“The truth must dazzle gradually”

Ellingson, Laura L.

doi:10.1177/0265407514523553

Cited by 25 publications

(19 citation statements)

References 13 publications

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“…A crystallisation qualitative methodological framework (as described by Ellingson, 2009Ellingson, , 2014Richardson, 2000) enabled me to have a trans-disciplinary perspective and hold in tension a bricolage of relationships, data-collection methods, AR cycles, data-analysis strategies, and artefacts to engage and 'play' with my research. Inspired by rope-climbing playgrounds, I developed a visual metaphor to capture the rich complexity of my research design with myself in the midst of it all (Figure 1).…”

Section: Methodsmentioning

confidence: 99%

“…L. Richardson (2000) created the metaphor of crystallisation to provide a way of constructing research that incorporates a diverse range of methods and methodologies to build a layered and more complex perspective than a single methodology might do. Ellingson (2009Ellingson ( , 2014 developed the metaphor further to include greater detail on the practical aspects of crystallisation such as the possibilities for incorporating creative and analytical research methods. Ellingson (2014) considers five aspects that are needed to ensure a crystallisation research process.…”

Section: Chapter 3 -Methodologymentioning

confidence: 99%

“…Ellingson (2009Ellingson ( , 2014 developed the metaphor further to include greater detail on the practical aspects of crystallisation such as the possibilities for incorporating creative and analytical research methods. Ellingson (2014) considers five aspects that are needed to ensure a crystallisation research process.…”

Section: Chapter 3 -Methodologymentioning

confidence: 99%

“…I used a crystallisation qualitative framework (as described by Ellingson, 2009Ellingson, , 2014 and phenomenological methodology to provide a trans-disciplinary perspective and hold in tension a bricolage of relationships, data-collection methods, and artefacts to engage and 'play' with my research. Through my experience-based learning, autoethnographic critical reflection, cycles of action research, poetic inquiry, and a rich and complex range of qualitative data sources I investigated the impact of creative play initiatives at the theological college.…”

Section: Introductionmentioning

confidence: 99%

“…Shaped by a social constructivist paradigm, I used a range of qualitative methodologies (phenomenology, evocative autoethnography, action research [AR]) within a crystallisation framework (building on the work of Ellingson, 2009Ellingson, , 2014L. Richardson, 2000) to gain an understanding of the necessary conditions for creativity and playfulness to flourish in the theological setting.…”

Section: Chapter 1 -Introductionmentioning

confidence: 99%

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Embodied creativity: Creative play as a catalyst for adult learning, spirituality and a ludic (playful) mindset

Wilderspin¹

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In my research, I explored and investigated the potential of creative play to enrich adult learning, creativity, spirituality, liturgical worship, and ministry formation, in an Anglican theological college setting (2020–2021). In my experience as an Anglican priest in a parish, and a student in a theological college, I have discovered that the church and theological institutions do not always offer a creative way for adults to learn about or engage with the sacred. Although there is growing evidence that creativity and play can have positive benefits for adult learning, there is less research regarding the effect of creative play on adult spirituality and theological education. I used a crystallisation qualitative framework (as described by Ellingson, 2009, 2014) and phenomenological methodology to provide a trans-disciplinary perspective and hold in tension a bricolage of relationships, data-collection methods, and artefacts to engage and ‘play’ with my research. Through my experience-based learning, autoethnographic critical reflection, cycles of action research, poetic inquiry, and a rich and complex range of qualitative data sources I investigated the impact of creative play initiatives at the theological college. During three parts of the project, I used creative play strategies to stimulate the imagination and evoke a ludic (playful) mindset. In Part 1, I developed eight creative liturgical services for the college students to enrich their sense of the holy/ divine/sacred. In Part 2, I facilitated a series of three workshops (online and face-to-face) to understand the impact of creative play on the students’ own learning, imagination, sense of fun, and creativity. In Part 3, I worked with a group at the theological college over 6 months to explore the role of creative play in terms of group dynamics and liturgical worship as we planned and led a number of worship services. My facilitation of the group led to the discovery of six conditions that were helpful in my practice and context for encouraging a team culture of creativity and an enhanced sense of the holy/divine/sacred to develop. These conditions are: 1. a ludic mindset, 2. a facilitator/guide/role model, 3. the creation of a team culture of creativity, 4. shared learning experiences designed to stimulate imagination, 5. a variety of locations for creative play activities, 6. a reflection/action process. Through the development of these conditions, I encouraged three main ludic qualities (curiosity, embodied creative expression, and relationality), in myself as a priest and in participants. My research revealed the importance of not only a ludic mindset but also an embodied creativity that has a collaborative aspect. Therefore, based on the work of Kaufman and Beghetto (2009) and their 4-C model of creativity (Big-C, Pro-C, mini-c, little-c), I suggest a fifth dimension, collaborative-c, be added, to bring a more embodied, collective, and culturally inclusive dimension to this model. The research provides an evidence-based study of how creative play methods can be woven into theological formation and training, support participants’ confidence and creativity in their ministry and help adults encounter the sacred in their everyday lives through creativity and playfulness.

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Section: Methodsmentioning

confidence: 99%

Section: Chapter 3 -Methodologymentioning

confidence: 99%

Section: Chapter 3 -Methodologymentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Chapter 1 -Introductionmentioning

confidence: 99%

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Embodied creativity: Creative play as a catalyst for adult learning, spirituality and a ludic (playful) mindset

Wilderspin¹

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Narrative Methods

Spradley

2022

The International Encyclopedia of Health Communication

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This entry introduces narrative methodology to study health communication. Health communication values narrative as a way of communicating about health and a way of studying health communication. As such, health communication has drawn on narrative methods within rhetorical and interpretive traditions demonstrating a wide range of narrative methodologies, including pentadic criticism, representative anecdote, narrative rationality, critical narrative analysis, structural analysis, thematic analysis, and multi‐genre analysis. This entry concludes with ways health communication scholarship can advance narrative methods and use narrative methods to advance health communication.

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Getting to the Heart of the Matter: A Self-Reflexive Approach to Workplace Spirituality

Anderson¹

2018

The Palgrave Handbook of Workplace Spirituality and Fulfillment

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“The truth must dazzle gradually”

Cited by 25 publications

References 13 publications

Embodied creativity: Creative play as a catalyst for adult learning, spirituality and a ludic (playful) mindset

Embodied creativity: Creative play as a catalyst for adult learning, spirituality and a ludic (playful) mindset

Narrative Methods

Getting to the Heart of the Matter: A Self-Reflexive Approach to Workplace Spirituality

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