Resources

You may have heard the announcements that the Wabash Center has launched a new open-access, online journal, The Wabash Center Journal on Teaching. The entire contents of the inaugural issue of the journal is now available for free download online. For twenty-two years the Wabash Center has been publishing Teaching Theology & Religion (TTR), owned by Wiley-Blackwell. Now we’ve moved our whole editorial team from TTR to this new publishing venture in order to make our efforts available digitally without subscription. Although the Wabash Center will no longer be involved in the publication of TTR, Wiley-Blackwell intends to continue publishing it with a new editorial team beginning with volume 23 (January 2020). When we started TTR as a new and unknown center for teaching in the 1990s, we needed the prestige of a major publisher in the field of religion and theology to lend gravitas to the emerging field of the scholarship of teaching and learning. But for many years now we have regretted the paywall our articles have lived behind, limiting our ability to promote this scholarship, support authors, and inspire readers. The Wabash Center Journal on Teaching will continue publishing the high-quality, peer reviewed scholarship on teaching in the fields of theological and religious studies that has been the hallmark of TTR for over two decades. The new journal carries forward the same scope and focus of scholarship – but now our efforts will be freely available online. In the new journal you’ll find the popular Teaching Tactics. In addition to Forums (with contributions now listed individually) we will also highlight Special Topic sections. And the new journal reintroduces Book Reviews, which were removed from TTR in 2015 to allow more space for articles in the print journal. So while you’ll find The Wabash Center Journal on Teaching familiar, you will also begin to notice new developments. The open-access online platform allows us to provide convenient links to sources on the internet and links back to previously published articles. But more than that, the new platform provides the opportunity for The Wabash Center Journal on Teaching to become more than just a print journal available online. It’s easy to insert links to video clips, graphics, or sound files – although these links must be found on the web or created by authors. It takes a leap of imagination to conceive how teaching issues and contexts, arguments and evidence, could be represented graphically, in motion, visually. Until now, the written word would have seemed to be the distinctive home for sustained rigorous, reflection on teaching. But we’re moving into a new world in which the “text” that creates and makes legible academic thinking needn’t be limited to words on a page. So we issue this challenge to our readers and authors: send us sustained critical reflection on your teaching practice and context that explores the boundaries and possibilities of representational forms and genres available on an open-access online platform. 4 Highlights of the Inaugural Journal Issue 1. “State of the Field” essays by: Frank M. Yamada Eugene V. Gallagher and Joanne Maquire A Conversation with Maryellen Weimer (longtime editor of The Teaching Professor, and leading authority on disciplinary based scholarship on teaching) 2. Reflections on the teaching legacy of Dr. Katie Geneva Cannon by several of her former students: Stacey M. Floyd-Thomas Karen K. Seat Miguel A. De La Torre Angela D. Sims Edwin David Aponte 3. Special Topic:  Threshold Concepts in Biblical Studies (with contributions from John Van Maaren, Tat-siong Benny Liew, Richard A. Ascough, and Jocelyn McWhirter) 4. Teaching Tactics Zoom in on Interpretive Skills by, Amy Beth Jones, Stephanie Day Powell The Buddha's Positionality, by Christina Anne Kilby Maximizing Engagement between Online and On-Campus Students Via Zoom, by Daniel Orlando Álvarez Does This Sound Religious?, by Amy DeRogatis, Isaac Weiner

When it comes to effective teaching, “less is more.” While the brain is an amazing information and multi-sensory processor, research suggests it can only effectively learn one new thing (concept) at a time. The maximum number of “bits of information” the brain can process at any given time is eight (like in the “eight bits” of a computer chip), or, as sometimes notated “7 +/- 2″ (seven plus or minus two).* When it comes to teaching, we do well to focus on teaching one new concept at each learning session (that’s one new concept per class session!). That guide can help inform the structure and scope of your course. It's a helpful corrective to the common anxious temptation of trying to cover too much during a course. So, for a twelve-week course, teach twelve interconnected or derivative concepts! No more! How much information are you trying to pass on to your students in one sitting? How effective are you in focusing on the single most important thing you want your students to learn during a single class period? To be more effective in your teaching, try these suggestions: • Aim at teaching only one thing at a time (one concept, one principle, or one big idea) • Focus on teaching a central concept and no more than two derivative concepts • Spend time on rehearsal of the concept (define it, clarify what it is and what it isn’t, provide examples and non-examples, illustrate it, apply it) • Test for comprehension • Correct misunderstanding(s) of or about the concept • Provide an opportunity for learners to apply the concept. The truth is that learning is a complex enterprise and we are not very efficient at it. Learning involves multifaceted and interrelated processes like attention, motivation, comprehension, concept attainment, rehearsal, reinforcement, acceptance, valuing, accommodation, and application. In order to teach effectively we need to facilitate the learning process for our students as much as possible. Two guidelines that will always serve us well in teaching are: (1) less is more, and (2) K.I.S.S. ("Keep it simple, stupid"). *See George Miller, “The Magical Number 7, Plus or Minus 2: Some Limits on Our Capacity for Processing Information,” Psychological Review 63:81-97 (1956). More current literature on learning that takes into account brain research supports this concept. 

