Resources
Scholarship through Performance – Part Two When I started to think about a play, I never imagined how hard it would be. To write/perform a play to bring my clown--a new entity--into existence, is a lot of work. I have a theater director working with me and he tells me to think from my body. We talk so much about bodies but we are so often consumed by our brains and mind. My Brazilian teacher, Luis Louis, tells me repeatedly: “Cláudio, you think too much! Do something first, then you can think.” Oh, this process is literally painful. I asked my teacher to be patient with me as I will struggle through this process of learning. I am learning with my teacher that I have to feel what is within me gaining form and shape, life and spirit! I have my clown living within me, but I must give birth to it! In order to do that I have to play with the movements of the body, with images, and with objects, clothes, hats, etc. And my teacher asks me many questions: How does this clown act alive on stage? Does he speak, and if so, in what language? Does he have repetitive body movements? Does your clown have large or small gestures? What is the heart of the clown composed of and what makes the clown alive? My teacher said: You bringing your clown to life is like your clown throwing a bucket of water into a world on fire, believing that you will be successful. Everybody knows that this is impossible, even ridiculous, but your clown does not know that. He wholeheartedly believes he can do it and will do it, no matter what! That is his gift to the world. The portion below shows my thinking process in engaging different forms of knowing, doing, teaching, and performing. This is how the play started to get a form and shape. Main Theme A clown called Pachamama discovers that the Gaia, the earth, is hurting, and goes around the world feeling its pain and struggling with climate disasters. He then discovers that he is Gaia and a part of it. The show is made of several skits that compose a story and a trajectory (still undefined). Everything is yet to be fully developed and needs to go through the test of practice. In each scene I want the clown moving with death and life, disaster and possibilities, sadness and joy, responding to everything with its usual clumsiness, stupidity, awkwardness, sincerity, naiveté, joy, beauty, etc. With this show, I want to help people find courage to go deep into climate disasters and find agency, hope, and faith in the midst of it all, rather than running away from it. In the end I will honor Prof. James Cone and Union Seminary, who shaped me in so many ways. Major Influences My father, Charles Chaplin, Laurel and Hardy, Emmet Kelly, and Slava’s Snow Show A Metaphor Emmet Kelly carrying a bucket of water in a circus on fire. “Seventy-two years ago today, in Hartford, Connecticut, someone photographed a clown carrying a bucket of water toward a fire. It’s a surreal image, haunting in the old black-and-white way. The clown is stepping through an arid landscape littered with what appear to be wooden crates, a lone railroad car, and the suggestion of bleachers. As clowns go, he’s the sad tramp kind, a pained grimace on his face. In front of him, to the left, someone is exiting the frame—a portion of a leg is visible—and the clown follows, gripping his bucket, exuding dread. He’s heading toward something unseen and tragic, something almost ghostly.” - William Browning This show is precisely this: the show is about a clown carrying a bucket of water to help the earth that is already on fire. Place This is a theater play to be performed at Union Theological Seminary in NYC. The chapel has no fixed seating so I hope to have people sitting on two sides of the chapel (or in a U shape) with the play happening in the middle. The space has some lightning that I can use. Here is a picture of the space. How is this all going to be and happen? I have no idea. One thing, and one thing only, I know: this is much bigger than me. It scares me so much! I hope that with practice anxiety will turn into a certain trust and that as my clown starts to move, I will feel more confident. I will let you know how it goes.
Dwight M. Hopkins, PhD is the Alexander Campbell Professor at the University of Chicago Divinity School. In this interview, Hopkins discusses his desire to be a writer as early as kindergarten, the freedom of the teaching life, the superpower of cross-cultural engagement, and the miracle of helping students realize that they much more than they think they are.
