Phenomenologies of Grace Marcus Bussey • Camila Mozzini-Alister Editors Phenomenologies of Grace

The Body, Embodiment, and Transformative Futures Editors Marcus Bussey Camila Mozzini-Alister University of the Sunshine Coast University of the Sunshine Coast Sippy Downs, QLD, Australia Sippy Downs, QLD, Australia

ISBN 978-3-030-40622-6 ISBN 978-3-030-40623-3 (eBook) https://doi.org/10.1007/978-3-030-40623-3

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This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG. The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland To our fellow traveller Carl Leggo (1953–2019), and To all those who have ever and will ever work towards grace-filled and inclusive futures! Foreword

When I first readPhenomenologies of Grace, I was struck by its exotic con- tent. The cause of this initial impression, I came to feel later on, was the style in which the writers expressed themselves. Three things impressed me the most: the scope of the subject addressed, the extent of the issues raised and the degree of sympathetic identification I felt with the authors and the serious issues of the world they engaged with. I am looking for- ward to significant debates amongst the scholars on phenomenology/ ies of grace. The concept of ‘Grace’ is an all-encompassing positivity towards life and beyond. Positivity and negativity both are facts of life and are two sides of the same coin. For human beings the grace-filled life is an ideal. Grace is everywhere, if one has an eye to see it. Yet, paradoxically, it is not easy to find. The quest to understand and engage with grace are the basic objectives for this book, as the editors note, grace ‘is not to be found in churches, temples and mosques—though it can be. Nor is it to be found in movie theatres, shopping malls or lecture theatres—though again, it can be.’ Such insights led me to the following reflections on the place of grace in my life and culture. In most of the Asian traditions, grace-full living would include the panchsheels or five precepts ofsatya, ahimsa, asteya, aparigraha and brahmacharya. These can be understood as codes of con- duct, or principles of behaviour that facilitate development of and social harmony as well as providing fertile ground for concentration and developing wisdom with pragmatic considerations that can be regarded as a basis for a phenomenology of grace. These duties and obligations

vii viii FOREWORD emerged to bring the community of monks, laymen and families together. The rules for monks are often context dependent; they are aimed to develop a fine moral culture. In a perfectgrace-full ideal, moral qualities become second nature, spontaneous and natural. The notion of reciproc- ity is not a relationship of dominance or subordination, but one promot- ing mutual respect and dignity for other fellow human beings as well as other living beings. For , the first Asian Nobel Laureate, a graceful individual would bring about a unity of knowledge and life—self-­ improvement with respect to becoming an integrated personality—one with a sense of infinite depth in feelings and action. The production of such a personality according to Tagore ‘is not a curricular matter, any more than one becomes a musician by learning about the instrument, musical notes, scores, and composing’. How can such grace-full personali- ties be trained? Answering this question, Tagore said learning is engaged and relational and to be found ‘where men (sic) have gathered for the highest end of life, in the peace of nature; where life is not merely meditative, but fully awake in its activities … where they are bidden to realize man’s world as God’s Kingdom to whose citizenship they have to aspire; where the sunrise and sunset and the silent glory of stars are not daily ignored; where nature’s fes- tivities of flowers and fruit have their joyous recognition from man; and where the young and the old, the teacher and the student, sit at the same table to partake of their daily food and the food of their eternal life.’ Such an edu- cation recognises a fullness of expression, of life, of personality which will foreseeably produce a fundamental unity among people and civilizations, free from all antagonisms of race, nationality, creed or caste and in the name of One Supreme Being who is Shantam, Shivam and Advaitam. Tagore finds grace in spirituality, in nature, in the beautiful shifting seasons. The most interesting thing is that everyone finds Tagore’s grace equally meaningful—the one who believes in particular form of grace, like love and also the one, who focuses on grace as an abstract and transcen- dental form. But only human beings can realise or experience this form of grace-sensitivity as the ability to feel one with the universe, nature and humankind. Following this line of thinking to its conclusion, I would say that love with our fellow-beings ultimately turns into Divine love. One cannot draw a line between a love song and a pooja (devotional) song as no one knows when the love song becomes devotional. Yet, when the realisation of this comes, Tagore’s vision for education is considered successful and FOREWORD ix complete: becoming grace-full. Love and pooja are not the same but when love reaches the stage of the spiritual, it becomes pooja. That these reflections are stirred by the chapters in this book indicates its significance. To sum up, this collection of chapters explores the space between the graceless and the grace-full in real human practices. Here we find that such activities as dance, music and play are taken ‘as future pos- sibilities to shake things up’. The thinkers, seekers and activists present unique and diverse chapters based on their own experiences of grace in the context of embodied, aesthetic, personal, social and cultural experiments opening to alternative, transformative, futures. Phenomenologies of Grace is not only compelling reading but provides a rich set of practices on which to rethink and invite grace into our lives.