How do you help students get the point you’re trying to teach? More often than not most of us try the direct approach: “Just tell them!” But a paradox in learning is that often students do not learn what they are told as well as when they discover it for themselves (there are two contrasting schools of pedagogy here: direct instruction vs. discovery learning). The issue at heart is that to by-pass the process of how one acquires learning is to inhibit learning. As I am fond of saying, “Teaching-by-telling doesn’t work because it does other people’s thinking for them.” One way to help students acquire a concept is to use Entry Points to help them approach the concept indirectly and through multi-faceted dimensions of learning. Here are the characteristics of Entry Points: ●  Entry points are used to develop learning experiences aimed directly at developing understanding of key concepts (theses are usually identified in the learning objectives). ●  Entry points “validate” instantiations of the target entry point. (E.g., an aesthetic entry point activity must tap into and apply the aesthetic dimension and align with an aesthetic learning outcome; an analytical entry point must help "advance rehearse" an analytical learning outcome, etc.) ●  Entry point-based learning experiences require students to engage actively, and think with, and about, concepts in novel ways. Rich learning experiences employ a range of entry points to the content (i.e., introductory or “messing about” experiences that invite students with varying backgrounds, experiences, and expertise to work thoughtfully with the content). Joseph Piro provides a great example of the use of entry points in his article, "Teaching Rembrandt," Humanities (November/December 2007) Volume 28 Number 6). First, he provides a rationale for the function of the teaching in using this particular entry point: "Being an “agent of civilization” is one of the many roles ascribed to teachers. If we are to have any expectations of producing a well-educated, well-prepared generation of deep-thinking, resourceful leaders, then it is essential to give students an opportunity to review, respond to, and ultimately revere the power of the human imagination—past and present. There may be no better way to promote this than to study, understand, and exult in masterpieces." In the examples given in the article we can see a variety of concepts addressed through this entry point: A springboard into the Protestant Reformation, Counter-Reformation, the Thirty Years’ War, and other events in seventeenth-century Europe. The importance and significance of Biblical themes. The philosophical concept of aesthetic: beauty. Entry points can be used at any point in the lesson, not just the beginning. Remember that the function of the entry point is to lead into concepts-attainment. I have used the following with students as entry points for segments for concepts attainment in the learning process: ●   A video clip of ballet dancers to understand the concept of triangles and homeostasis ●   Playing with clay to understand Aristotle’s form-matter hypothesis ●   Playing the game Cranium to understand the concept of multiple intelligences ●   A slide show of paintings and sculptures to understand different philosophies of aesthetic interpretation ●  A short movie to understand “postmodern” concepts followed by a film critic's critique ●   Creating a board game to understand group dynamics and the “rules about rules.” As you prepare for your next teaching experience, take time to consider how you want your students to “enter the learning experience” by creating an entry point that leads to the learning outcome.