2024 Virtual Teaching and Learning Workshop Design Thinking for Religious and Theological Educators Application Deadline: September 27, 2023 Schedule of Sessions All Sessions – 1:00 - 3:00 pm ET Session 1 - January 29, 2024 Session 2 - February 12, 2024 Session 3 - February 26, 2024 Session 4 - March 11, 2024 Session 5 - March 25, 2024 Session 6 - April 8, 2024 Leadership Rev. Stephen Lewis, President, Forum for Theological Exploration (FTE) Participants Julius Bailey, University of Redlands Min-Ah Cho, Georgetown University Liam de los Reyes, Mount Angel Seminary Nick Elder, University of Dubuque Theological Seminary Barbara Fears, Howard University Kishundra King, Iliff School of Theology Andrew Krause, Associated Canadian Theological Schools of Trinity Western University Velma Love, Interdenominational Theological Center Elizabeth O’Donnell Gandolfo, Wake Forest University Divinity School K. Christine Pae, Denison University Kyle Schiefelbein-Guerrero, Lutheran Theological Seminary, Saskatoon Ashlyn Strozier, Georgia State University Jeanine Viau, University of Central Florida at Cocoa Maureen Walsh, Rockhurst University Wabash Center Staff Contact: Gina A. S. Robinson, PhD Associate Director Wabash Center 301 West Wabash Ave. Crawfordsville, IN 47933 robinsog@wabash.edu Description Educators and administrators of higher education are working tirelessly to navigate a rapidly changing environment accelerated by the effects of the global pandemic. Many are discovering how to adapt and design educational models and delivery systems for a changing industry. In a post-pandemic era, what does it mean to be teacher who employs design thinking? In what ways can design thinking help religious/theological educators and administers think, strategize, and implement new and different educational approaches? Please be mindful that participants will be expected to work on their own design projects between sessions. This online workshop invites religious and theological faculty from diverse academic disciplines to learn and experiment with design thinking methods in their work as educators and administrators. The six online sessions, with participants from diverse institutional contexts will: Examine what it means to foster greater design intelligence in their work Reflect on common challenges or constraints in developing new curriculum, educational programs or teaching initiatives Learn, practice, and develop next steps to incorporate design thinking methods in their work Sessions will include plenary and small group discussions as well as assignments between sessions to apply what participants learned. Participants will also pitch ideas for small project grant proposals up to $5,000 in order to develop next steps to practice what they learned in the workshop. After the conclusion of the online workshop, participants may opt to submit their developed grant proposal for consideration of funding. Goals To explore the tasks of teaching through the lens of design To nurture a community of learning and conversation around teaching and design To build confidence in applying design thinking principles to educators and administrators’ work context Participant Eligibility Tenure-track, tenured, continuing term, and/or full-time contingency Teaching religion, religious studies, or theology in an accredited college or university in the United States, Puerto Rico, or Canada. Job description or contract that is wholly for, or inclusive of, developing new curriculum or developing curriculum-related activities such as: degree/non-degree programs, co-curricular programs, new initiatives, new courses, revamping old courses, establishing laboratories or experimentation for teaching Institutional support and personal commitment to participate fully in all workshop sessions Participants must have the time availability to work on their own projects between sessions Application Materials Please complete and attach the following documents to the online application: Application Contact Information form Cover letter: An introductory letter describing:(a) your reasons for interest in this conversation on design thinking; (b) your institutional context and/or the class where design thinking principles could provide leverage and opportunity for enhancing and enriching your teaching and teaching life; (c) a possible curriculum, program, or teaching project for which this conversation might influence, impact or be of help. (250 to 300 words) Brief essay: Describe a recurring challenge or constraint in your institution which affects your work of teaching (beyond personnel/budget) that has hindered your developing or revising curriculum, courses, projects, or programs. Reflect on how the institutional challenge or constraint has impacted your teaching, teaching life, and how you imagine the discipline of design thinking would help address the challenge or constraint. (500-1000 words) Academic CV (4-page limit) A letter of institutional support for your full participation in this workshop from your Department Chair, Academic Dean, Provost, Vice President, or President. Please have this recommendation uploaded directly to your application according to the online application instructions. Honorarium Participants will receive an honorarium of $3,000 for full participation in the hybrid workshop. Read More about Payment of Participants Important Information Foreign National Information Form Policy on Participation
Steed Davidson, Ph.D is Dean of the Faculty and Vice President of Academic Affairs and is Professor of Hebrew Bible / Old Testament at McCormick Theological Seminary. In this Silhouette Interview, Davidson discusses his childhood desire to be a meteorologist and the pride of his family in his profession. Also: surprise at the difficulty of the teaching life with its constant attention, the superpower of mediation and the "Sense of We," surviving violences by writing and community, and the miracle of igniting students' curiosity.
