Resources

Meaningful Grading: A Guide for Faculty in the Arts provides a framework for continual improvement and deliberate practice in the area of course design, assignment creation, and assessment. Although this book focuses on faculty in the arts, its wisdom is accessible to all faculty in higher education. The authors argue that “strong teaching requires careful planning, even though the time constraints of academe do not always allow for it” (2). Therefore this book is comprised of fifty tips that can stand alone and/or work together to provide a cohesive pedagogical framework. Meaningful Grading is divided into three parts: (1) course design and preparation, (2) during the semester, and (3) post semester. The book begins by challenging the reader to examine their own beliefs and biases, know their educational context, and define what success will look like in their course (6-7). As I read this section, I was reminded that many faculty in higher education receive little to no training in pedagogy and course design. Haugnes, Holmgren, and Springborg argue that we must be intentional in our course design and that “grading, if it is to be meaningful to students, must be intentionally integrated into the whole course” (30). The authors focus heavily on ensuring that course goals, teaching and learning activities, and assessment (evidence of success) must work together to support student learning. The course design process is iterative and one will cycle through “all the legs of the tripod multiple times. . . until each is in alignment to help support deep learning” (33). Part two presents a series of tips that operate as “grab and go ideas in the middle of the semester” (65). This section provides advice on how to clearly communicate the goals and expectations that were crafted in part one. It also focuses on how to teach discrete skills and content as well as how to emphasize process over perfection. The authors suggest that it is important to identify what success looks like at multiple distinct points in the process in order to provide students with more meaningful feedback along the way. In addition, it is through the intentional use of field specific language in all communication with students (syllabus, critiques, meaningful feedback, and comments) that students are exposed to and are able to absorb field specific language and concepts. Finally, part three provides advice on how to engage in reflection on a completed semester in order to establish and improve meaningful grading practices. The first tip in this section encourages faculty to seek feedback from students and faculty colleagues during and after the semester in order to become a more effective grader. Although this feedback can include end-of-semester evaluations, the instructor is encouraged to seek additional and separate forms of feedback from students about fairness of grades, use of rubrics, and other course activities. The instructor is also encouraged to return to course goals and course activities to assess if goals were met and the process of grading was useful for both the instructor and the students. As a faculty member who is not in the arts (design, architecture, fine and visual arts, media arts, literary arts, printmaking, performance arts, etc.) but utilizes various forms of art in my lectures, course activities, and graded assignments, I found this text to be very helpful in expanding my knowledge of how to better incorporate and assess the use of art in a learning context where students may not initially see or value the ways in which art speaks to the content at hand. It also provided me a strong foundation on how to better communicate to students the ways in which what they are learning to master is a form of artistry. This book provides practical and accessible advice on how to design and execute a course in any discipline in higher education while simultaneously speaking to the unique nature of assessment in the arts. I believe it is an important read for all faculty regardless of discipline and experience level, and trust that it will help us more critically examine our pedagogical strategies and assessment methodologies.

One of my favorite movies growing up was the The Sound of Music. I loved—and still love—the opening scene: the vast panoramic of Julie Andrews, arms outstretched, as Maria, belting at the top of her lungs: “The hills are alive with the sound of music!” Each song and every word from the film is etched in my memory!Perhaps you, too, can recall the scene where Maria teaches the children to sing: “Let’s start at the very beginning; a very good place to start. When you read you begin with A-B-C. When you sing you begin with Do-Re-Mi, Do-Re-Mi. The first three notes just happen to be Do-Re-Mi, Do-Re-Mi, Do-Re-Mi-Fa-So-La-Te-Do!” By the end of the film, the whole family has mastered the art of singing and it leads, literally, to their freedom.Mastery comes with a solid foundation and practice; with learning the basics, making mistakes, asking questions and correcting course. Mastery requires starting at the beginning—so that a certain freedom can surface once the basics are etched in our memories—even when learning online. As teachers, we need to provide an opportunity for students to master the basics not only of content, but also of the learning environment; to develop the thought and muscle memory of working with technology. Only then can they set aside the concern of technology and truly enter into the freedom and joy of the online learning environment.The greatest support I find for students in effective online teaching is to create a “Getting Started” module for every course I build. The language and idea of “Getting Started” is owed to the training module I completed with Quality Matters (https://www.qualitymatters.org/). I keep this language because it invites engagement with the full range of students, from neophyte to novice to expert in the online learning environment. All students are invited to review the basics. Some can be skimmed over; others perhaps not. The point is: there are many notes in this environment which need to become second nature and I teach them here.A typical table of contents for such a module contains the following foundational elements: (Do) How to upload your picture to your account, (Re) How to forward school email to your personal email account, (Mi) A tour of the course site, (Fa) How to post an original thread and respond to peers in a discussion forum, (So) How to access privatized videos, (La) How to create a video using PowerPoint or Zoom, (Te) How to submit and retrieve assignments, (Do) How to access the library e-reserves and more. These foundational elements are delivered primarily via videos and PDF documents using screen images highlighted with step-by-step instructions.These supports are made available the week before class begins and remain accessible for the entirety of the course. Students are encouraged to explore this module prior to the beginning of class to learn the A-B-Cs and Do-Re-Mis of the learning environment. I also provide an opportunity for a simple online discussion and assignment submission in advance of the course start to foster some familiarity and initial comfort with these processes.This module is partially transferable from course to course, so I am not re-creating the wheel each course. Personalizing a few videos however—such as a tour of the course site—communicates my care for the current group of students.As a practice, I meet with online students individually via Zoom one or two times a semester. During these sessions, I inquire what I could do better to support their transition to online learning and also how I can continue to support their learning in this environment. Last semester I learned—unfortunately late in the game—that a number of students never learned how to use the library’s database resources. This naturally impacted the quality of their research, learning and integration. As a result, moving forward, each course will contain a video showing how to do research using the vast electronic scholarly resources available through the library system. This will find its home in the “Getting Started” module.So remember, while we grow beyond neophyte, novice and toward master teachers in the online environment, the neophyte online learner will always be with us. While students need the “Getting Started” module to varying degrees, let’s keep providing the basic A-B-Cs and Do-Re-Mis because there will always be need for some students to start at the very beginning so they can set aside the concern of technology and truly enter into the freedom and joy of the online learning environment.