Vishva Bharati University, Asha Mukherjee Santiniketan, , India September 30, 2019 Acknowledgements

A book like this brings together many journeys and life threads that repre- sent a moment in relational time and a good dose of grace. We wish to thank our loved ones who have supported us in bringing this book to frui- tion. In addition, all the contributors who have often stepped out of their comfort zones as practice-based embodied scholars and leaders to write about their work and lives. We also need to acknowledge colleagues at the University of the Sunshine Coast who in quiet ways have enabled this project to move ahead. Thanks are due to Lynda Windsor for tight editing of some of the chapters and to Ussanee Huntley for transcribing the ‘Grace Notes’ interview. The Palgrave staff are great to work with, special thanks to Philip Getz and Amy Invernizzi. In addition, our thanks go to the reviewer of the initial manuscript who offered sound advice, ques- tioned some key assumptions but essentially believed in the project.

xi Praise of Phenomenologies of Grace

“This grace-full book addresses the question of what constitutes the human now and offers fascinating insights on how human our future could be. Journeying through various parts of the world, the authors explore body movement and embodied action in space and place, language and affect, music and the imaginary, thus expanding the concept and practice of “grace” to the everyday. The book’s critical voice against a globalizing modernity that desymbolizes and routinizes everyday life, certainly makes it an important paedagogical tool.” —C. Nadia Seremetakis, Author of The Senses Still and Sensing the Everyday, Professor of Cultural Anthropology, Department of History, Archaeology and Cultural Resources Management, School of Humanities and Cultural Studies, University of the Peloponnese, Greece

“If the body is a mansion, it is a mansion with many windows that may open to admit grace. Grace in any or all of its disruptive and sometimes disquieting forms. This extraordinary book tours the mansion and throws open window upon win- dow, each offering views of the world as it could be. Not for the faint-hearted.” —Marilyn Mehlmann, Co-editor/author of A Transformative Edge (July 2020) and ESD Dialogues (2013), Co-Founder, Legacy17 cooperative association (Stockholm, Sweden) and Vice President, Union of International Associations (Brussels, Belgium)

“Grace is a word that one rarely hears in contemporary cultural discourse. In the- ology (especially Christian theology) perhaps, but in few other contexts. This boundary-crossing book challenges that silence in multiple ways—by relating grace to aesthetics, to human well-being, to music, to play (including the play of adults) and to education, and in doing so, takes the idea of the phenomenology of grace well beyond its conventional religious boundaries. We often recognize grace when we see it—in dance or deportment for example—but we rarely pursue its implications beyond the superficial. This book does so, and opens up vistas and the deep grammar of everyday life in ways that mainstream social rarely does, or is afraid to approach. The gentleness of the theme belies the robustness of the content, in ways, I think, never having been done before.” —John Clammer, Author of Culture, Development and Social Theory: Towards an Integrated Social Development, O.P. Jindal Global University, Delhi and the University of Kyoto “Can words awaken us? Can they dance off the page and into the very center of our intuitive knowing? These beautifully crafted essays us both back- wards and forwards into ancient futures as we are urged to re/member, re/col- lect, and re/connect to what we have always known, but perhaps forgotten—that the body is a source of inexhaustible wisdom and boundless creativity, and that grace is in the air around us, can we but learn to breathe. And in this deep breathing, to perhaps find our way out of the anguish of the present moment, the unbearableness of the damage we have wrought upon the planet, and into the making of a re/animated, re/enchanted world where everything is alive, awake, and precious.” —Kathleen Kesson, Author of Unschooling in Paradise and co-author of Curriculum Wisdom: Educational Decisions in Democratic Societies, Professor Emerita, Department of Teaching, Learning, and Leadership, School of Education, Long Island University, https://kathleenkesson.com

