Resources

In 2015 my wife, Dr. Vanessa Watkins, took a trip with National Geographic to Cuba led by one of their photographers. One of the things I love about National Geographic trips is that the tour leader lectures in the hotel prior to going out to engage the culture. This leader lectured, but what blew my mind was that he never put a word on the screen. Throughout our fourteen-day trip, he always lectured with a computer, projector, screen, and images. Still images were his language of choice. He showed us what he was talking about and it was powerful. The images he shared were his images, he was a professional photographer, but that wasn’t what made the images work, it was his pedagogical decision to use the screen to project pictures. He would talk around the image; the image became the center piece of his comments and it worked amazingly well. Those images are still with me, five years later. What does this say to us as pedagogues? [caption id="" align="alignnone" width="2560"] Vanessa and Ralph Watkins in Cuba 2015[/caption] We have the big screen in our classrooms, in Moodle and Canvas, but how are we using this real estate? Are we using the screen to project words, words that we are re-reading to our students? Are we using the templates designed by engineers in Power Point who have no artistic or pedagogical training? Are we using the screen to show our students what we are talking about so that they can see it? I would suggest that we think about how we might use the screen as a pedagogical tool to show the students what we are talking about, to engage the creative centers of their brains, and to embrace the old saying, “a picture is worth a thousand words.” I would rephrase that old saying, “a picture saves us from saying a thousand words.”To use photographs in the powerful way they can be used, we have to understand why a photograph works. Better yet we have to learn to read photographs. Lets go to Cuba: This is my favorite image from Cuba. Why?  This image is rich and full of information. When you read an image, you first read it from left to right. From left to right we see the juxtaposition of the old cars, a new car that is a taxi, a school bus with the backdrop of the capital. Smack dab in the middle of the image behind the newer black car is a street sweeper’s trash can. The image offers clarity, negative space (open space), and the beauty of Cuba’s sky. From the far-left bottom of the frame you see a blue car and that is put in conversation with the far-right of the frame where you see a white car. Sandwiched between these two cars is the complexity of Cuba. The capital stands as a monument under reconstruction; a symbol of Cuba’s determination to live, build, rebuild, reconstruct, and embrace its rich heritage of rugged survival. You also read an image from front to back. In the foreground we have this old blue car. The car’s headlights shine in the morning rising sun. You can vaguely make out the people in the car. The blue car greets you and it says, “Good morning Cuba!” As you move one layer back to the middle ground of the image, you see the black car, the street sweeper’s garbage can, the woman walking on the side of the school bus, the school bus, the capital, and the beautiful morning sky. The streets are clean and the streets speak of the beautiful blackness that is Cuba. This is an image that could be the opening for a lecture about my trip to Cuba. Why put words on the screen when I can put this picture on the screen? This picture takes you to Cuba. No words needed. This is an image you can talk around as you share with your students the complexity that is Cuba. When it comes to using images in our classes we need to use powerful images that tell stories and read well from left to right and from front to back. You are looking for images that speak to what you want to say, and say it in a way that brings to life the argument you are making. You have to ask what does this image say? What’s in the edges of the frame? Where does the eye go and where does it wander? What thousand words does this image say that I don’t need to say? Images speak if we look at them and listen. What are your images saying in your lectures? Here are some more pictures from my Cuba trip. I present them for your consideration to practice reading images. Start from left to right, then read the image from front to back, look at the edges of the frame and then ask, where does the eye go and what does this image say? [caption id="" align="aligncenter" width="1000"] Picture #1: The City View of Havana[/caption] [caption id="" align="aligncenter" width="1000"] Picture #2: The Fruit of Cuba[/caption] [caption id="" align="aligncenter" width="1000"] Picture #3: Walking and Talking[/caption] [caption id="" align="aligncenter" width="1000"] Picture #4: Time for Dinner[/caption]   To view all my photos from Cuba: https://www.flickr.com/photos/ralphwatkins47/albums/72157652605129753