“With A Little Help From My Friends” was composed by John Lennon and Paul McCartney in 1967. The familiar song pronounces the power and necessity of friendship: What would you think if I sang out of tune, would you stand up and walk out on me? lend me your ears and I'll sing you a song and I'll try not to sing out of key. Oh, I get by with a little help from my friends mm, I get high with a little help from my friends mm, gonna try with a little help from my friends . . . The week after graduation, I got a call from a dear colleague. He was working on his syllabus for the upcoming summer semester. Having been in conversation for twenty years, he and I “get by with a little help” from each other. My colleague is a brilliant, multi-disciplinary scholar. Unlike me, he reads deeply across several academic fields - both domestic as well as international literature. He brings that expansive knowledge to our collaboration. I bring to our collaboration my scholarly knowing and, more important, my know-how in creativity, imagination, and the ability to make unorthodox connections in pedagogy, cultural politics, and beyond. Our phone conversation was “as usual.” My friend began by describing the focus of his upcoming summer course as well as the theory he was emphasizing in the course. He quickly summarized the required readings. He reminded me that it was a summer intensive, so he needed assistance in making good use of the time format. I asked if he needed to talk about assignments or learning activities. He said both. I took a few deep breaths, considered his topic, then intentionally imagined the graduate students in his course. Half of the enrolled students would be students of many races born in the USA, who will likely go on to serve communities close to home. The other half would be international, coming from countries in Asia, Africa, and the Caribbean, who might either serve white churches in the USA, or return home after graduation. My friend waited patiently as I thought. After my long pause, I asked, “Are you ready?” He said yes. I launched in by asking questions of clarification as if I were a student in his course. During that part of our conversation, he could hear the gaps in the course objectives and learning outcomes and he began to strategize ways to narrow the gaps and more directly address the student’s likely curiosity. Then, I brainstormed out loud about possible classroom activities that could take him and students out into the community near the theological school. We talked about possible resource persons to be brought into the classroom to make vivid the need for praxis-thinkers and doers. Once I got all my initial ideas spoken, I stopped. I asked if he wanted more. He said yes, so I continued until my imagination had run its course. Next, we turned to possible assignments as well as ways to elicit questions from students which would help them to bridge theory with community. By the end of our conversation, my friend had more than enough material to finish designing his summer intensive. The course was going to be brilliant! Our conversation was so well choreographed because of our reciprocity. I assist him with course development, and he helps me with editing and thinking more deeply about my publications. He has read and commented on almost everything I have published. I strengthen his work and he strengthens my work. We know our work is better because of the input of the other. “lend me your ears and I'll sing you a song and I'll try not to sing out of key.” Beyond the necessity of collaboration to strengthen and deepen our work, I would suggest networking is an under-utilized aspect of teaching and friendship. A little over a year ago, an alum from my school called me and asked if she could put me in touch with a friend of hers who was working on a new project. I said yes, only because of the respect I have for the former student. I was not, at that time, looking for any new projects nor was I looking for a consultant. Now, two years later, the person she put me in touch with, who is neither an educator nor a theologian, has become a consultant for our seminary and we are doing innovative programming in new areas. Had the consultant “cold called” me, I would have brushed him off. When a person I knew and trusted asked me to give time for a conversation, it was because of her influence that I paid attention and opened doors. Making use of our networks is opening ourselves to possibilities beyond ourselves. Making use of our networks entails that many of us must come-to-grips with the cachet and influence of our roles. So many of us undervalue our social position and make little use of the societal, intellectual, and material capital which we are afforded in our positions as teacher/scholars. We are people with juice! Making use of that juice for other people is part of our jobs. A new friend, who I met a year ago, told me that she drives her son to New Haven each morning for school. Since the commute is almost an hour, she stays in New Haven and writes at a local coffee shop, then picks up her son from school and returns home in the late afternoon. She is a professional writer so writing in a coffee shop is OK. I frowned at the thought of her working daily in a public coffee shop. The next day I phoned a colleague at Yale University. I asked him to take my writer friend to lunch because I thought they would enjoy each other’s company. I also asked him to give her whatever he could. I told my writer friend to expect a call from this Yale professor and accept the lunch invitation. They had lunch, and she now has access to the Yale University library where she works each day. He got a new and needed conversation partner for writing, editing, and publishing. All I did was recognize that I knew a guy who could help my friend, then I made the phone call. “Oh, I get by with a little help from my friends” The project I direct called the Social Justice Leadership Project was sponsoring a weeklong conference on our campus for spiritual writers about