Resources

As the fall semester draws to a close, I reflect on how our classrooms continue to absorb the dense impact of exhaustion, grief, and so many unknowns. The isolation and physical distancing brought by COVID-19 during the first months of 2020 have remained a reality for much longer than any of us could have anticipated. We have hardly been able to metabolize our grief, frustration, fatigue, and the toll the lack of contact and sensation has had on our bodies. Along with COVID-19, we have continued to somatize the woundedness of profound inequalities in our communities, as I have written elsewhere. From election cycles in the Américas, to ongoing anti-Black racism and violence, white supremacy, settler/extractive colonialism, racial capitalism, and cishet patriarchy, we continue to survive systems of exploitation, dominance, and oppressions of all tenors. In light of this historical moment, my colleague at the Pacific School of Religion, Dr. Aizaiah Yong, and I chose to codesign a syllabus that engaged formation through the lens of spirituality and leadership, in an attempt to deepen our lives individually and collectively. It intentionally centered the work of Black, Indigenous, and other scholars of color. We created a compendium aimed at sustaining our vitality, rootedness, and creativity during this period of remote learning where we surveyed practices and scholarship from varied religious traditions, geopolitical contexts, and artistic modalities. Throughout the last four months, our virtual classroom became a collaborative learning environment where coconspirators “identif[ied] and valorize[d] that which often does not even appear as knowledge in the light of the dominant epistemologies,” as de Sousa Santos puts it.[1] By privileging experiential epistemologies, we attempted to interrupt the dominant politics of knowledge and made every effort to enflesh sensorial experiences, understanding that they are fundamental in the shaping of knowledge and students’ formation. Corporeal ways of knowing presuppose contact, sensation, concrete, emergent, and living bodies, in all their capacity for suffering and healing, copresence and distance, for knowing-with rather than knowing-about. The semester’s various activities ranged widely: we created centering and closing moments where we could collectively breathe, built sacred spaces, performed an archeology of our joys, recollected our ancestral connections, our ecostories, ecomemories, understood land as formation, as pedagogy, thought about emergent strategies for transformation, engaged with how we metabolize anger, and how to develop a keener experience of tenderness.[2] Students were invited to imaginatively cocreate workshops, artworks, reflections, engage one another via a “spiritual formation virtual café” suggested by one student, raise difficult questions via online forums, and come up with field guides for spiritual formation with spiritual practices, reflections, centering moments, devotionals, rituals, meditations, art-making, embodied work, and much more. And yet all of these strategies seemed somewhat insufficient in our attempt to foster bonds of copresence, sensation, and contact that body-with-body classrooms offer. How could we respond to the urgencies, the sense of isolation, fragmentation, and the intensities of the present moment through remote learning? How could we open up the nexus of space-place-time to embodiment? How could we be responsive to Lama Rod Owens’ call to embodiment as a returning home to our bodies, in this moment and context, opening up some kind of spaciousness that could allow us to respond to both the woundedness and the joys of the now?[3] How could we cultivate embodiment in a virtual setting with a deep understanding “that disembodiment is the primary strategy through which oppression is maintained,” because we become desensitized to the conditions around us, to our emotions, to our sense of vitality, to that which deeply moves us and puts us back in touch with ourselves, our joys, pleasures, hopes, and dreams?[4] How would we subvert the logic of isolation and “presentify” zoom rooms so that a confluence of encounters, contact, and embodied sensation could transpire? How could we create a classroom experience based on a poetics of presence and intimacy as the artist Elisa Arruda invites us to create? By turning to creative practices and the arts, we were able to weave, potentialize, and ignite a process of contact and sensation. Each week, students received what we called Spiritual Formation Care Packages (SFCP), which were designed based on the readings for that week. They became a series of centering and creative exercises that invited us to meditate, embody, and create for about one full hour per week. The intention of these exercises was to provide support and an opportunity for creative embodiment, integrating what students learned in class with their own lived experiences, creative processes, spiritual traditions, and research. The SFCP ritualized and generated containers allowing students to tap into the power of their spiritualities and creative vigor. Inspired by my own art practices and the work of Gloria Anzaldúa, the packages afforded us an opportunity to sense how our skin, viscera, and psychosomatic bodies carry knowledge that—in moments of pain, dis-ease, conflict, and unknowingness—yield us the capacity to see, touch, and create in expansive and incendiary ways. Art, as Anzaldúa puts it, is the “locus of resistance, of rupture, implosion, explosion, and of putting together the fragments.”