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Multicultural school events have become a global phenomenon, offering schools a platform to showcase the diverse cultures and languages within their communities. These events typically feature ethnic food, performances, and presentations from various cultures, serving as important spaces for fostering intercultural understanding and celebrating diversity among students, teachers, and families.However, despite their widespread adoption, researchers have critically questioned the efficacy of these events. They argue that when reduced to one-off occasions, without integrating multicultural perspectives into everyday activities, they may inadvertently reinforce existing power dynamics and boundaries. By treating multicultural education as isolated events, schools risk overlooking power relations and hierarchies, potentially reinforcing the borders they intended to dissolve and negate.In her series of blog posts “What Ritual Does”, Itihari Y. Toure reminds us about how rituals may help people to respond to change, not by reinforcing the status quo but in ways that facilitate transformation. Rituals help us navigate uncertain times; they provide a means for individuals to manage overwhelming circumstances and regain a sense of control. As such, rituals can help us feel closer. They create community and help us build an inclusive culture of belonging. From this perspective, multicultural events look different.Toure’s reflections make us pay more attention to the consistent effort that teachers, school leaders, parents, and students put into these events. As a ritual, such events can be interpreted as a continuous resistance against the spread of xenophobic attitudes, prejudices, and behavior that characterizes political flows in many countries. The participants’ engagement in multicultural school events can be seen as a persistent contribution to reducing prejudice in school and cultivating greater tolerance of cultural, linguistic, and religious differences.Furthermore, interpreting multicultural school events as a ritual reminds us of the dynamic character of such events. In a classroom study I conducted in Norway, the school had organized a group of key teachers who were responsible for planning and evaluating the event every year. The group was strategically balanced with a wide representation of teachers who were collaborating closely with the parent board. In this way, the school had reached a level where most parents expressed a sense of ownership of the event. For the coordinators, the event was seen as a work in progress that had developed continuously throughout the years. Setting aside time for an open and self-critical discussion of the event had helped the group to develop the practice from a top-down organized event that started off with only enthusiasm, to build a broad basis of participation and involvement. Critical reflections also helped the organizers to avoid identifying students and families with a particular essentialized background. Instead, the event was created as a social space where marginalized voices became the center of attention, enhancing the participants’ awareness of what it means to be diverse school.As Toure emphasizes in her series of blog posts, every teaching moment offers an opportunity for transcendent learning. Viewing multicultural events as rituals, I believe, can help us recognize more of these opportunities. Instead of simply dismissing multicultural school events as exotic happenings, we are challenged to consider how they can foster meaningful connections and inclusive practices.

To recap our context, we have been working on our Wabash-sponsored project on trauma, religion, and pedagogy and have consulted with Dr. James Finley twice. In our first blog post, we reflected upon the importance of community building and reconceptualizing teaching outcomes from the perspective of trauma-informed pedagogy as cultivating intentions of life-long learning. In this second post, we delve into a possible classroom exercise focused on the practice of patience. “What is the gift you want to share with your students?” Teaching is giving ourselves away in and to Love—as mystics do to the ultimate “O/other” in their contemplation and writings. This was one of the important remarks we received from Dr. Jim Finley, a psychologist and mystic, in our consultation with him. To begin, we would like to remind ourselves that trauma-informed pedagogy aims to hold and foster the holistic being of each participant, including the instructor’s, encompassing their woundedness. Suffering and trauma are an inevitable part of our lived experiences. A trauma-informed pedagogy requires us to alter our attitude toward human limitedness: it is not something that should be overcome but a valuable opportunity for discernment. Our precarious, complex, and embodied experience of the world invites us to cultivate our sensitivities and responses to personal issues