Wednesday, March 2, 2011
How can we describe effective focusing on a sound or text with haptic anchoring? Gendlin's (1996) "Six steps of focusing" provides a good model. Whether we are talking about "focus on form" in contemporary language teaching, dealing with the felt sense of a psychological problem--or in our case, attempting to efficiently "get" a new or corrected sound complex in pronunciation instruction, the same process applies: (a) Clearing the space, (b) identifying the felt sense, (c) attending to the "handle" or word that best fits the felt sense, (d) experiencing the body resonance (vibration, etc.) attendant to the word and feeling, (e) asking, reflectively how the felt sense and language selected "fit", and (f) what Gendlin refers to as "receiving," that is being open to the convergence of the body sensation with the cognitive, reflective understanding of the whole experience. In the next post, we will come back to those six steps and (sort of) phenomenologically unpack that set of procedures with an example from a basic HIPoeces protocol.