2024 Hybrid Teaching and Learning Workshop Early Career Theological Faculty Craft in the Teaching Life: Sustaining Pleasure throughout the Teaching Life Application Deadline: September 27, 2023 Schedule of Sessions All Virtual Sessions – 12:15 - 2:45 ET Session 1 - February 8, 2024 (virtual) Session 2 - March 14, 2024 (virtual) Session 3 - April 25, 2024 (virtual) In person: June 10-14, 2024 - Wabash Center on the campus of Wabash College Session 4 - August 1, 2024 (virtual) Session 5 - September 26, 2024 (virtual) Session 6 - October 24, 2024 (virtual) Leadership Team Katherine Turpin, PhD, Iliff School of Theology Willie Jennings, PhD, Yale Divinity School Participants Karri Alldredge, Lutheran School of Theology at Chicago Jennifer Aycock, Hood Theological Seminary Adam Bean, Milligan University Yara González-Justiniano, Vanderbilt University Deidre Green, Graduate Theological Union Joelle Hathaway, Bethany Theological Seminary Kathryn House, Meadville Lombard Theological School Emily Jendzejec,Loyola University New Orleans Sarah Kathleen Johnson, Saint Paul University Cody Sanders, Luther Seminary Megan Strollo, Union Presbyterian Seminary Nicole Sarita Symmonds, Columbia Theological Seminary Eric Williams, Duke University Rachel Wrenn, Trinity Lutheran Seminary at Capital University Wabash Center Staff Contact: Nancy Lynne Westfield, PhD Director Wabash Center 301 West Wabash Ave. Crawfordsville, IN 47933 westfiel@wabash.edu Description This hybrid workshop invites participants to explore the craft in teaching. Through conversations, artistic experimentation, and creative expression, we seek to discern how to sustain pleasure in a teaching life. We will consider sustaining pleasure through forming a healthy distance from one’s doctoral formation, gaining a strong sense of agency in one’s institution, engaging one’s discipline on one’s own terms, claiming one’s freedom in the classroom, and attending to the whole person as a teacher. Participants can expect to: Think alongside crafts persons and artisans about their creative process Explore artistic expression in their own lives Experience collegial work in an environment that is relaxing and restorative Imagine ways of teaching and learning that evoke curiosity, joy, and hope The hybrid workshop will gather for six online sessions and an in-person summer session at the Wabash Center in Crawfordsville, IN. Sessions will include small group and plenary discussions, structured and unstructured social time, and time for personal and communal growth, relaxation, restoration, and shared meals. Goals To identify those elements that sustain pleasure in the teaching life To cultivate a strong sense of agency and freedom in the teaching life, the classroom, and the institution To establish a practice of experimentation that aligns with their teaching commitments and values To develop a network of colleagues and co-collaborators as an ongoing resource for their teaching life Participant Eligibility Completed 1-5 years of teaching in a full-time, tenure track or other continuing position Doctoral degree completed by end of Spring 2022 Tenure decision (if applicable) no earlier than Spring 2026 Teaching in an accredited seminary or divinity school in the United States, Puerto Rico, or Canada Job description or contract that is wholly or primarily inclusive of teaching Application Materials Please complete and attach the following documents to the online application: Application Contact Information form Cover letter: Write a cover letter that describes why a Wabash workshop, given the diverse makeup of its participants, would be helpful to you at this point in your career. What role do you see peer colleagues and collaborators playing in your growth as an early career teacher and scholar? Brief essay: In 500 words or fewer, describe moments of pleasure in the teaching life that you hope to sustain throughout your career. Choose moments that bring us into your classroom, your particular discipline, and your institution. Academic CV (4-page limit) A letter of institutional support for your full participation in this workshop from your Department Chair, Academic Dean, Provost, Vice President, or President. Please have this recommendation uploaded directly to your application according to the online application instructions. Honorarium Participants will receive an honorarium of $3,000 for full participation in the hybrid workshop. Read More about Payment of Participants Important Information Foreign National Information Form Policy on Participation
Lisa L. Thompson, Ph.D is Associate Professor and the Cornelius Vanderbilt Chair of Black Homiletics and Liturgics, Homiletics and Liturgics at Vanderbilt University Divinity School. Thompson discusses the childhood dream of being an OBGYN, rejecting the false dichotomy between scholarship and teaching, and the ways in which faculty can be punished for being good teachers. Also: the superpowers of intuition and the facilitation of creativity, community as the key to surviving violence, the miracle of helping people own their voices, and cultivating institutions that facilitate creativity.