“When asked my key indicator for success at a workshop or speech, I often say: “It is when angels enter the room.” Now after reading Bussey’s and Mozzini-Alister’s text, I see, the key indicator for success is when there is grace in the room. Grace, however, can be multiple—it can be bliss, failure, a moment of discord, and a moment of transformation. Grace pushes us from pushing, allowing us to be quiet. And grace brings in discordant sounds into the room. And grace leaves us changed. This book is a serious attempt to understand how grace uses us and how we can sit with Grace.” —Sohail Inayatullah, Author of What Works: Case Studies in the Practice of Foresight and CLA 2.0: Transformative Research in Theory and Practice, UNESCO Chair in Futures Studies, Universiti Sains Islam Malaysia, Professor at Tamkang University, Taipei, Professor at the University of the Sunshine Coast

“Phenomenologies of Grace is a perfect combination between scholarly work and a practical guide (on how to deal with experiences of Grace). The section on the Aesthetics of Grace is particularly interesting, approaching many original and chal- lenging concepts such as ‘uncanny epistemology’ and ‘mutant futures’.” —Erick Felinto, Professor, Department of Media Studies, State University of Rio de Janeiro (UERJ) “In a world increasingly suffering a grace deficit through vulgar , vapid and other ills, it is refreshing to find a book completely dedicated to how an appreciation of the pre-givenness of life, literally its gracefulness, both sustains and dignifies our human experience. Especially valuable is how the editors have assembled writers from around the world, revealing how the practice of grace is a global challenge, but one with many rich resources. Gracias.” —David Geoffrey Smith, Author of Pedagon: Interdisciplinary Essays in the Human , Pedagogy and Culture, Professor Emeritus, University of Alberta, Canada

“This collection of essays explores Grace Thinking and Grace Operatives: what a great program! It is so new, so fresh, that it helps us in our task of building new ways of seeing the world and new ways of living. The graceful life, for Tagore and Gandhi, is based on coherence: it is the connection between our ideas, feelings, actions, our way of life and the words we say in everyday life. Sincerity, integrity and coherence mean joy. We learned from this book that Grace is, at the same time, the way of living with joy and the way of facing sadness with wisdom.” —Débora Nunes, Author of Outras Palavras: Jornalismo de Profundidade e Pos-Capitalismo, Senior Lecturer in EcoUrbanism, Universidade do Estado da Bahia, Brazil Contents

1 Phenomenologies of Grace: Introduction 1 Marcus Bussey and Camila Mozzini-Alister

Part I The Aesthetics of Grace 17

2 The Heirs of Tiresias: Grace, the Uncanny and Transformative Action 19 Marcus Bussey

3 Messy Grace: The Mutant Futures Program 41 José Maria Ramos

4 Forest Walks and Literary Engagement in the Anthropocene: Meditations on Grief, Joy, and a Restorative Politics 65 Claudia Eppert

5 Between Presence and Absence: Living and Learning Grace in the Face of Death 85 Molly Quinn

xvii xviii Contents

6 Longing for the Great in Portuguese: A Translated Phenomenology of ‘Graça’ 107 Camila Mozzini-Alister

7 “Things Reveal Themselves Passing Away” 123 David W. Jardine

Part II Walking with Grace 137

8 Grace: Truth, Travel and Translation 139 Ananta Kumar Giri

9 Being Alive to Mystery 163 Susan M. Pudelek

10 Designs for Embodiment and Soul: Offerings for Adult Learners in the Twenty-First-Century College Classroom 181 Caroline M. Kisiel

