . 31 Culture . 31 Cultural expression . 33 Aeolianima and its relationship to culture . 35 Aeolianima as cultural expression ... 36 Aeolianima as symbols, myths and traditions . 38 Syncretism . 40 Syncretic success . 41 Constrained syncretism . 44 Lack of syncretism.. 45 Aeolianima: a means for syncretism . 47 Problems in Today's World . 48 Intolerance and ethnocentrism . 48 Technology._. 53 Westernized style of thinking . 57 VI1 1 Education and Aeolianima . 58 Syncretic education.58 Creativity in education.’ 60 Nonformal education.* 63 Combined elements and education . 64 Aeolianima and "the artist as educator" 68 III. SITE EXPLORATION. 79 Part A: Methods. 79 Method of site investigation by the observer .... 79 Method of developing an initial educational paradigm. 80 Qualifications of the facilitator of the paradigm . 81 Educating with a human approach . 84 Teaching organizational design . 88 General motivational exercises . 90 Suggested exercises pertaining to nonformal education. 93 Exercises pertaining to the artist as culture- shaper . 95 Exercises pertaining to the concept of "aeolianima" . 98 Exercises pertaining to syncretism . 100 Sustaining measures . 103 Cultural education . 105 Learning cultural appreciation . 105 Evaluation of the educational program . 105 Part B: Site Investigation by the Observer. 108 The location. 108 Locating a suitable informant . 110 Meeting local leaders . Ill Meeting support persons and groups . 115 Field library and museum search. 120 Adjustment of Educational Paradigm to Accommodate Observations . 124 IV. CASE-STUDY. 128 Establishment of Rapport . 129 Rapport between facilitator and individuals .... 132 Rapport among groups . 1^5 Organizing an Educational Program . 1^5 Cultural Education of Persons Interested in the Arts . 163 Cultural'Appreciation and Syncretism . 172 IX V. EDUCATIONAL PARADIGM EVALUATION AND FUTURE STRATEGY . 181 Part A: Educational Paradigm Evaluation . 181 Evaluation of introductory procedures . 182 Evaluation of rapport with individuals and among groups. 185 Problem in human relations . 188 Other human relations problems . 191 Reactions. 193 Future considerations . 194 The facilitator and rapport. 194 Full participation. '195 Organizational design . 197 • Motivational materials . 197 Leadership. 198 Communications . 198 Future considerations . 199 Cultural education . 200 Cultural appreciation . 201 Syncretism. 202 Summary and recommendations . 203 Part B: Future Strategy. 205 VI. SUMMARY, NEED FOR FURTHER RESEARCH, RECOMMENDATIONS, CONCLUSION. 224 Summary. 225 Need for Further Research. 226 Modes of thinking. 226 The mind's capacity. 232 Learning strategies . 233 Recommendations . 234 Focus on syncretism. 234 Syncretism and aeolianima as nonverbal expression . 240 Syncretism and nonformal education . 241 Educational recommendations . 245 Cross-cultural aeolianimic paradigms . 249 Conclusion. 251 SELECTED BIBLIOGRAPHY . 260 APPENDIX.266 X LIST OF FIGURES 1. Map of St. Regis-Akwesasne Reservation. 107 2. Cross-cultural Arts Paradigm Design . 206 3. Introductory Observations and Rapport . 209 4. Human Approach. 211 5. Organizational Design . 213 6. Cultural Education . 217 7. Cultural Appreciation . 219 8. Harmony of Cultural Beliefs and Aeolianima . 221 9. Snye Homemakers. 268 10. A Case of Historical Selectivity. 269 11. Guardian Angel Spirits . 270 XI INTRODUCTION Basic Concept The concept of "aeolianima" is fundamental to this study, as is the concept of syncretism. However, aeolianima is not only a hew concept but a new word. As such, it requires a full explanation. The word aeolianima was coined from the Latin name for the god of the wind, "Aeolus," and the Latin word for life or spirit, "anima." This new noun denotes a kind of metaphysical energy, a spirit in the wind that quickens human creativity and pervades cul¬ tures. Aeolianima is that element of intellect which understands and expresses realities which cannot be seen but are acknowledged by a given culture to be real. The aeolianimic aspect of mind is a display of respect and wonder which makes us sing, dance, make sym¬ bols,
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