University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1997 Deep story : an investigation of the use of the embodied voice in the treatment of traumatic memory. Molly. Scott University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Scott, Molly., "Deep story : an investigation of the use of the embodied voice in the treatment of traumatic memory." (1997). Doctoral Dissertations 1896 - February 2014. 5307. https://scholarworks.umass.edu/dissertations_1/5307 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]. DEEP STORY: AN INVESTIGATION OF THE USE OF THE EMBODIED VOICE IN THE TREATMENT OF TRAUMATIC MEMORY A Dissertation Presented by MOLLY SCOTT Submitted to the Graduate School of the University of Massachusetts Amherst in partial fullfillment of the requirements for the degree of DOCTOR OF EDUCATION May 1997 School of Education © Copyright by Molly Scott 1997 All Rights Reserved DEEP STORY: AN INVESTIGATION OF THE USE OF THE EMBODIED VOICE IN THE TREATMENT OF TRAUMATIC MEMORY A Dissertation Presented by MOLLY SCOTT Approved as to style and content by: <T/ ____ John W. Wideman, Chair L Mary AnneBright,1! er S, Patricia Griffin, Member ACKNOWLEDGMENTS I want first of all to thank the people whose experience in the Deep Story process is the focus of this study: Joy, Miriam, Iona, Alexandra, and Katrin. I am deeply indebted to them for offering their Deep Story experience to this research. My own story has been enriched by working with them in this special way. The members of my committee, Jack Wideman, chairman, Mary Anne Bright, and Pat Griffin have kept me grounded in the academic world and I thank them for keeping me on track. Particularly, I thank Jack Wideman, who first opened the door to my pursuit of this doctoral degree, and who kept that door open through all kinds of weather in the intervening years. I thank my "debriefer" Rebecca Reid, who has pulled me through difficult times with unflagging persistence and encouragement—her assistance has been beyond price. Gratitude goes to my other readers, Ruth, Carol, and Artemis, who brought their eagle eyes and heartening curiosity to this project. Thanks also to James Carse for being part of my research team. I have leaned on my friends on both sides of the Atlantic through these years. Dorla and Marianne in Germany, Mette in Denmark and my constant friends, Sarah on the hill, and Carol in the valley, have played an important part in conceptualizing and birthing this research, and in witnessing and encouraging me to bridge the gulf between the experience and documentation of the Deep Story process. The woman on the tightrope has crossed to the other side and now walks away. I also thank the women who crossed IV before me who have provided on-going support and encouragement: Suzanne, DiDi, and Daria. The encouragement of my family, local and long-distance, has been the net under the rope walker. To my two sister-elders, Joanna Macy and Edith Sullwold, I make a deep bow of acknowledgment and gratitude. Finally, I wish to lovingly acknowledge my equine friend and companion of over two decades, Bint Om Shantih, who died while I was completing this document. v ABSTRACT DEEP STORY: AN INVESTIGATION OF THE USE OF EMBODIED VOICE IN THE TREATMENT OF TRAUMATIC MEMORY MAY 1997 MOLLY SCOTT, B.A., SMITH COLLEGE M ED., UNIVERSITY OF MASSACHUSETTS AMHERST ED.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor John W. Wideman This study is a qualitative case study investigation of the expanded use of the voice in the treatment of trauma. It examines the Deep Story process, a treatment for traumatic memory using both languaged narrative and pre-language sounding, or PLS. The Deep Story process uses an interactive team protocol with a story teller, a reflector, and a witness, involving repeated tellings of the trauma story both in and out of language. The use of the embodied voice in the treatment of trauma is under-researched and the purpose of this study is to provide an experiential data base to generate knowledge about how the intentional use of vocal frequencies might alleviate the stress of trauma. In-depth interviews were conducted with five women, two Germans and three Americans, ages thirty-seven to forty-eight, who had participated in a therapy training which included Deep Story trauma work. Data collection also included a follow-up questionnaire, meetings and phone contacts. Thematic analysis, using the constant vi comparative method, defined the experience of the participants and provided data for emerging implications and further study. Participants reported a lessening of anxiety around the trauma after the Deep Story work, and a stronger sense of empowerment, authenticity, and voice in the world. For all the participants, the locus of therapeutic change was in the pre-language sounding component of the protocol. These findings suggest that such extended use of the voice in the Deep Story treatment lessens the toxity of traumatic memory and can be an effective intervention in the treatment of trauma. Vll TABLE OF CONTENTS Page ACKNOWLEDGMENTS. iv ABSTRACT. vi CHAPTER 1. INTRODUCTION . 