11 A Phenomenology of Grace: The New Insights 205 Meera Chakravorty

12 In Defence of the Quotidian: Poetry and Life Writing 219 Carl Leggo

Part III Dancing with Grace 241

13 Grace Notes: Boundaries and Transgression in Early Music 243 Aaron Brown and Marcus Bussey

14 Music and the ‘World of Feeling’ 257 Matthew James Noone Contents xix

15 Where Two Rivers Meet 273 Arnab Bishnu Chowdhury and Karen Miscall-Bannon

16 Moving, Being Moved, and Witnessing Movement 285 Joy Whitton

17 Systems Sensing: A Case for Embodied, Arts-Based Responses to Complex Problems 301 Sophia van Ruth

18 Amazing Grace: Play with the Poor as a Channel of Blessing 319 Prashant Olalekar

19 Grace-Moves: What WING IT! Performance Ensemble Taught Me About the Relational Nature of Grace 331 Phil Porter

20 Grace Operatives: How Body Wisdom Changed the World 345 Cynthia Winton-Henry

Afterword 359 Marcus Bussey

Index 363 Notes on Contributors

Aaron Brown is an Australian-born performer and arranger/composer with a focus on historical instruments, performance practice and improvi- sation. Brown studied violin in New York at the Juilliard School (under Dorothy DeLay) and Mannes College (with Lewis Kaplan), with graduate work at the City University of New York, USA. He has performed through- out Australia, the and Europe, with groups including the Australian Brandenburg Orchestra (where he is a current ensemble mem- ber), Early Music New York, New Vintage Baroque, Clarion Music Society, Opera Lafayette, Mark Morris Dance Group, Trinity Church Wall St, San Francisco Bach Choir, Four Nations ensemble, New York Collegium, The American Classical Orchestra, New Bach Players and the Queensland Symphony Orchestra, at venues including Carnegie Hall, Lincoln Center, The Kennedy Center, BOZAR Brussels, Grand Theatre Luxembourg, the Arsenal in Metz, Harvard, Yale, Princeton and Columbia universities, the Sydney Opera House, City Recital Hall (Sydney) and the Melbourne Recital Centre. Recently, Brown appeared in the Broadway production of Farinelli and the King, staring Tony and Oscar winner Mark Rylance, and was awarded a 2019 Churchill Fellowship to further his research in Medieval and Baroque performance practice. Brown has recorded two solo albums, including the 2016 release Early Modern, which features his arrangements and compositions alongside more traditional renditions of seventeenth-century Italian repertoire. Other recording credits include soloist billing on the ABO’s Aria award-winning album Tapas: Tastes of the Baroque and releases on the ABC Classics, Naxos, CD Accord and Lyrichord labels.

xxi xxii NOTES ON CONTRIBUTORS

Marcus Bussey is Deputy Head, School of Social Sciences at the University of the Sunshine Coast, Australia. As a cultural theorist, histo- rian and futurist he works on cultural processes that energise social trans- formation. He uses futures thinking and embodied workshops to challenge the dominant beliefs and assumptions that constrain human responses to rapid cultural, social, environmental and technological change. He is cur- rently focused on the role of anticipatory aesthetics as a process-oriented­ approach to understanding and accessing human transformative potential. Bussey has co-authored with Professor Richard Slaughter Futures Thinking for Social Foresight (2005). He has also co-edited two books with Sohail Inayatullah and Ivana Milojević—Neohumanist Educational Futures (2006) and Alternative Educational Futures (2008). In addition, Dynamics of Dissent: Theorizing Movements for Inclusive Futures (2019) with Meera Chakravorty, John Clammer and Tanmayee Banerjee. His new book of poetry (as social theory) The Next Big Thing! was released on March 2019. Meera Chakravorty PhD, is a Research Faculty in the Department of Cultural Studies, Jain University, Bengaluru, India. Prior to this, she was a professor in Bangalore University till 2009. She has been a member of the Karnataka State Women’s Commission, Bengaluru. Her engagement has been with philosophy, women’s studies, cultural studies, social justice and translation projects. She has translated some award-winning­ literary works of renowned authors published by Sahitya Akademi (The Academy of Letters, India). The poetry anthology, ‘The Remnant Glory’, co-­ authored with Elsa Maria Lindqvist of Sweden comes from the realisation to Chakravorty that a silent struggle by the trees, the birds and other ani- mals is going on for a little space for survival. Yet another poetry book, a translation into Bengali of the original Clare and Francis (2018) of Marcus Bussey from Australia, possibly convinces people that despite such pain and ruptures, the landscape of love can still be beautiful. She has recently edited a volume on Dynamics of Dissent (2019) with John Clammer, Marcus Bussey and Tanmayee Banerjee. Arnab Bishnu Chowdhury is an explorer of music and consciousness as a composer, musician, trainer and founder of ‘Know Your Rhythm’ train- ing programme. This programme has empowered university professors, development practitioners, managers, policymakers, neuroscientists, social scientists, teachers, special educators, therapists, patients and medical practitioners, healthcare researchers, students and seekers from vari- ous parts of the world. He has performed and presented ‘Know Your NOTES ON CONTRIBUTORS xxiii

