**3.19 Silence in storytelling mindfulness**

Studies show that noise has a powerful physical effect on our brains, causing elevated levels of stress hormones. According to the researcher Mónica Esgueva, professional coaching, sound travels to the brain as electrical signals through the ear. Even when we are sleeping, these sound waves cause the body to react and activate the amygdala, the part of the brain associated with memory, emotion and sense of danger, leading to the release of stress hormones. Therefore, living in a noisy environment on a regular basis causes us to experience extremely high levels of these harmful hormones. In the current era of digital overexposure, in which we feel overwhelmed by huge amounts of information, disconnect becomes more relevant than ever. Research has shown that demands constant attention of modern life put a lot of stress in our prefrontal cortex, the part of the brain responsible for making decisions, solving problems and stop our harmful impulses, among other tasks. When we spend time alone in silence, our brain is able to relax and free itself. Silence relieves stress and tension in both the brain and the body, helps us replenish and nourishes our cognitive resources. Therefore it is highly recommended is mindfulness storytelling incorporation of silence as a pill break where our attention is connected with emotions that have emerged, it is a way to allow consciousness to rest in the relaxed attention. Silence is confirmed in the celebration of each moment and each frame diffused in our history. Silence is not the opposite of sound, but rather a dimension of consciousness that actually contains all sounds. We need to develop as human beings a certain relationship in silence, to become friends with him, to discover him as the fertile source of all subsequent activity and sound. In fact, we maintain an ambivalent relationship with silence, because we seek serenity and yet drama abounds in our lives, we long for fulfillment and at the same time we fear the unknown terrain that we have to cross to reach them. Silence thus understood is not a denial of life, love, or community, but it teaches us to celebrate the beauty of each moment. Silence makes us truly strong. Living in this new territory is very useful for personal life, for the healthy management of our expansive and contractive emotions, for the relationship with others and for the achievement of our projects in a truly new and creative way. From that perspective we must offer in our way of creating meditations spaces of silence, we should not direct all the time, but spaces of silence, and oxygen should be offered, so that the participant

can experience it for himself. Therefore, the language is used economically, simply, without long descriptions. Territories of silence. Storytelling in other topics is not recommended to create too many territories of silence, but meditative narratives should be offered spaces of silence so that the receiver can experience, and feel, those formats of self-inquiry and self-experimentation [14].

#### *3.19.1 Storytelling mindfulness postural*

Traditionally, the body has been denied in the West, which has given greater preponderance to the mind. The mind has been considered as the place where the intellectual life and the imaginative life and the narrative life are produced. And of course it has been thought that storytelling has its palace exclusively in mind. And for that reason always in the West it has been thought that the body is simply a vehicle directed by the mind [5]. Oriental culture has always maintained a different position, considering the body as important as the mind for the balance of the individual. Current research by García Campayo and Demarzo supports the hypothesis that guides the importance of the body in our psyche and in our way of integrating and fully listening to stories [5]. It is demonstrated that interoceptive perceptions (bodily sensations) modify our thoughts and emotions in an important way and vice versa. In fact, there are studies that show that, if the habitual posture is modified, simply introducing a pencil in the mouth and introducing the smile, one finds the experiences and storytelling more fun (for example, reading a comic story) than if it is not done this modification [5]. The body, our posture and breathing therefore conforms as an essential variable when it comes to emotion and perception of the stories. Storytelling mindfulness establishes a series of essential postures that allow the effects of the connection of formal practices to be much greater and more fluid. An example of this is found in the stretched back, open and expanding chest, hands in opening, feet comfortably resting on the floor, hand resting comfortably on the legs, face without tensions and half-closed eyes without focusing anything specific [2, 7, 10, 11, 13–21].

#### **4. Conclusion**

We discover the creative and pragmatic essence of the novel concept of mental narration. The fundamental objective is the design of an empirical program for the best use of narration for construction, verbalization, meditation with different objectives: mindfulness and the art of storytelling. The formal practices are a fundamental axis in the processes of full attention and the methodology of the story a way to face them with efficiency.

To carry out a narrative production, the best form of meditations, the form, the series of factors, the way of sharing, the power, the conscience, the keys, the time to share and the power to connect with the receiver.: Clarity in the language, communicative precision, the use of an accessible language, the awareness of the characters and their connotative impact, the conflicts in the story of an activity, the archetypes, myths, rites, productive economy, narrative sensoriality, gerundium employment. Narrative, type of mindfulness of stories, determinant articles, use of metaphors, acceptance, structure, field of possibilities in the receiver of an activity, morphology in the emotions, time of the meditations, therapeutic process in the formal practices, silence and narration.

The main cognitive, sensory and emotional advantages of the use of the mental narrative guidelines that we have developed are the following:

**39**

*Storytelling Mindfulness: Storytelling Program for Meditations*

• Memorize. Because the brain cannot hold much information in the short term. It only collects four or five arguments. In a story, information is related within a story and facilitates meaningful learning. In this way, the use of narrative keys in meditations allows meditation to be remembered in greater depth and

• Think about images, meditate on images. The nature of our thoughts and cognitive phenomena have an image form. The experimentation of the senses in images of the meditations allows a very subtle connection much higher. Therefore, the memory and efficiency of meditation are increased through the

• Fit a new idea into another already known. Variations on archetypes and myths facilitate the understanding of history, and the internalization of the story in meditation. What connects us in the infinite possibilities that the receiver is at the time of connecting with the essence of each practice and its way of healing.

