This article explores the history of the current reemergence of a contemplative orientation in education. While referencing an ancient history, it primarily examines the history of contemporary contemplative education through three significant stages, focusing on the third. The first was arguably initiated by the introduction of Buddhism to the United States through Chinese immigration that started in 1840, and the second began in the late 1960s and early 1970s with the establishment of three significant tertiary institutions that engage contemplative practice and theory. The third, which began in 1995 with the founding of the Centre for Contemplative Mind in Society, is introduced through five developmental influences. Linked with this is the concurrent development and growing intersection of contemplative and transformative education. This contemporary and ancient history traces the continuing presence of the contemplative in education to counter suggestions that contemplative education may be a fleeting trend. Rather, it indicates that contemplative practice, which grounds this approach in education, is an essential aspect of who we are and how we learn.
This article examines a recurring phenomenon in students' experience of contemplation in contemplative and transformative education. This ground-of-being phenomenon, which has been reported by students in higher and adult education settings, is a formative aspect of the positive changes they reported. It is examined here to highlight the ways in which the depth of felt or precognitive meaning that can occur in contemplative education impacts these changes. The subtlety and range of contemplative experience is described through the ground-of-being experience as a means to support the call from contemplative and transformative education theorists for pedagogies that include the subjective and contemplative.
In this article I discuss the heuristic power of combining contemplative and creative practices using different stages of my research into learning through contemplation. This began with a realisation I had, in my first meditation retreat, about the similarities between creative and contemplative consciousness. It initiated twenty-three years of applied and theoretical research that started with contemplative art workshops I ran in rehabilitation centres. In PhD research that followed I tested a hypothesis of learning through contemplation founded on the concept of an elemental ground of learning that contained an integrating force I termed the feeling nexus. In later research examining the egress of meaning where practitioners return from contemplation, I discovered that art-making can act as a bridge between pre-conceptual knowing and cognitive assimilation of that knowledge. Recently I created the Meditative Process Art (MPA) method that engages the heuristic power of combining creative and contemplative practices.
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