and social injustice. If we borrow spiritual language, mystery, and even emptiness, can be a locus where deep awakening may take place. Such a holistic attitude toward limitation also reaffirms the importance of teaching humanities. The death of humanities discourse is no longer a surprise and many of us have been urged to rethink pedagogy after the appearance of ChatGPT, which brought sweeping changes in student learning and writing. To acknowledge the significance of empirical science, however, is also to recognize that human experience consists of more than inventions and uses of technology. We should allow ourselves to ask unanswerable questions about the unknown and unstable dimensions of reality that both fascinate and intimidate us. Trauma is one of the very loci where we can tap into a space of the unknown, where we have an invitation to form deep intimacy within ourselves and, in some cases, with others (only if they are respectful, nonjudgmental, and can hold confidentiality). One of the important assumptions of a trauma-informed classroom is the sense that we must practice patience, gentleness, and compassion when tender experiences arise. Therefore, we need assignments and practices that help us cultivate this compassionate stance when it comes to our reading and writing. Dr. Finley suggested adapting the ancient contemplative practice of Lectio Divina as a way to approach the assigned readings. We further propose that this practice can be extended to enable a close and spiritual reading of texts, especially difficult ones about human suffering, which can empower students toward intellectual and internal growth in their reflections. This in-depth reading starts with listening to, “taking in” texts. The result of this discursive, meditative reading must be recorded in the form of ungraded journaling. In this step of the assignment, it is important for instructors to acknowledge students’ fear of writing. (Often, if not always, undergraduate students’ problematic use of technology or plagiarism comes from anxiety around making mistakes and receiving bad grades as punishment). The purpose of this ungraded journaling is to express oneself out—it is to recognize one’s own voice and to trust one’s own intuition as one listens deeply and openly to the text as well as to one’s own inner world. It is a moment when one tries to form intimacy with, be patiently present with, and gravitate toward oneself. It is also a moment when trauma might erupt unexpectedly and overwhelmingly. We acknowledge that such a moment would be the kernel of trauma-informed writing. If the student is ready, deep awareness and sensitivity toward the self and the world—and perhaps healing—can begin. Technology cannot and should not replace such profound, unpredictable, and humane learning moments. Since this exercise may invoke student anxiety, the instructor may tweak it depending on reading materials and pedagogical contexts. It could be modified into a timed writing exercise, or students may further reflect upon the writing exercise itself. Moreover, this journaling must entail editing (rewriting) processes. This is a chance for students to choose what they want to share for submission to the instructor or to the class at large: ensuring their consent and safety is paramount. As we noted in our previous post, it is extremely important to form a safe learning environment when encountering various forms of trauma in the classroom. In addition, in this writing practice students themselves are given an opportunity to actively create a safe writing space for themselves. Again, the instructor must remind students to slow down in their rewriting, since hasty editing can re-traumatize the writer: in the process, one may encounter their inner critic, a sign of perpetual violence that they have experienced and internalized. Sharing deep reflection with oneself and then another is, indeed, a courageous and possibly life-affirming act of giving ourselves to Love. Ultimately, trauma-informed teaching and learning could be a process where we learn to trust in the infinite love offered to wounded people, to borrow Dr. Finley’s expression. It is an endless process of forming intimacy with ourselves and others, trusting that we have the capacity to hold each other as broken beings. We hope that in-depth reading and writing exercises will assist students in gaining their own voices, however slowly. It is a practice built upon patience and mercy, designed to help us form nonjudgmental empathy for ourselves and extend it to others. Needless to say, this is reflected back on instructors since teaching is a mutual act (of course, there are always exceptions). Here, we return to our beginning statement, “What is the gift you want to share with your students?” We teachers are also infinitely loved and wounded beings who are invited to co-create classrooms of care and courage within imperfect institutions, circumstances, and a world in continuous motion.