Click Here for Book Review In Creating Wicked Students, Paul Hanstedt argues that courses can and should be designed to present students with what are known as “wicked problems” because the skills of dealing with such knotty problems are what will best prepare them for life after college. As the author puts it, “this book begins with the assumption that what we all want for our students is that they be capable of changing the world….When a student leaves college, we want them to enter the world not as drones participating mindlessly in activities to which they’ve been appointed, but as thinking, deliberative beings who add something to society.” There’s a lot of talk in education these days about “wicked problems”—problems that defy traditional expectations or knowledge, problems that evolve over time: Zika, ISIS, political discourse in the era of social media. To prepare students for such wicked problems, they need to have wicked competencies, the ability to respond easily and on the fly to complex challenges. Unfortunately, a traditional education that focuses on content and skills often fails to achieve this sense of wickedness. Students memorize for the test, prepare for the paper, practice the various algorithms over and over again—but when the parameters or dynamics of the test or the paper or the equation change, students are often at a loss for how to adjust. This is a course design book centered on the idea that the goal in the college classroom—in all classrooms, all the time—is to develop students who are not just loaded with content, but capable of using that content in thoughtful, deliberate ways to make the world a better place. Achieving this goal requires a top-to-bottom reconsideration of courses, including student learning goals, text selection and course structure, day-to-day pedagogies, and assignment and project design. Creating Wicked Students takes readers through each step of the process, providing multiple examples at each stage, while always encouraging instructors to consider concepts and exercises in light of their own courses and students. (From the Publisher)

Creating Wicked Students: Designing Courses for a Complex World Paul Hanstedt Sterling, VA: Stylus Publishing, 2018 (x + 180 pages, ISBN 978-1-62036-697-4, $24.95) One might assume that a text called Creating Wicked Students would discuss types of “wicked” problems – complex social-environmental issues that cannot be solved with existing modes of inquiry and decision-making – that instructors might address through a problem-based learning approach. However, this work actually is an introduction to course design most useful for beginning instructors or those redesigning their courses according to sound pedagogical principles. Situating himself against those who view higher education as solely preparing students for the workforce or transmitting content, Hanstedt emphasizes the importance of instilling a sense of authority in our students by helping them develop skills and attitudes that will empower them to make meaningful change in the world. Hanstedt’s holistic vision of education includes attitudes and dispositions alongside skills and content mastery, and will likely resonate with instructors in religious studies and theology. Although he does not explicitly refer to our disciplines, he does offer examples, anecdotes, and insights from colleagues in a variety of fields and institutions, which is a strength of the book. He references seminal work in the scholarship of teaching and learning – including that of: George Kuh (2008, High-Impact Educational Practices, AACU); James Zull (2002, The Art of Changing the Brain, Stylus); and David Krathwohl (2002, “A revision of Bloom’s taxonomy,” Theory into Practice 41) – but does not engage with previous scholarship on wicked problems. Readers interested in learning more about pedagogical approaches to wicked problems could consult the work of the work of: Brown et al. (2010, Tackling Wicked Problems, Routledge); Carcasson (2017, “Deliberative Pedagogy as Critical Connective” in Deliberative Pedagogy, Michigan State University); or Lee (2016, “Systems Thinking,” in Resilience by Design, Springer). This book could be useful as an introduction to course design for someone less familiar with the fundamentals, such as how to develop measurable learning outcomes, align course goals with institutional goals, nest content within higher-order goals, engage students’ prior knowledge, or incorporate applied learning. The structure of the book allows for one to follow it step-by-step as a course design manual, and it also includes recursive “intermissions” to encourage reflection along the way. In addition, his discussion of how to prompt critical thinking through multiple-choice exams offers helpful strategies for encouraging students to explain their thinking on ambiguous questions with follow-up questions that explain or justify their choice (92-98).