[5] It allows us to become anchored in our bodies, to “shock ourselves into new ways of perceiving the world,” to “feel our way without blinders,” to “touch more people,” to evoke the personal and social realities through blood, pus, and sweat. Our creative practices afford us the opportunity to access, re-member, and revive “what most links us with life.”[6] Art practices, as shown in the work of Elisa Arruda, embolden us to reclaim our processes of formation, fully embodying our shadows and desires for presence, joy, pleasure, restoration, expansion, contraction, proximity, sensation, and connection. [su_image_carousel source="media: 244745,244746,244747,244748,244749,244750,244751,244752,244753" limit="100" slides_style="photo" crop="none" align="left" max_width="2000" captions="yes"] About the Artist: Elisa Arruda is a visual artist who was born and raised in Belem do Pará, in the Amazonian region of Brazil. Currently living in São Paulo, Arruda investigates the poetics of intimacy, moving quite freely through several mediums. She pays particular attention to the realms of the domestic and the public as well as the tensions sheltered in dynamics of strength + fragility, endings + beginnings, intimacy + alienation, loss + growth, proximity + confinement. Notes [1] Boaventura de Sousa Santos, The End of Cognitive Empire: The Coming of Age of Epistemologies of the South (Durham, NC: Duke University Press, 2018), 2. [2] For more on this, please refer to Eros and Ideologies by Laura E. Pérez, Voices from the Ancestors edited by Lara Medina and Martha Gonzales, Land as Pedagogy by Leanne Betasamosake Simpson, Ecowomanism by Melanie L. Harris, The Way of Tenderness by Zenju Earthlyn Manuel, and Love and Rage by Lama Rod Owen. [3] Lama Rod Owens, Love and Rage: The Path of Liberation Through Anger (Berkeley, CA: North Atlantic Books, 2020), 119-120. [4] Rod Owens, Love and Rage, 121. [5] Gloria Anzaldúa, The Gloria Anzaldúa Reader, AnaLouise Keating, ed. (Durham: Duke University Press, 2009), 177. [6] Anzaldúa, “Speaking in Tongues: A Writer to Third World Women Writers,” 34.

Rubem Alves was a Brazilian theologian who became a psychoanalyst, educator, and writer of children’s stories. In one of his short stories called Happy Oysters Don’t Create Pearls, he tells the story of an oyster that was different from all the others. This oyster could not be happy like the others and was always very sad. The cause of his sadness was a grain of sand that had entered his body. He felt that excruciating pain day and night. As a way to survive the pain he sang sad songs. His songs were so sad that they tormented the oysters that sang happily. “Why is he so sad?” they asked. But the truth was that he had to live with the pain caused by the arrival of that unexpected grain of sand that was plaguing his life. One day, a fisherman threw his nets and took all the oysters, the happy ones and the sad one too. At dinner, the fisherman was eating oyster soup with his family when he felt something hard inside his mouth. When he took that stone out of his mouth, he realized it was a pearl! And he gave it to his wife. Rubem Alves then says that happy oysters do not produce pearls, only those that suffer a piercing pain in the flesh. In the Bantu and Yorubá traditions, it is said that the Orixá Obaluaê, also called Omulu, is the Lord of the Pearls. There is a story where Iemanjá, the Orixá of the seas, adopts Omulu when he is sick. She washes his body and heals his body with the water of the sea. But Omulu, who goes around the world offering healing and producing plagues, is poor and sad. Iemanjá takes compassion on him for she doesn’t want to see her son poor and his body covered with wounds. Iemanjá gets all her riches, her pearls, and makes beautiful necklaces to cover Omulu’s body so he could go around shining. These two stories can help us figure out a certain pedagogy of astonishment. Four ways to think about it: First, education as an oyster space that listens to human suffering The stories of Alves and Iemanjá and Omulu, in such different and diverse ways, tell us that pain and suffering are central issues of our existence. We must be attuned to the ways of suffering in our time. We are seeing so much suffering everywhere and COVID-19 has not only eroded so much of what we knew but also expanded poverty, stretching the already frail social threads of our communities. Our political and economic organizing systems are creating forms that deny the ways we recognize pain. We live at a furious pace of life, giving more to get much less. We are so alienated from nature. Our illnesses shift and expand in uncontrollable proportions. We live in a world of depressions, refluxes, panic attacks, heart attacks, barbiturates, anti-depressants, antihistamines, and painkillers. We medicate every form of feeling and morbidity, we lose the capacity for wonder. More than ever, we need to find “oyster spaces,” to transform our sadness into pearls and songs of sadness and joy to