Phenomenology of Embodied Dreamwork with Puerto Rican Women: a Dissertation Lourdes F
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Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Dissertations (GSASS) 2010 Phenomenology of Embodied Dreamwork with Puerto Rican Women: A Dissertation Lourdes F. Brache-Tabar Lesley University Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_dissertations Part of the Art Therapy Commons, Latin American Studies Commons, and the Psychology Commons Recommended Citation Brache-Tabar, Lourdes F., "Phenomenology of Embodied Dreamwork with Puerto Rican Women: A Dissertation" (2010). Expressive Therapies Dissertations. 46. https://digitalcommons.lesley.edu/expressive_dissertations/46 This Dissertation is brought to you for free and open access by the Graduate School of Arts and Social Sciences (GSASS) at DigitalCommons@Lesley. It has been accepted for inclusion in Expressive Therapies Dissertations by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected]. 1 Phenomenology of Embodied Dreamwork with Puerto Rican Women A DISSERTATION (submitted by) Lourdes F. Brache-Tabar In partial fulfillment of the requirements for the degree of Doctor of Philosophy LESLEY UNIVERSITY May 2010 2 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at Lesley University and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: _________________________ 4 ACKNOWLEDGMENTS Many have supported me in this endeavor. First, I would like to thank the women who participated in this study: Orquidea, Rose, Tulip, Lilac, Carnation, Rosa Blanca, Red Rose, and Amapola. Gracias! Your painful experiences and strength, dreams, voices, and images have enriched my life, and I hope will benefit other Latinos, therapists, and educators. I would especially like to thank my committee chair, Dr. Robyn Cruz, who has been unfailingly generous with her time, encouragement, and teaching. To Dr. Julia Byers, thanks for your insights on art as praxis and research and to Dr. Deborah Harper, thank you for your guidance and vital suggestions. Special thanks go to Robert Bosnak for his intensive trainings on embodied dreamwork. I am also deeply indebted to Dr. Ana Echevarria-Morales for her extraordinary help with Puerto Rican culture and language consultation. I would like to thank the Expressive Arts faculty members at Lesley University, who shared their wisdom with me, and the librarians who directed me to unlimited resources. I am deeply grateful to Daniel Newman for his unending support in creating my dissertation group. Thanks for your help, consistency, and professionalism. No matter how many obstacles I encountered, I always had the support of two cherished colleagues and friends, Hyejin and Denise. Your art-making sustained me and your dedication kept me engaged. Thank you. Along this journey, I have been deeply held by women at Wisdom’s Goldenrod Center for Philosophic Studies Women’s Myth Group, particularly, Elaine, Janet, Lenore, Barbara, Harriet, Marge, Andrea, and Amy. I cannot thank you enough. I am greatly thankful for the enthusiastic support I have received throughout my studies from my beloved spouse, Gita, and her parents, Prabha and Ramamurthy. Finally, I would like to thank my mother, Clara, whose energy I have inherited to complete the work. 5 TABLE OF CONTENTS LIST OF TABLES ..........................................................................................8 LIST OF FIGURES .........................................................................................9 ABSTRACT ...................................................................................................10 1. INTRODUCTION .....................................................................................12 Statement of the Problem......................................................................12 Purpose of the Study .............................................................................13 Nature of the Study ..............................................................................13 Research Questions ..............................................................................14 Contribution of the Study......................................................................14 Assumptions and Limitations................................................................17 2. LITERATURE REVIEW ......................................................................19 Introduction.......................................................................................19 Dreams and Culture ..........................................................................24 Summary of the dream theories of Freud and Jung ..........................29 Freud and dream analysis..................................................................30 Jung and dream analysis ...................................................................31 Challenging Freud and Jung .............................................................32 A New Paradigm—Embodied Dreamwork ......................................33 Latina Feminist Theorists and “Borderland” Writers .......................40 Puerto Ricans as borderland dwellers...............................................52 Hypnagogic state as borderland........................................................54 Summary ...............................................................................................56 3. METHOD...................................................................................................57 Purpose of Study...............................................................................57 Research Design................................................................................57 Appropriateness of the Design..........................................................58 Participants........................................................................................59 Sampling ...........................................................................................60 Data Collection .................................................................................63 Triangulation.....................................................................................65 Ethical Considerations ......................................................................65 Transcription and Filing System.......................................................65 Member Check..................................................................................66 4. RESULTS...................................................................................................67 Introduction.......................................................................................67 6 Data Analysis....................................................................................68 Listening and Grouping ....................................................................70 Formulated Meanings and Emergent Themes ..................................71 Construction of Individual Textural Descriptions ............................72 Trustworthiness.................................................................................74 Individual Textural Descriptions ......................................................74 Rosa...................................................................................................75 Orquidea............................................................................................79 Tulip..................................................................................................88 Rosa Blanca ....................................................................................101 Amapola [Hibiscus] ........................................................................110 Red Rose .........................................................................................114 Lilac ................................................................................................122 Carnation.........................................................................................128 Collective Textural Description......................................................142 Theme I: Sense of place—environment.........................................147 Surroundings..............................................................................147 Spatiality ....................................................................................147 Theme II: The Players.....................................................................148 Theme III: The Plot.........................................................................149 Theme IV: In the Sea of Emotions—Naming Affective.States......150 Theme V: The Body Speaks—Somatic Experience .......................150 Theme VI: Complexity—Multiple Affective States.......................151 Theme VII: Atando Cabos—Making Meaning ..............................152 Theme VIII: Visual Expressions.....................................................155