*3.5.3 Conflict with the past*

There is a conflict with a concrete event of the unresolved past that manifests itself in the present recurrently.

**31**

*Storytelling Mindfulness: Storytelling Program for Meditations*

There is a conflict in the form of concern about an event in the future. Since it has not happened, it is a conflict focused on suffering, and not on the pain that is a

Archetypes are the primal models of storytelling mindfulness that are essential for the narration of our meditations established by Kabat-Zinn. Conceptual forms that represent an ideal form and that are shared, in the essential, by all schools of mindfulness and that, in one way or another, must be present in the narrations and in the meditations. They represent ideas or personalize ideals. They have modeling value. They carry symbolic and spiritual charge: not to judge, patience, beginner's mind, confidence, not to insist on effort, acceptance, release and kindness [6]. Myth: it is an exemplary story. Something that happened in a remote or fictitious time but that can happen again at any time. According to Núñez, a myth is an exemplary, sacred and significant history that has given meaning to the existence of man since the beginning of time [1]. In the narrations of the meditations you can connect with an exemplary story that happened at some point of our existence and that can inspire us to feel one way or another in formal practice. The elements of nature are recurring symbolic elements that allow us to connect with this type of experiences in meditation. An example of this is found in the meditation of the mountain, in which we can experience the seasons and their impact on their different zones and the orography of the same. This type of stories could connect us with the profound wisdom of this type of scenario [11]. Rites: according to the storytelling specialist, Antonio Núñez [1], if you make your story possible a rite, you convert users or recipients into walking stories. It is a way to experience our history and meditation. The return of our focus attention to the sensations of our body through a ritualized history is a wonderful methodology to connect with the present, leave the internal dialogue of our thoughts, getting the meditation to become an assumed and fully liturgical experience. An example of this is the optimal sequence of the meditations that, as a rite, we connect in the first minutes with our body in a holistic way, with the deep sensations in the senses and finally in the attention on breathing (abdomen, chest, mouth and nose). Especially significant is its application on attentional meditations, although it can also be used

The materialisations of the meditations should be focused on a direct and explicit approach, without too many descriptions or too many descriptive nuances. The mind by nature is already scattered with 60,000 thoughts in a day, such as to create ambiguous and scattered storytelling mindfulness. Messages that economize

The processes of storytelling mindfulness must connect mainly with our senses. Each receiver has a predominant channeling of some senses over others. In order to establish connection spaces with all the senses, our mindfulness narrations must contain a direct reference to the senses with the intention of opening stimulation spaces in the different sensory channels. An example of this would be: "feeling our mind," "listening to our expansive emotion," "smelling the fragrance of our attention" [11].

**3.6 Archetypes, myths, and rites as elements storytelling mindfulness**

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

on generative and deconstructive ones [11].

**3.7 Productive economy**

the process of history [10].

**3.8 Narrative sensoriality**

*3.5.5 Conflict with the future*

present ailment.