Rhythm’ in various international conferences including the 14th World Congress for Music Therapy, Vienna. His compositions have found their way through music therapy, theatre, multimedia and films which lead to consciousness change. He grew up at the spiritual community of Sri Aurobindo Ashram, Pondicherry, India. He is a performing artist (tabla, piano, electronic). Chowdhury is a third generation from a family of Indian Classical musicians. Claudia Eppert is Associate Professor of Curriculum Studies and English Language Arts Education in the Faculty of Education at the University of Alberta, Canada. Her research explores the pedagogical and ethical complexities of witnessing social and environmental suffering and trauma, and also examines possibilities for transformation and eco- logical well-becoming, particularly with reference to literature and the arts. She has approached this research through the theoretical lenses of intercultural philosophy, literary studies, mindfulness/con- templative/wisdom education, critical/eco-pedagogy and curricu- lum theory. Eppert’s work has been published in journals such as New German Critique, Changing English and Studies in Philosophy and Education. She is the co-editor with Hongyu Wang of Cross-Cultural Studies in Curriculum: Eastern Thought, Educational Insights and co-­ editor with Roger I. Simon and Sharon Rosenberg of Between Hope and Despair: Pedagogy and the Remembrance of Historical Trauma. She has also served as the co-editor (with Daniel Vokey) of Philosophical Inquiry in Education: Journal of the Canadian Philosophy of Education Society (formerly known as Paideusis), for which she co-edited two special issues on the topic of contemplative practices, education and socio-political transformation. Ananta Kumar Giri is a professor at the Madras Institute of Development Studies, Chennai, India. He has taught and conducted research in many universities in India and abroad, including Aalborg University, Denmark; Maison des sciences de l’homme, Paris, France; the University of Kentucky, USA; University of Freiburg & Humboldt University, Germany; Jagiellonian University, Poland; and Jawaharlal Nehru University, New Delhi, India. He has an abiding interest in social movements and cultural change, criticism, creativity and contemporary dialectics of transforma- tion; theories of self, culture and society; and creative streams in educa- tion, philosophy and literature. Giri has written and edited around two xxiv NOTES ON CONTRIBUTORS dozen books in Odia and English, including Global Transformations: Postmodernity and Beyond (1998); Sameekhya o Purodrusti (Criticism and Vision of the Future, 1999); Patha Prantara Nrutattwa (Anthropology of the Street Corner, 2000); Mochi o Darshanika (The Cobbler and the Philosopher, 2009); Sri Jagannathanka Saha: Khyaya, Khata o Kehetra (With Sri Jagannatha: Loss, Wound and the Field, 2018); Conversations and Transformations: Toward a New Ethics of Self and Society (2002); Self- Development and Social Transformations? The Vision and Practice of Self- Study Mobilization of Swadhyaya (2008); Mochi o Darshanika (The Cobbler and the Philosopher, 2009); and Beyond: Windows and Horizons (2012); Knowledge and Human Liberation: Towards Planetary Realizations (2013); Philosophy and Anthropology: Border-Crossing and Transformations (co-edited with John Clammer, 2013); New Horizons of Human Development (editor, 2015); Pathways of Creative Research: Towards a Festival of Dialogues (editor, 2017); Cultivating Pathways of Creative Research: New Horizons of Transformative Practice and Collaborative Imagination (editor, 2017); Research as Realization: Science, Spirituality and Harmony (editor, 2017); Beyond Sociology (editor, 2018); Social Theory and Asian Dialogues: Cultivating Planetary Conversations (editor, 2018); Practical Spirituality and Human Development 2 Volumes (editor, 2018); Weaving New Hats: Our Half Birthdays (2018); and Beyond Cosmopolitanism: Towards Planetary Transformations (editor, 2018). David W. Jardine is Professor Emeritus and lives in the foothills of the Rocky Mountains outside of Calgary, Alberta, Canada. He is the author, most recently, of the book Asleep in My Sunshine Chair (2019), and, with Jodi Latremouille and Lesely Tait, the forthcoming book An Ecological Pedagogy of Joy: On Relations, Aliveness and Love. Caroline