• Stimulates the imagination and helps maintain attention. Our method of storytelling mindfulness allows us to open windows to an imaginary, and to a particular planet that encourages the visualization of processes in meditation. To prevent the receiver from entering into internal dialogue mode, it is important that the scenario be subtle within the meditation guide. A conscious accompaniment, but allowing a free recreation of our imagination in each

• Geolocation of sounds and a three-dimensionality vision and a special brightness. The narrative recreation of the form of emotions increases our awareness through bodily sensations, which allows the internal dialogue to descend and increase an experiential way of listening and seeing, an effect that extends

• Improvement of the therapeutic process in meditations. The use of storytelling mindfulness through the sequentially of the phases: initiation, development, healing, landing, and epilogue of the story, allows an awareness of the place, and the point where we are at the time of surpassing screens in our healing

Throughout our chapter, we have deepened in the extensive options of inquiry of the application of the storytelling mindfulness method. It opens a field of infinite possibilities of application that allows to put the focus of study, in future research, to many other narrative exploration scenarios such as in the methodology of creation of informal practices of mindfulness, the deepening in attentional storytelling, constructive or generative storytelling and deconstructive storytelling.

• We raise the level of acceptance and healing of emotions.

*DOI: http://dx.doi.org/10.5772/intechopen.86778*

use of narrative images.

sequence and fragment.

from formal to informal practices.

process through narrative meditations.

breadth.

*Storytelling Mindfulness: Storytelling Program for Meditations DOI: http://dx.doi.org/10.5772/intechopen.86778*

*Narrative Transmedia*

[2, 7, 10, 11, 13–21].

a way to face them with efficiency.

formal practices, silence and narration.

narrative guidelines that we have developed are the following:

**4. Conclusion**

can experience it for himself. Therefore, the language is used economically, simply, without long descriptions. Territories of silence. Storytelling in other topics is not recommended to create too many territories of silence, but meditative narratives should be offered spaces of silence so that the receiver can experience, and feel,

Traditionally, the body has been denied in the West, which has given greater preponderance to the mind. The mind has been considered as the place where the intellectual life and the imaginative life and the narrative life are produced. And of course it has been thought that storytelling has its palace exclusively in mind. And for that reason always in the West it has been thought that the body is simply a vehicle directed by the mind [5]. Oriental culture has always maintained a different position, considering the body as important as the mind for the balance of the individual. Current research by García Campayo and Demarzo supports the hypothesis that guides the importance of the body in our psyche and in our way of integrating and fully listening to stories [5]. It is demonstrated that interoceptive perceptions (bodily sensations) modify our thoughts and emotions in an important way and vice versa. In fact, there are studies that show that, if the habitual posture is modified, simply introducing a pencil in the mouth and introducing the smile, one finds the experiences and storytelling more fun (for example, reading a comic story) than if it is not done this modification [5]. The body, our posture and breathing therefore conforms as an essential variable when it comes to emotion and perception of the stories. Storytelling mindfulness establishes a series of essential postures that allow the effects of the connection of formal practices to be much greater and more fluid. An example of this is found in the stretched back, open and expanding chest, hands in opening, feet comfortably resting on the floor, hand resting comfortably on the legs, face without tensions and half-closed eyes without focusing anything specific

We discover the creative and pragmatic essence of the novel concept of mental narration. The fundamental objective is the design of an empirical program for the best use of narration for construction, verbalization, meditation with different objectives: mindfulness and the art of storytelling. The formal practices are a fundamental axis in the processes of full attention and the methodology of the story

To carry out a narrative production, the best form of meditations, the form, the series of factors, the way of sharing, the power, the conscience, the keys, the time to share and the power to connect with the receiver.: Clarity in the language, communicative precision, the use of an accessible language, the awareness of the characters and their connotative impact, the conflicts in the story of an activity, the archetypes, myths, rites, productive economy, narrative sensoriality, gerundium employment. Narrative, type of mindfulness of stories, determinant articles, use of metaphors, acceptance, structure, field of possibilities in the receiver of an activity, morphology in the emotions, time of the meditations, therapeutic process in the

The main cognitive, sensory and emotional advantages of the use of the mental

those formats of self-inquiry and self-experimentation [14].

*3.19.1 Storytelling mindfulness postural*

**38**


Throughout our chapter, we have deepened in the extensive options of inquiry of the application of the storytelling mindfulness method. It opens a field of infinite possibilities of application that allows to put the focus of study, in future research, to many other narrative exploration scenarios such as in the methodology of creation of informal practices of mindfulness, the deepening in attentional storytelling, constructive or generative storytelling and deconstructive storytelling.

*Narrative Transmedia*