improving writing and getting published. We believe that public theology is, in part, about getting new voices into the market place. The weeklong conference has several worship services built into the schedule. I called a friend and asked her to plan and lead the worship services. She agreed, but asked why I did not do them myself. I said because you will do them better. The participants at the conference marveled that, during worship, we focused contemplatively upon the lives and prophetic witness of Toni Morrison, Mary Oliver, and James Cone. My friend, by way of liturgy, juxtaposed the ancient prophet Habakkuk’s text which reads in 2🔢 And the LORD answered me: “Write the vision; make it plain on tablets, so he may run who reads it” – with the lives of the prophets Morrison, Oliver and Cone. The final movement in every worship service was then to challenge the conference participants to align with these great persons in their own work of writing the vision. By the feedback and reports, the worship experiences for the aspiring faith writers had mystical, transformative qualities. “mm, I get high with a little help from my friends” So much of scholarship is constructed upon the flimsy falsehood of individualism, isolation, and self-aggrandizement. We make a mistake when we keep our work and our wants in isolation – hiding our light under a bushel. Our fears of having our ideas stolen, or having people turn down a request, or of opening up to the possibility of ridicule and shame must be overcome. Our work as scholar/teachers is best done in community, in conversation, with other people. Yes, I could tell you of a few incidents when my ideas have been stolen or simply attributed to someone else. But, these derisory experiences do not keep me from the joy and accomplishments which can only be realized through collaborating, networking, and using my cachet to facilitate the ideas and dreams of others in my community. My greatest successes have been due to the love, support and generosity of people who have helped me elevate my work, rise to the challenges of certain projects, and who have seen greater possibility in me than I saw in myself. This is the pay-off of collaboration, networking and friendship. This is the marvelous of being part of an intellectual community. Nancy Lynne Westfield Drew Theological School

Click Here to Read Part 1 Somewhere along my life’s journey, I learned to play an Australian Aboriginal instrument called the didjeridoo. The didjeridoo is a percussion instrument, said by the Aborigines to be older than the African drum. They use the didjeridoo for meditation, rituals, and rites. A didjeridoo is a long, usually wooden instrument (looks like a rain stick) which is played by blowing into one end. Any didj plays only one note. By manipulating the breath into the didj, the player can shape, prolong, and play-with the one note to create different kinds of sounds. The sounds are often described as basic, primordial, ethereal, and other-worldly. As if the ability to play the didjeridoo is not quirky enough–I can also circular breath. Circular breathing is a technique used by players of wind instruments to produce a continuous tone without interruption. This is accomplished by breathing in through the nose while simultaneously pushing air out though the mouth using air stored in the cheeks. I can circular breath with my dijeridoo. I play my didj for my own meditation. I have, over the years, played two or three times in our seminary chapel services. I have never thought of playing in concert–until March 20, 2019. On March 20th, five-time Grammy award winning, renowned jazz bass player Victor Wooten came to our campus for a day of teaching and to give an evening concert. Wooten, author of the book The Music Lesson: A Spiritual Search for Growth Through Music, is a master teacher. He infused his lessons with wisdom from his mother and stories of how he started to play the bass at age 3, then, by age 5, he and his four older brothers were on tour as the opening band for Curtis Mayfield. Wooten coupled his life stories with his vast knowledge of music theory and his ability to play the bass in innovative ways. He is a creative genius. At some moment during the day, Victor asked me if I played an instrument. I told him that I play the didjeridoo. He said, “Good–you’ll play with me at the concert tonight.” The moment of emphatic invitation was that spontaneous, that casual, and that unexpected. Reflecting now upon that moment, I suspect I routinely do that to students. I hear that they have an ability, a capacity, a talent and I, without hesitation, incorporate that/them into the band that is our classroom. I am accustomed to being the band leader–I was surprised, on this day, to be a member of the band. I had confidence that I could do what Victor asked me to do because I knew I could play my instrument. What I did not anticipate was my own nervousness and stage fright. Near the end of the Wooten concert, I sat in the green room knowing my song was next. I could feel the shallowness of my own breath. I was self-conscious. As I sat, my feet began to cramp. I told myself, “Since I don’t play with my feet, all I have to do is hobble out on stage and sit down, then I can play.” I reached for some water to calm my cramps, but then reasoned that I would need to use the bathroom . . .  I was panicking!  