Recasting burnout as a crucial phase of service, Building Resilience Through Contemplative Practice uses real-world case studies to teach professionals and volunteers unique skills for cultivating resilience. Viewing service and burnout as interdependent throughout phases of stability, collapse, reorganization, and exploitation, the book uniquely combines elements of adaptive resilience theory with contemplative practices and pedagogies. Drawing on the author’s extensive experience working at the intersection of service and contemplative practices, this is the first book to demonstrate how and why professionals and volunteers can reframe burnout as an opportunity for resilience-building service. User-friendly case studies provide tools, skills, and exercises for reconstructive next steps. Chapters address personal, group, and structural levels of service and burnout. Illuminating the link between adaptive resilience and burnout as a normal and useful phase of service, Building Resilience Through Contemplative Practice is a necessary resource for professionals and volunteers across a wide range of service settings. (From the Publisher)

For those who wrestle with transformative learning or who need help breaking down the myths of learning, Inspired Learning offers 50 insights from the personal stories and experiences of award-winning professors. Through sharing personal vulnerabilities, adversities, and triumphs, distinguished educators illuminate the often uneasy and challenging path to learning. Drawn from perspectives across multiple disciplines, brief essays probe race, culture, and identity while inviting readers to consider and re-consider their own transformative journeys in engaging and personal accounts.From suggestions for connecting with mentors and taking advice from others to lessons on valuing failure and developing curiosity, this book grants readers permission to develop their own identity as learners - whether they are new to a college setting or experienced faculty members. Inspired Learning questions what it means to be a learner and offers how an open-minded environment can be beneficial and instructive for transformative learning. (From the Publisher)

Teaching about race and racism can be a difficult business. Students and instructors alike often struggle with strong emotions, and many people have robust preexisting beliefs about race. At the same time, this is a moment that demands a clear understanding of racism. It is important for students to learn how we got here and how racism is more than just individual acts of meanness. Students also need to understand that colorblindness is not an effective anti-racism strategy. In this book, Cyndi Kernahan argues that you can be honest and unflinching in your teaching about racism while also providing a compassionate learning environment that allows for mistakes and avoids shaming students. She provides evidence for how learning works with respect to race and racism along with practical teaching strategies rooted in that evidence to help instructors feel more confident. She also differentiates between how white students and students of color are likely to experience the classroom, helping instructors provide a more effective learning experience for all students. (From the Publisher)

Chalkboards and projectors are familiar tools for most college faculty, but when new technologies become available, instructors aren’t always sure how to integrate them into their teaching in meaningful ways. For faculty interested in supporting student learning, determining what’s possible and what’s useful can be challenging in the changing landscape of technology. Arguing that teaching and learning goals should drive instructors’ technology use, not the other way around, Intentional Tech explores seven research-based principles for matching technology to pedagogy. Through stories of instructors who creatively and effectively use educational technology, author Derek Bruff approaches technology not by asking “How to?” but by posing a more fundamental question: “Why?” (From the Publisher)

Naming What We Know: Threshold Concepts of Writing Studies, published in 2015, contributed to a discussion about the relevance of identifying key concepts and ideas of writing studies. (Re)Considering What We Know continues that conversation while simultaneously raising questions about the ideas around threshold concepts. Contributions introduce new concepts, investigate threshold concepts as a framework, and explore their use within and beyond writing. Part 1 raises questions about the ideologies of consensus that are associated with naming threshold concepts of a discipline. Contributions challenge the idea of consensus and seek to expand both the threshold concepts framework and the concepts themselves. Part 2 focuses on threshold concepts in action and practice, demonstrating the innovative ways threshold concepts and a threshold concepts framework have been used in writing courses and programs. Part 3 shows how a threshold concepts framework can help us engage in conversations beyond writing studies. (Re)Considering What We Know raises new questions and offers new ideas that can help to advance the discussion and use of threshold concepts in the field of writing studies. It will be of great interest to scholars and graduate students in writing studies, especially those who have previously engaged with Naming What We Know. (From the Publisher)