1 Background of the Problem. 1 Statement of the Problem. 3 Purpose of the Study. 4 Significance of the Study. 5 Speechlessness and Trauma. 6 Deep Story In Clinical Use. 6 Story As Healing. 6 Pre-language Sounding . 7 Definition and Explanation of Terms. 8 2. FOUNDATIONS FOR RESEARCH: CORE CONCEPTS. 19 Introduction. 19 Systems Metaphors. 20 Music and the Laws of Harmonic Relationships. 21 Systems Theory. 22 The Working Model for the Deep Story Process: Ten Premises. 24 1. Everything Vibrates.26 Rationale. 26 Implications for Deep Story. 26 Overview. 26 The Web That Has No Weaver. 27 Vlll 2. Objects Vibrate In a Field of Resonance and Affect Each Other By Entrainment.29 Rationale. 29 Implications for Deep Story. 29 Sound Creates Matter. 29 Sound As Form .30 Resonance/Entrainment. 32 3. The Mind-body Is a Constellation of Vibrational Frequencies Organized in Patterns of Resonant Relationship Between Entrained Pulsations. 34 Rationale. 34 Implications for Deep Story. 34 Vibrational Medicine. 35 The Living Matrix. 39 Coherence. 42 4. "Voice" Is an Organization of Sonic Frequencies and Can Be Entrained .43 Rationale. 43 Implications for Deep Story. 43 Overview.43 Hans Jenny: Cymatics.43 Bio-Acoustics. 47 The Tomatis Method. 48 5. Memories Are Somatically Encoded Bio-Energetic Frequencies Subject to Entrainment .50 Rationale . 50 Implications for Deep Story. 51 Overview . 51 The Biophysics of Memory . 51 Coherence and Deep Story.54 The Psychology of Memory.55 Declarative and Non-Declarative Memory.56 Neuroanatomy of Memory .57 Traumatic Memory .59 Reduced Hippocampal Function.59 IX Hemisphere Lateralization .60 Language of Emotions. 62 Emotional Intelligence. 63 6. Humans Organize Their Encoded Experiences Narratively Through the Telling of Story, and Stories, Too, Are Entrainable Frequencies .64 Rationale.64 Implications for Deep Story.64 Telling Stories.65 The Psychophysiology of Story.65 Narratives Link Mind and Body.66 Therapeutic Stories.68 Listening to Story: The Voice and the Ear.70 7. The Vibrational Frequencies of the Voice Can Entrain With Frequencies of Memory and Story and Bring Them Into Coherent Alignment.72 Rationale.72 Implications for Deep Story.72 Resonance: A Review.73 People As Tuning Forks.73 Music and Resonance.74 Resonance and Information.75 Psychotherapy and the Healing Voice.77 8. Vocal Entrainment of Memory As Story Can Facilitate Change In the Mind-body System .81 Rationale. 81 Implications for Deep Story. 81 Overview . 81 Related Literature. 82 9. Entrained Use of the Embodied Voice Can Affect the Storyteller's Outer As Well As Inner Relationships .84 Rationale.84 Implications for Deep Story. 84 Group Resonance. 84 Chaos Theory . 85 x Dynamical Energy Systems Approach: Energy Cardiology ... 88 Ritual and Theater Games. 89 Glossalalia/Speaking in Tongues. 91 A Word About Words.93 10. The Entrained, Embodied Voice Can Be Used In a Resonant System As Treatment for Trauma .95 Rationale.95 Implications for Deep Story. 95 Trauma and Society. 96 Traumatic Memory Revisited. 97 Recovery from Trauma.100 Summary.101 3. METHODS AND PROCEDURES.103 Overview of the Study. 103 Background of the Researcher .105 Participants In the Study.110 Previous Deep Story Experience. Ill Design of the Study. 112 Introductory Letters. 112 Audio-Video and Informed Consent. 112 The Setting. 113 The Deep Story Process. 115 Setting It Up. 115 Entering the Process.116 Pre-language Sounding.117 Returning to Language. 118 Re-storying . 119 New Encoding. 120 Aftermath . 120 The Interviews. 121 The Interview Guide. 122 Follow-up Questionnaire.122 Independent Data Recipient.123 Other Data Sources .124 xi Trustworthiness . 124 Credibility . 125 Activities Increasing Probability of Credibility. 125 Prolonged Engagement. 125 Persistent Observation. 126 Triangulation of Data . 126 Peer Debriefing . 127 Negative Case Analysis . 127 Referential Adequacy.128 Member Checks.128 Transferability, Dependability, and Confirmability.129 Procedures: Data Collection and Management.130 Analysis of the Data.130 Other Research Perspectives.131 Profiles and Themes Within Themes ., . 132 Limitations of the Study.133 Pilot Studies and How They Inform the Current Work.134 4. PROFILES OF PARTICIPANTS .136 Introduction . 136 From Joy's Deep Story Session . 139 Profile #1 - Joy. 140 Profile #2 - Miriam . 151 Profile #3 - Iona. 169 Profile #4 - Alexandra. 184 Profile #5 - Katrin. 197 5. THEMES WITHIN THEMES. 207 Introduction .207 Categories and Themes Chart.208 Profile Category #1: The Core Trauma Story.