M. Kisiel is an educator, humanities scholar, public historian and an associate professor in the School of Continuing and Professional Studies at DePaul University, Chicago, USA. She conducts research con- necting concepts of play and experiential play practices to the fields of transformative learning, narrative inquiry and leisure studies. As a practi- tioner in the InterPlay improvisational movement, storytelling and vocal practice for over 20 years and a Certified InterPlay Leader since 2003, she has led InterPlay workshops in formal and informal set- tings in both the United States and internationally. In her university courses, she guides adult learners in exploring the implications of NOTES ON CONTRIBUTORS xxv play in adulthood, facilitating an experiential play practice in the classroom. She also integrates and adapts experiential play practices into subject-matter courses such as critical thinking, creativity, pro- fessional identity, curriculum design and research development. Kisiel also plays on the historical playground of the early nineteenth-­century history, where she writes about British travellers to the Ohio Valley and southern Illinois in the early nineteenth century, exploring their travel commentar- ies on topics such as American manners, representations of land and land- scape and in the pre-Civil War United States. Carl Leggo (1953–2019) was Professor of Language and Education in the Faculty of Education at the University of British Columbia, Vancouver, Canada. Leggo’s research interests included cre- ativity, literacy education, teaching literature, teacher education, arts-­ based research, life writing, a/r/tography, poetic inquiry, narrative inquiry, curriculum studies, cultural studies, well-being and spirituality. Regarding publications, Leggo has authored, co-authored and co-edited­ 19 books, including Growing Up Perpendicular on the Side of a Hill (1994); View from My Mother’s House (1999); Come-By-Chance (2006); Teaching to Wonder: Responding to Poetry in the Secondary Classroom (1997); Life Writing and Literary Métissage as an Ethos for Our Times (co-authored with Erika Hasebe-Ludt and Cynthia Chambers) (2009); Creative Expression, Creative Education (co-edited with Robert Kelly) (2008); Poetic Inquiry: Vibrant Voices in the Social Sciences (co-edited­ with Monica Prendergast and Pauline Sameshima) (2009); and the like. Karen Miscall-Bannon E-RYT 500, is a senior Hatha Yoga educator and an International Association of Yoga Therapists (IAYT)-certified yoga therapist. She teaches classes, workshops and retreats, and leads 200- and 300-hour teacher training programmes around the United States and abroad. Miscall-Bannon has extensive knowledge of anatomy, with a pas- sion for yoga therapeutics and yoga philosophy. Camila Mozzini-Alister is an adjunct research fellow at the University of the Sunshine Coast, Australia. She holds a Doctor in Communication from the State University of Rio de Janeiro (UERJ), Brazil, and a Doctor in Arts: Producción e Investigación from the Polytechnic University of Valencia (UPV), Spain. She holds a Master’s degree in Social and Institutional Psychology from the Federal University of Rio Grande do Sul (UFRGS), Brazil, and a Bachelor’s degree in Social Communication–Journalism from the same . Her research xxvi NOTES ON CONTRIBUTORS affinities are located in the interfaces between body, social mediation, meditation, desire for omnipresence, affection, migration, as well as her work as a performing artist. Throughout her career, she worked as an art educator in several culture , such as the Iberê Camargo Foundation and the Mercosul Biennial Foundation, as well as a social educator at the Mathias Velho House of Youth (Canoas-RS), where she taught workshops of Citizen Journalism to the youth of the community. Her books ‘Estudos do Corpo: Encontros com Artes e Educação’ (2013) and ‘Experimentações Performáticas’ (2015) and ‘Impressões de um corpo conectado: como a publicidade está nos incitando à conexão digital’ (2019) have been published in Portuguese. She takes writing as a field of poetic experimentation and the body as our first and ultimate creative substratum. Matthew James Noone is an Australian-Irish ex-indie rocker, impro- viser, composer and performer of the 25-stringed lute called sarode. After beginning his musical career as a guitarist