sustain our lives. Education thus can be this oyster space, when hearing and exchange provides possibilities for the remaking of ourselves. Education becomes this oyster space when the hearing is also seeing, understanding, going deeper, creating empathy and compassion. When that happens, the classroom becomes this oyster-like environment, conducive to the metabolization of pain in other forms of life, sustenance, imagination, resistance, and forms of living in the world. For the pearl is that amalgam of the body, mind, heart, and soul that learns from itself, and is able to remake itself from the experiences of pain and suffering. If the oyster is that place of astonishment that turns itself into pearl, the attentive classroom can also help us wonder, turning the pain of life into a delicate and strong stone, rare and beautiful. In this way, each teacher who feels and even perhaps can come close to understanding the pains of the world and the pains of the students, is also a therapist who listens and engages in the process of transference; the teacher is also a healer who offers symbolic exchanges; is also a clown who activates other forms of lightness and laughter; and is a magician at reordering worlds so that the life inside the oyster can continue the symbiotic movements of life. In this oyster space, the pearl becomes the capacity for continuous amazement with the potential of life that is continuously remade. Second, education as the oyster place to produce beauty Omulu had his body covered with sores and that is why he lived hidden under his straw clothes. Iemanjá, as an affectionate foster mother, wants to see her precious son shine with his healing gifts. The queen of the sea creates pearl necklaces that cover Omulu’s entire body so he would be honored, and live happily and proudly. His body would continue to be marked by the wounds of his scars, but now he shines the light of pearls, that like white flowers adorn his skin; the shiny stones made from the pain of oysters now caress his skin and adorn his suffering body. From here, we can regard education as the care of Iemanjá for her son Omulu. Education as production of beauty that helps us to move around the world. Educators as oysters, who use their own pearls, gestated by the symbiosis of their bodies in pain, and offer their precious, beautiful, luminous pearls to decorate their student’s lives. The same way in which students offer their own beautiful pearls to decorate their teachers’ lives. Often educators cannot change the situation of their students, but they can pay attention to their wounds, hold their bodies in care, enlarge their thoughts, help their knees to walk and fly, strengthen their hands, illuminate their eyes with the sparkle of astonishment, bewitch them with words of life in resonance with the words of death, and pace their heartbeats in a rhythm other than the destruction and annihilation that often surround their worlds. The educator is not all-knowing of everything. The hope is that the educator has already learned to be in awe with life and has been astonished in many ways. If that has already happened, then the educator becomes a double path, or a bridge, that helps others to be astonished and is wide open to be astonished by others. If the educator is ready to engage this double path, pause and listen, be astonished by the very presence of the student, the educator will see this encounter always as a thrilling surprise, as the production of desire that changes and transforms, creates mutuality, brings spells, charms, and chistes to life, providing tools of defiance and self-sustenance, building paths for new trajectories. In this way, the educator and the classroom as this oyster space will not be voyeurism of one’s suffering, but rather be a mutual singing of songs of sadness, a mutual creation of pearl necklaces for mutual survival. The healer in history is not Iemanjá. Omulu receives healing from the forest and from Olorum. But it is Iemanjá who takes care of the healing symbology, covering Omulu’s wounds in beauty so his joy would be full. In the same way, we educators must strive to be like Iemanjá, looking for beauty, for pearls in the sea to put on the wounded bodies of our students. Pearls that come from inside our own bodies like oysters that learned to make pearls, pearls that come from the history of our people and other people, pearls from ancient wisdom, pearls from below, and pearls produced by the students themselves. The pedagogy of astonishment is thus the crafting of necklaces of thousands of forms of beauty in multiple pearls and of several places for entire bodies, both individual and collective, to shine. Third, education to open ourselves to engage the different, the uninvited grain of sand Fourth, education that helps us hear the suffering of nonhuman forms of life. To be continued…