Growing up, one of my all-time favorite TV cartoons was Quickdraw McGraw and his faithful companion, Babalooi (does that date me?). Do you remember it? Quickdraw was the noble but naive, quick-on-the-trigger sheriff who fought off wicked desperados who inevitably found their way into his small, quiet prairie town. Sheriff Quickdraw’s first attempt at stopping a criminal type was to cry out, “Cease and desist!” Of course, it never worked. What hardened criminal would desist bad behavior just because you tell them to? Which brings up the question, when learners misbehave, how do you get them to desist without disrupting the learning process? While those of us who teach graduate level courses rarely have classroom management problems as those in undergraduate and lower grades, when they do happen, they can derail the learning experience. I once had to dismiss an adjunct in a graduate course mid-semester due to her poor handling of classroom management issues, mostly due to her inexperience. Because she was not able to get her classroom under control early by providing effective interventions (desists), things just got worse, to the point that the situation became unsalvageable. Fortunately, there are effective ways for a teacher to say “Cease and desist” to stop off-task behavior and get learning back on track. A teacher who knows how to stop class disruption before it spreads not only stops the deviancy, but at the same time has a positive effect on other learners in the class. A desist is an action the teacher makes to stop off-task learner behavior. The trick of course, is to use desists which not only stop unwanted behavior but will not also distract the other learners in the class. For example, if a teacher uses angry, punitive desists, then the acting out learner may stop his or her misconduct, but the ripple effect on the other learners will cause an increase in emotional anxiety which disrupts learning, and possibly causes additional unwanted disruptive behavior. An effective teacher gives attention to the quality of desist, those characteristics of teacher behavior used to stop disruptive learner conduct. Quality of desist has three indicators: Clarity, Roughness, Task-Force, and Approval-Focus. Clarity of Desist. Clarity refers to behavior on your part that specifies who the acting-out learner is, what he or she is doing wrong, and why this is improper behavior or what the proper behavior is. Roughness of Desist. Roughness refers to the way an attempt to stop misbehavior expresses impatience and anger, or ways the teacher's facial or bodily behavior expresses anger. Task-Force Desist. The task-force desist refers to ways you direct learners to the task at hand as the desist is given. Major Deviance Desist. In this teacher behavior, the teacher selects the major disruption when two or more deviancies occur simultaneously. The rule is to focus on the major disruption and ignore the lesser. Correct Target Desist. In this behavior, the teacher desists the learner who caused the disruption, not a bystander. Approval-Focus Desist. In this student-affirming teacher action, you make a statement that implies your warmth toward and feeling for the learners. This type of desist loses its effectiveness after about the third grade. Research in classroom management indicates that: Soft reprimands are more effective in controlling disruptive behavior than loud reprimands, and that when soft reprimands are used, fewer are needed Learners who witnessed a punitive or angry desist responded with more behavior disruption than when they observed a desist without roughness Task-focused desists resulted in more favorable ripple effect on the conduct of learners than the approval-focus desists When a simple reprimand was observed, learners felt the teacher was fairest and able to maintain control. Learning effective desist techniques is one of the most valuable skills a teacher can master. A teacher who can minimize time spend on classroom and behavior management will increase the time he or she has for actual teaching and instruction. One study found that teachers trained in specific management behaviors, including the use of positive questioning techniques and soft reprimands/desists, decreased the amount of non-instructional time by 20 minutes per day! SOURCES: Becker, W.C. et al. Production and elimination of disruptive classroom behavior by systematically varying teachers’ behavior. Journal of Applied Behavior Analysis (1968) 1:35-45. Borg, W.R. et al. Teacher classroom management skills and pupil behavior. Journal of Experimental Education (1975) 44:52-58. Emmer, E.T., et al. Effective Classroom Management at the Beginning of the School Year. Elementary School Journal (1980) 80: 219-231. Kounin, J.S. Discipline and Group Management in Classrooms. New York: Holt, Rinehart and Winston (1970).