and drummer in Brisbane and Sydney in the mid-1990s, Noone fell in love with the sarode during a trip to India in 2003. He has studied North Indian classical music for over a decade with Sougata Roy Chowdhury in and more recently with UK-based sarodiya, K. Sridhar. He has performed Indian classical music across the globe and composes in a diverse range of disciplines ranging from Irish traditional music, free improvisation and contemporary electro- acoustic music. Noone has released two albums of new arrangements of traditional music with percussionist Tommy Hayes (An Tara) and in 2017 released his debut solo album ‘LET LUV B UR GURU’ featuring 23 original compositions using sarode, fiddle, ukulele, loops and drones. He plays two unique custom-made hybrid sarodes. The first was designed par- ticularly for playing Irish traditional music and the second is an innovative electroacoustic sarode for exploring new composition. Noone is also an Irish Research Council scholar and was awarded a PhD for his work exploring the performance of Irish music on the sarode. He is undertaking a postdoctoral Irish Research Council (IRC) fellowship investigating the composition potential of the sarode in the University of Limerick and released his second solo album ‘The Maghera Pony’ in 2019. Prashant Olalekar is a Jesuit priest from Mumbai who completed his Doctor of Ministry in Peace Studies at the Graduate Theological Union, Berkeley, California, in 2006. Recently retired as Head of the Department for Interreligious Studies (DIRS) at St. Xavier’s College, Mumbai, he was NOTES ON CONTRIBUTORS xxvii also Adviser of the All India Catholic University Federation local and state units. Besides “out of the box” programmes for the DIRS he also coordi- nated Jagruti (Awakening), an experiential value education programme for junior college students, which included exposure trips to slums and rural areas of India. He is the co-founder of Samanvaya (Harmony), a network for grassroots research scholars to collaborate for peace. He is the founder of InterPlay India and has organized peace pilgrimages in India for InterPlayers from the USA and Australia. InterPlay and Movement Meditation workshops have been popular with professionals, students, teachers, as well as marginalized groups like tribals, differently abled, sex workers, and slum dwellers. He has facilitated Movement Meditation retreats in India, US, and Ireland. Olalekar is an active mem- ber of the Big History movement, making creative presentations on topics related to cosmic spirituality in India and abroad for the International Big History Association (IBHA), the World Union of Jesuit Alumni, the Jesuit Educational Association of South Asia, and Fireflies Ashram, Bengaluru. He was Novice Director and Coordinator for Formation of the Bombay Jesuit Province, Episcopal Vicar for Religious of Vasai diocese, and Director of Pasayadaan Holistic Spirituality Centre, Vasai, and Retreat House, Bandra. Phil Porter is one of the co-founders of InterPlay, along with his col- league of 40 years, Cynthia Winton-Henry. He is a teacher, performer, writer and organiser. He and Winton-Henry also co-founded WING IT! Performance Ensemble, an Oakland, California, improvisational group. He has written several books, some in collaboration with Winton-Henry, including Having It All: Body, Mind, Heart & Spirit Together Again at Last (1997) and The Slightly Mad Rantings of a Body Intellectual Part One (2005). Porter believes that InterPlay can be a powerful tool to create communities of diversity, peace and justice. Porter is also a textile artist and graphic designer trained at the University of California, Berkeley, has designed costumes and liturgical garments and has worked in a variety of artistic media. He is currently obsessed with polymer clay. Porter served on the staff of First Congregational Church of Berkeley for 24 years as the Minister of Art & Communication. After 20 years as a Commissioned Minister in the United Church of Christ, Porter has just recently been ordained in that denomination. He has created large-scale installations in the church, tells Bible stories in his own style and preaches. He has composed hymns and chants, a few of which have been published in denominational hymnals and other collections in both the United States and Australia. xxviii NOTES ON CONTRIBUTORS