Teachers are people who plan. We cross classroom thresholds with worn briefcases bulging with written lectures clearly forecasted in thick, detailed, syllabi. Entire curriculums are planned three, four, five years into the future. Course learning outcomes are carefully aligned with degree programs and degree programs are carefully align with budgets – all well in advance of students’ enrollment or matriculation. Planning insures a cast iron tradition. Long-range planning, predicated upon long-ago decisions and forgotten needs, makes institutional change challenging, or even impossible. It is ironic; the very attribute which lends stability is also the albatross around our necks. The need to rethink our reliance upon long-range planning and strict adherence to hollow tradition has been exposed during this moment of pandemics. The year 2020 has been a year when plans have gone awry. In this moment, I have a proposition. While this proposition might feel like reckless abandon for those who depend upon the established traditions, reputable standards, and conventional methods of the used-to-be academy, in this protracted moment of pandemics, I want to suggest that this might be a moment to resist the impulse to plan, reflect and analyze. Consider waiting. Resist the impulse to presume how the end will be. Resist the impulse to attempt to go back to business as usual, business as normal, business that no longer serves the students in our care. If we can move past our panic, we will remember we needed to overhaul our educational system before the pandemics snatched us, halted us. If we dare risk surrendering romanticized views of our educational standards, we may recall that many of our traditions, while noble, were often begun arbitrarily. And, given the slowness of institutional change, consider that adult pedagogies have advanced while so many yet cling to outmoded, outdated, and uninformed pedagogies for adult learners in a digital age. Perhaps in this moment the courageous response is, rather than plan, to wait. Just like it is ill-advised to pause and reflect in the middle of a hurricane or surgery or any life-threatening catastrophe, so it is ill-advised, during the 2020 pandemics, to rush to meaning making and gestures of clarity; to rush to return to how it was; to rush to assuming where we will be and how we will be when the pandemics subside. In this moment, if we were the biblical character Noah, the bird we sent out to search for dry land would return having found no place to land. We are not yet close to shore. The waiting is not meant to be idle. In the waiting, carefully ponder, contemplate, imagine - what of the current change will you keep? A colleague who heads an IT department at a liberal arts college said that by his faculty going to online courses (albeit crisis pedagogy) in spring of 2020, he estimates that this sped up the faculty moving to online teaching by ten years. Ten years was gained for a desired change! Perhaps our moments of quick and dramatic shifts to online teaching showed us that our educational institutions are not as calcified as previously reported. If that is the case, what will it take to lean into the new found limberness? What is at stake if we choose to re-calcify? Like you, I am getting pressure to plan for summer 2021, and all of 2022 & 2023. I simply cannot. I do not have a crystal ball.  And I do not want to pretend that even when the vaccine is distributed (2021?2022?) that we will return to how it used to be. I do not want to squander this moment of waiting with worry, anxiety and stress for a future I cannot predict nor control. I tell people that I am waiting. Once we can return to face-to-face work, I want, then, time to reflect.  Then, I will want time to take stock and study.  Once we are no longer in the midst of multiple waves of quarantines, I will want to assess where we are, and learn the new/needed ways to move forward. I will need time to be creative. The waiting that I need right now is the mustering of courage for new visions.  In my not-idle waiting I am looking to what historians have said comes after a social upheaval. Historians tell us that after this kind of societal phenomena there is typically a renaissance. Oh – I cannot wait! There will be newly designed everything! There will be new architecture, different clothing styles, and new music and poetry. There will be new academic disciplines and reimagined ways to be school, to do school, and to get an education. There will be new painting, new sculptures, and new modes of transportation. If we truly engage in the reflection warranted by the moment of 2020 and 2021 (hopefully not into 2022), then our renaissance will be spectacular with new technology accessible by those who are impoverished, will bring end to global hunger and provide language translation fitted for everyday interactions. The post-pandemics renaissance will be marvelous! I want to participate in the renaissance with my own new thinking, renewed imagination and creativity. I want to reserve my energies to participate in the renaissance and not pour myself into reestablishing what needed to be changed. So, I wait. What would it mean to allow our innovation to be a primary mode of meaning making – rather than our traditions being the only mode of meaning making? What would it mean to shift to reliance upon creativity rather than dependance upon tradition? In what ways can we create real innovation rather than simply settling for imitations of change meant for other people in other times or places? What is the toll to the institution should there be a call to attempt to return to normal? What is the price of going back? What changes will we maintain, expand, and normalize?