Due to a snow delay, my seven-year-old daughter came with me to class the other day. I teach an honors’ version of our intro Religions of the World course in the morning. She sat at a desk in the back corner of the room, working on a story about, I think, vampires. She nibbled on peanuts. She was the world’s cutest TA. At the end of class, as we were walking back to the car, she said, “Mom, I noticed that the students didn’t laugh at any of your jokes.” A pause. “Was this EMBARRASSING for you??” I laughed and told her, “No, not really, I’m used to it.” I like being a silly willy,” I said, “and it doesn’t really matter to me if they like it.” Most of my students don’t get my sense of humor. They don’t know the references that some of my jokes depend on; I once made mention of the TV show Friends in a class and all I got back were blinking eyeballs. This was not a high point. We don’t share much these days, me and my students. I constantly feel like that Steve Buscemi gif (“How do you do, fellow kids?”). Or maybe my students do get my jokes and they simply don’t think the jokes are all that good. Oh well. ¯_(ツ)_/¯ Silliness can be tricky (and is often presented as inappropriate) in professional contexts. Obviously, people don’t always find the same jokes funny. We may worry about offending. Enough self-deprecating digs and we may start to inadvertently undermine ourselves. There are definitely risks to making light of certain topics—or even being perceived as doing so. (Though some of the sharpest social critiques come in the form of satire, like The Onion simply reposting the same story about gun violence every time a mass shooting occurs in the United States.) But I also sense a resistance to silliness (and playfulness and jokes and levity and all the like) in certain corners of academia, specifically. There seems to be an association between being serious and being taken seriously. That somehow our intellectual cachet or credentials are tied to big words and furrowed brows and the cult of busyness. Certainly we academics have a reputation for humorless stuffiness, paired properly with a tweed jacket and a pocket watch, of course, even if it isn’t true. I do worry sometimes that people think I’m light on substance simply because I’m quick to laugh. Some scholars have written about how incorporating humor into the classroom can have benefits for students and their learning. I would like for this to be true in my classroom too—at the very least, I don’t want my jokes to HARM anyone—but this isn’t mainly why I deploy humor. It’s not some savvy or strategic teaching technique. I do it because this is a part of who I am—an important part of who I am—and I do not want to have to become a different, fragmented, or shell of a person when I teach (or do any other part of my job). I want to be whole—as whole as I can possibly be—when I show up in the classroom. There is enough emotional labor involved in teaching (and I’m using this term in the way Arlie Hochschild actually meant it) to tire even the best of us out. Not being authentic during the hours I teach requires additional levels of effort and exhaustion that I simply do not want to exert, if I can help it. And I want students to witness this wholeness, even if it turns out not to be their cup of tea. (Not unrelated, this is part of the reason I brought my kid to class. I’m a mom…and I refuse to pretend I’m not in order to be “professional.”) My self is not there to please students—or to conform to what (I assume or can discern) they might find pleasing. Who I am is not (or should not be) up for others’ approval or adjudication. Maybe there is a lesson in that for them too. Now, as I’ve written before, there are obviously risks to disclosing who we really are in the classroom, especially depending on the identities some of us hold. (And there are aspects of our whole selves that do not deserve to be shared with people like students who haven’t necessarily earned our trust.) But being silly is an aspect of my personality that feels genuine and low-stakes enough to bring into the classroom space. It feels good to be me, for as many hours of the day as possible. For what it’s worth, my daughter doesn’t think I’m very funny either. She’ll get me some day. Or she won’t. It doesn’t matter. ¯_(ツ)_/¯
Peter T. Cha, PhD is Professor of Church, Culture and Society at Trinity Evangelical Divinity School. Cha discusses his childhood desire to be an architect and how that love of design informs his teaching and class creation. He also talks about the demands of institutional citizenship, the superpower of distillation, and the joy of the 'aha' moments.
Rolf Jacobson is Professor of Old Testament and the Alvin N. Rogness Chair of Scripture, Theology, and Ministry at Luther Seminary. In this Silhouette Interview, Jacobson discusses early thoughts of a career in finance, bafflement at the pace of technological and societal change, being a musician, dogged persistence of his students and colleagues in a world filled with violence, as well as the superpower of sarcasm--one of the gifts of the spirit Paul didn't get a chance to enumerate!
Wabash Center Staff Contact
Sarah Farmer, Ph.D.
Associate Director
Wabash Center
farmers@wabash.edu