Susan M. Pudelek is Assistant Director, Office for Ecumenical and Interreligious Affairs, in the Archdiocese of Chicago, USA. Her passion is cultivating interconnections between peoples of diverse and cul- tures. She has been at the heart of many local and international efforts for reconciliation, understanding and peace. Pudelek was a delegate to the Buddhist Catholic Vatican Dialogue in 2015 where she met Pope Francis. For more than a decade she was an ambassador for the Parliament of the World’s Religions and was a panellist at the 2015 and 2018 Parliaments in Salt Lake City and Toronto. Pudelek relied greatly on her background in theatre, ministry and non-profit management when she worked on the programme staff for the 2004 Parliament, which was held in Barcelona. She is a Certified InterPlay © Leader. Pudelek holds a Master of Divinity, Catholic Theological Union, Chicago, and a Bachelor of Arts, Theater, Loyola University Chicago. Molly Quinn is Professor, Curriculum Studies, Department of Advanced Studies & Innovation at Augusta University, USA, and former President of the American Association for the Advancement of Curriculum Studies (AAACS)—is the author of Pedagogy and Peace (2014); Going Out, Not Knowing Whither: Education, the Upward Journey, and the Faith of Reason (2001); and numerous book chapters and journal articles. She has also recently edited Complexifying Curriculum Studies: Reflections on the Generative and Generous Gifts of William E. Doll Jr. (2019). Much of her scholarship engages ‘spiritual’ and philosophical criticism towards embrac- ing a vision of education that cultivates wholeness, beauty, awareness, compassion, creativity and community. José Maria Ramos has a passion for the coupling of foresight and action. Like a Don Quixote, he has pursued this endeavour for decades, chasing after windmills and doing battle with imaginary giants. This has included theoretical work through published articles, consulting work for fed- eral, state and municipal governments, as well as citizen experiments in methodological innovation. Anticipatory experimentation/the bridge method is his most recent and advanced formulation. He is originally from California of Mexican ancestry. Born in Oakland, he grew up in a very multi-cultural suburb of Los Angeles. After living in Japan and Taiwan, where he studied Japanese and Mandarin, he moved to Melbourne, Australia. His other great passion is in considering who we are as planetary beings, which includes his ethnographic study of alterna- tive globalisations, writings on planetary stigmergy and research on NOTES ON CONTRIBUTORS xxix cosmo-localisation. This line of work connects him to the truth that we are all brothers and sisters on a planet that we mutually depend on for our survival and wellbeing—our shared commons. He is the senior consulting editor for the Journal of Futures Studies, runs the boutique foresight con- sultancy Action Foresight and has taught and lectured on futures studies, public and social innovation at the National University of Singapore (Lee Kuan Yew School of Public Policy); Swinburne University of Technology, Australia; Leuphana University, Germany; the University of the Sunshine Coast and Victoria University, Australia. He has over 50 publications in journals, magazines and books spanning economic, cul- tural and political change, and he has co-founded a number of civil society organisations, a social forum, a maker lab, an group for com- mons governance and a peer-­to-peer leadership development group for mutant futurists. Sophia van Ruth believes that just because life can be complex that does not mean it has to feel complicated. In service to this belief, she runs her own business offering trainings to help people navigate complexity with more ease and confidence. Within her workshops she combines her knowl- edge of complex systems with holistic and embodied methodologies from the discipline of shiatsu and the practice of InterPlay. Shiatsu is a Japanese healing art within which the therapist seeks to identify the broader pat- terns of health or illness in the patient. This was Ruth’s first introduction to a systems approach even though she did not realise it at the time. InterPlay is an embodied, improvisational and creative practice that can be used to ‘play with’ the complexities of people’s lives. Ruth holds an MSc in Holistic Science, is a qualified shiatsu therapist and a certified InterPlay leader. During her MSc Ruth became captivated by the theories of complex systems science and her thesis explored how education could better prepare students for a complex and ever-changing world. To further support her work, Ruth also regularly attends confer- ences and conducts her own research in the fields of complexity, embodi- ment, playfulness and arts-based practices. Joy Whitton works in the Education Portfolio as an academic developer at Monash University, Australia. She believes learning can be a creative and personal adventure, so she is interested in ways to ensure that what we teach and how we teach, and what we assess and how we assess, is fit for creative purpose. Whitton also has extensive experience as a com- xxx NOTES ON CONTRIBUTORS missioning editor and a production editor, with a range of tertiary educa- tion textbooks and professional publishers. Her book, entitled Fostering Imagination in Higher Education: Disciplinary and Professional Practices, was published in 2018. Her research interests include imagination, cognition and their interplay with tools/artefacts and practices, and professional learning. She coordinated a successful Higher Education Research Programme and initiated a com- munity of practice of educators interested in enhancing the imagination and creativity of students. Whitton loves walking, swimming, snorkelling and just spending time around trees, birds and the sea. She has participated in Authentic Movement for close on 30 years, which art has helped her to sense and respond creatively and authentically to the slings and arrows of outrageous fortune. Cynthia Winton-Henry is a dedicated partner, mother, grandmother, friend and spiritual leader who lives in an eco-housing village in California, USA. With her colleague of 40 years, Phil Porter, she cofounded InterPlay and WING IT! Performance Ensemble, an Oakland, California, improvi- sational group. InterPlay is an active, creative approach to unlocking the wisdom of the body. After introducing InterPlay around the world and training hundreds of leaders, InterPlay is proving to offer powerful ways to create communities of diversity, peace, justice and joy. They offer training to anyone who is interested in restoring the wisdom of the body for any area of inquiry and practice. From InterPlayce, their studio in the heart of the San Francisco Bay Area they are at play with what it means to create a functional body-wise organisation. Winton-Henry taught for 25 years at Pacific School of where she was also honoured as alumni of the year. She did postgraduate work in Theology and the Arts and Multicultural Education. She has taught at the Sophia Center at Holy Names University, the Institute for Transpersonal Psychology and in schools around the globe. In order to more deeply explore the nature of body and soul with others, she created The Hidden Monastery, an online space where mystics, artists and visionaries do not have to explain themselves. Her books include Move: What the Body Wants, Dance: The Sacred Art and Chasing the Dance of Life. Her forthcoming book, The Art of Ensoulment, maps out 12 key initiations in spiritual formation. List of Figures

Fig. 3.1 Mutant futures Triangle, the core elements 45 Fig. 3.2 Mutant Futures Triangle, relational questions 47 Fig. 3.3 Causal layered analysis of the self, iceberg model and questions (Inayatullah and Milojević 2015) 53 Fig. 3.4 Mutant Futures Canvas 56

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