Shay Welch

In this paper, I explore a number of issues related to a life lived with borderline personality disorder (BPD). Primarily, I am interested in discussing how one unwillingly changes their personal identity by forced medicating—demanded by others implicitly and explicitly. My motivation is something deep and invasive in me. I want to know, I have always wanted to know, why others want me to not be Me so badly. I have thought about this question for years, and though others may simply chalk it up to just one of the standard paranoid or narcissistic traits of borderline personality disorder, there is something more to this question that many of us agonize over most of our lives. There is a deeply normative component to this question that extends beyond the mere fear of abandonment; it is tied to a desire by others to erase—literally—who we are for their own comfort. In this sense, then, I invite you to travel along a path of what it can mean to be a BPDer, from a narrative, phenomenological, and cognitive lived, embodied perspective. My purpose is to show that the treatments for us that others desire cannot avoid (and usually do not want to avoid) the unraveling of who we really are. Whether we want to or not, we give up our self to keep other people with us. And for many, this is too much to ask, and can be one, though not the only, reason suicide and self‐harm seem to be necessary recourses. One in 10 people with BPD commit suicide. So this is a serious matter, indeed.

This book investigates the phenomenological ways that dance choreographing and dance performance exemplify both Truth and meaning-making within Native American epistemology, from an analytic philosophical perspective. Given that within Native American communities dance is regarded both as an integral cultural conduit and “a doorway to a powerful wisdom,” Shay Welch argues that dance and dancing can both create and communicate knowledge. She explains that dance—as a form of oral, narrative storytelling—has the power to communicate knowledge of beliefs and histories, and that dance is a form of embodied narrative storytelling. Welch provides analytic clarity on how this happens, what conditions are required for it to succeed, and how dance can satisfy the relational and ethical facets of Native epistemology.

In this paper, I address only one small parallel between one subsection of Western epistemology and cognitive theory and Native American epistemology. I draw the connection between the recent theories of embodied cognition and distinctive Native modes of embodied implicit procedural knowing, such as blood memory, vision questions, and non-binary logical systems. My reason for doing so is twofold. First, I show how these distinctive ways of knowing within Native worldviews are not mere mystical claims that can be cast aside in favor of more ostensibly “rational” knowing practices. To do so, I utilized Mark Johnson’s account of the cognitive unconscious to demonstrate how and that Native embodied knowing practices and knowledge sources are easily explicable when examined though a phenomenological cognitive lens. Second, I highlight one small respect in which Native epistemologies are conceived of procedurally. Embodied forms of knowing are merely one facet of the procedural performative nature of Native American epistemology but they are highly demonstrative of the fact that procedural ways of knowing—knowing-how—account for deeply implicit ways of knowing that are lacking from other procedural knowledge accounts that are often hamstrung without such an accompanying account of knowing-how beyond counterfactual knowledge.