The dual traumas of racial injustice and COVID-19 have caused academics to question many assumptions about how and why we teach. Faculty are reassessing their pedagogies, even as the need for transformative learning remains. A trauma-informed, restorative pedagogy can help address the needs of our students and world. Emerging from the wisdom of trauma theory and restorative justice, faculty may be able to enact practices that are more conducive to learning, create safe classroom environments, reduce hierarchy, and promote empathy during these difficult times if they understand how trauma works. Understand Trauma Understanding how trauma affects the brain is essential for trauma-informed pedagogy. Trauma occurs when individuals experience an event that threatens the self at a physical, psychological, or spiritual level. Posttraumatic stress may also result. Individuals experiencing posttraumatic stress struggle with intrusive symptoms like flashbacks and numbing symptoms like attempting to avoid people and places that hearken to the trauma. Given that the dual pandemics are ongoing, some individuals may be experiencing posttraumatic stress symptoms but others may not be in a “post” phase yet. Stuck in the midst of the trauma itself, students may have difficulty concentrating or engaging in decision-making and problem-solving. This occurs because trauma inhibits the prefrontal cortex as the brain relies more on those parts that control basic survival. This explains the “brain fog” many of us have experienced. Trauma’s effect on the brain means that students may have trouble following directions or assignments. So it’s important for professors to state expectations clearly, repeatedly, and preferably through ways that engage multiple senses (i.e. making assignments and lectures available in both written and aural form). Create Safety in the Classroom Safety is the most fundamental step in trauma recovery. Without safety, it’s impossible to have the cognitive space to create meaning or the trust to reconnect with others. Trauma-informed pedagogy recognizes the need for classroom safety. Faculty can create physical safety by moving classes online to prevent viral spread or by following the best practices for in-person gatherings, which might require socially distanced desks, a classroom mask mandate, and directed traffic flow. But physical safety is just the first step to creating a holistically safe pedagogical space. Psychological and spiritual safety are also needed. To create psychological safety, professors can be transparent about how trauma impacts the teaching and learning process. It may be helpful to ask for student feedback at several points during the term and to do so with a genuine openness to recalibrating syllabi, class structure, and assignments. To create spiritual safety, faculty may want to begin with a meditation or silence and do the same after a break. Leaving space for reflection during classroom conversation can also feel spiritual grounding. Reduce Hierarchy Restorative pedagogies emerge from restorative justice practices, which categorize the court system as hierarchical and anti-relational. Lawyers engage in antagonistic speech with witnesses; judges issue rulings. Clients are largely silent. Conversation as we know it doesn’t exist. The classroom can function similarly when professors see themselves as having prized knowledge that they must transmit to intellectually deficient students. Professors’ voices thus receive privilege over student voices, creating a space that is hierarchical and, to some degree, unsafe. To implement a pedagogically restorative space, professors may want to consider their own power in the classroom and to engage in practices that flatten classroom hierarchy. Flipping the classroom, offering options for assignments, and doing the occasional circle process can help here. Faculty can also create more space for creativity in the classroom and in assignments to reduce the power given to the written and spoken word as privileged ways of knowing. Promote Empathy Brené Brown says that empathy is “feeling with people.” When we empathize with someone, we place ourselves in their situation and try to know something of their experience. Empathy can be a restorative pedagogical practice because of its capacity to humanize. Professors can promote empathy in the classroom by first creating a safe pedagogical environment, because it is impossible to take a step towards empathic vulnerability without safety. Professors can also create empathic learning environments by giving epistemic credibility to underrepresented groups, and by exposing students to ways of being that are different from their own. A trauma-informed, restorative pedagogy has the capacity to enrich student learning because it emerges from the realities in which we live. By understanding how trauma works, creating safe classroom environments, reducing hierarchy, and promoting empathy, faculty can offer students a transformative opportunity to learn during a tender time.