The Mythos of Oz This year, 2024, marks two milestones of Oz, an American mythos based on L. Frank Baum’s 1900 novel, The Wonderful Wizard of Oz. In the first instance, it is the eighty-fifth anniversary of the MGM movie musical The Wizard of Oz (1939), and in the second, the fiftieth anniversary of the launch of the musical theatre production, The Wiz. Beginning in 1974, The Wiz toured in selected cities in the US before its groundbreaking promotional television advertisement and premiere on Broadway in 1975. It went on to commercial and critical success winning multiple awards. Significantly, a reboot of The Wiz began touring in the fall of 2023, originating at the Hippodrome Theatre in Baltimore, where its life as a stage show began in 1974. It will return this spring, 2024, on Broadway. Such is the power and endurance of the mythos of Oz that 124 years after Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion set off to “follow the yellow brick road” in search of the Wizard of Oz, audiences are willing to “ease on the down the road,” in a reboot of The Wiz. I was first introduced to Oz as a recently arrived immigrant child from the Caribbean in the 1970s. Classmates in my elementary school in Toronto told me, and other newly immigrated children, that The Wizard of Oz would be televised. Before the advent of cable television, streaming services, and the Internet, the viewing of the 1939 MGM musical starring Judy Garland as Dorothy Gale was regarded as a yearly ritual amongst my childhood friend group. Reading L. Frank Baum’s books followed after viewing the 1939 film. This was my first introduction to the world of Oz, and the story of Dorothy’s mythic journey, as something other than casual viewing for entertainment. Unbeknownst to me and my playground friends, the viewing on television and its discussion and reenactment at recess the next day was part and parcel of a ritual of retelling and performance in which the story became our own. We were thrilled when The Wizard of Oz was chosen as our school’s musical play in the mid-1970s. Cast as Dorothy, sixth-grade me saw more than a glimmer of my own story of uprootedness, as a recent immigrant from the Caribbean to Toronto, in Dorothy’s plight as a stranger in a strange land trying to find her way home. The messages of empowerment, good overcoming evil, strength in the company of friends who are with you on a long and challenging journey, and help from wise, good, and powerful beings like Glinda, were comforting. While we learned iconic songs from the 1939 movie like “Over the Rainbow,” and “Follow the Yellow Brick Road,” we also heard references to Oz in the rock group Toto’s “Tinman,” and Elton John’s “Goodbye Yellow Brick Road.” Significant, too, was the popularity of an adaptation of the myth of Oz in the Broadway musical, The Wiz, and its film adaptation in 1978. These were among the first broader popular cultural references to the myth of Oz. Decades later, in January 2000, I introduced an undergraduate course, “Religion and Popular Culture,” at Wilfrid Laurier University. In designing the course, I returned to my earlier fascination with the mythos of Oz. This time, through the lenses of religious studies and cultural studies, I viewed Oz as mythos – recognizable in its symbols and storylines yet malleable enough to be reinterpreted from multiple vantage points. In teaching that course, I was able to focus on broader themes of mythmaking and American civil religion through exploring Oz as a kind of urtext of American popular culture, visible in multiple movie and theatrical productions since its initial introduction as a novel by L. Frank Baum. Oz was both a mythical landscape of terror, wonder, and possibilities as expressed in numerous theatrical and film productions and popular songs, and a secular sacred text of the United States. Its endurance is enabled by the malleability of meaning attributed to its symbols. L. Frank Baum’s The Wonderful Wizard of Oz was the first in a series of books. The children’s book, featuring its story of young Dorothy Gale living with her aunt and uncle on a Kansas farm who gets whisked away by a cyclone to the magical land of Oz, has become a touchstone of American fantasy literature. There are nods to Lewis Carroll’s Alice in Wonderland and Through the Looking Glass. These books feature young girls who are whisked away to other landscapes beyond the mundane and everydayness of their daily lives. They must endure trials during their journeys and eventually return wiser and stronger in some way. Oz is revealed to be a carnivalesque huckster hiding behind gimmickry. “Pay no attention to the man behind the curtain,” says Oz, as Toto, Dorothy’s animal companion, pulls the curtain to reveal his fraud. Baum’s narrative uses fairytale elements evident in the British late-nineteenth-century children’s literature genre but places them in a specifically American landscape – the Midwest and the state of Kansas. The element which pulls Dorothy to another world is drawn from the midwestern landscape itself – a cyclone which whisks her up and out of the farm and Kansas. From there, Dorothy’s adventures begin with her landing on and killing the Wicked Witch of the East and acquiring the magical shoes coveted by the witch’s sister, the Wicked Witch of the West (they are silver in the book but red in the film). She confronts her adversary, the witch’s sister, and begins her journey. Dorothy does not realize that she has had the power to return home all along because of the magical properties of the shoes. Her companions – the Scarecrow, Tin Man, and Cowardly Lion – who accompany her to meet the purportedly all-powerful Wizard of Oz also have desires which they hope that Oz can fulfill. The friends eventually discover that what they desired was within them all along. It is that quality of self-discovery and empowerment from within which, arguably, is the source of the power of the myth of Oz. This emphasis on empowerment from within resonates with notions of self-mastery and/as self-discovery which are key elements of the American Dream when articulated as the perfectibility of the individual self in the best of all possible worlds.