Inside my head was a voice of confusion and terror. I knew enough to make myself take a few deep breaths and that calmed my fear, if only a bit. As Victor ended a song, I left the green room and went to the wings to wait. The panic rose again–this time my feet were not cramping, but instead I could not focus. I felt like I had lost control of my body. I heard Victor call my name and I stepped out on stage–smiling and terrified. I retrieved my didj which had been pre-set on the other side of the piano and took my seat in the band. Mark Miller was on piano, Elias Aponte-Ortega was on cajón and Wooten was on bass. The music started and I realized I could not hear–I was deaf! I began to play my didj but all I could hear was air and not a note from my didj. I grew more panicked. I closed my eyes. With eyes closed I could hear myself playing, but I was not playing well. Then I heard Victor say “yeah.” I looked up and Victor was looking at me, smiling and bouncing his head to the rhythm of the song. When I saw Victor, I relaxed–just a little bit. I reminded myself to keep looking at the band leader. Victor, with bass in hand, walked over closer to me and kept his eyes on me and kept smiling at me. As I played, I grew stronger and more focused. He turned and walked back to the middle of the stage. As we had planned, Victor and the other instruments brought their part of the song come to an end and I, on didj, extended my part so the last sound was the didj. I played solo for several moments then ended. The crowd erupted with praise, applause and wonder. I stood, raised my hands above my head, and basked in the surreal moment of it all–still terrified!  By all reports, no one knew I was terror stricken. I, from the vantage of the audience, had played brilliantly (thank God and thank Wooten!). One week later, I recounted my experience of stage fright and terror to my class who had studied Wooten’s book. My story surprised them. I asked if they had had such experiences. The majority of the students yelled “YES!” then some continued–“here, with you, every week!” One student said she had been in terror since having received her admissions letter (she’s graduating this spring). I told them I knew nervousness and butterflies, but this kind of terror was new to me. They looked at me silently as if to say, “Welcome to our world.”  Another student asked if there was a moment that I calmed down. I thought–and remembered the moment I heard Wooten’s voice. His voice brought me back to myself–just a little. Then, when he walked over to me, I was able to restore a bit of my own confidence. I told the students that when I got in touch with the fact that I had a band leader who knew what he was doing, I could believe in myself in that moment. New experiences make for better, more empathetic teaching. My experience of terror and stage fright, as well as my experience of having had the band leader lead me through the moment has made me more aware of the depth of students’ fears and the power of the band leader, in the midst of that fear, to create a beautiful and innovative song. Instilling confidence in students to move to higher accomplishments and supporting that confidence through the presence of an expectant and knowledgeable teacher is my renewed focus. And, if Wooten ever needs a didjeridoo player in another band–I’m available!

Click Here to Read Part 2 Spectacles create excitement. Experiencing the excitement of spectacle used to be reserved for such moments as the circus’s annual appearance, bringing elephants, lions and clowns. Or it happened on the rare occasion of a World’s Fair, which was considered one of the most exciting events to visit a place in a lifetime. Now, we live in a world where spectacles are available to be viewed or participated in on a daily basis. Bigger-than-life stories flood the internet. Our senses and sensitivities are bombarded through the 24-hour news cycle. Personal participation in social media keeps our imaginations revved-up and our cell phone cameras at the ready. Movies and video games have special effects so keen you think you are inside the action. Virtual reality headsets invite persons to meet up with friends from around the world at live sports, concerts, or just to watch a favorite TV show together. We can now, on a daily basis, dial-into excitement. In comparison, our classrooms, filled with lectures, discussions and the occasional field trip seem humdrum, ho-hum–just plain boring. Even our on-line courses typically replicate the patterns and learning modes of brick-and-mortar classrooms inviting adult learners into lecture and discussion in digital classrooms. We merely recreate a digital version of incarnate passivity. The change in season from winter to spring usually helps make the semester seem longer and more boring. By April in the spring semester, we are not close enough to the end of school year for a sprint to the end, and we are too far from the beginning to still be eager and anticipatory. It is a dangerous moment in the semester that could, if not tended to, derail the best course. Since there is no calendared spectacle, and since mid-semester is a low energy moment in our community, I planned something that I thought would be EXCITING. I planned something I thought would wake up, shake up, and get learning juices flowing. I invited renowned jazz musician, Victor Wooten to our campus to teach and give a concert! It is a worthwhile question to ask–“How did you get five time Grammy Award winning Victor Wooten to teach an entire day at Drew Theological Seminary, and do a concert?” Our day of teaching and conversation with Victor Wooten had everything to do with his graciousness and accessibility. Victor is a humble and kind soul. It also had everything to do with my want to make learning exciting–to create a spectacle of teaching–at least for one day. Armed with a grant from the Luce Foundation, I described my want to my colleague and friend Paul Myhre at Wabash Center. Paul is an amateur bass player and lover of jazz. I asked if he knew anyone to recommend who understands their artistry as a vehicle for social good and who would bring excitement to our community. He said the perfect artist would be jazz musician, Victor Wooten. Paul said that what distinguished Wooten, for our purposes, was his book The Music Lesson: A Spiritual Search For Growth Through Music. I was intrigued. I said, “Ok, but how would we get him? I can’t just cold-call Victor Wooten.” Paul said, “Victor is on Facebook!” Then he simply reached out to him. In less than five minutes, Victor replied to Paul and provided his manager’s name and contact information. I called Wooten’s manager and the rest is history! On March 20, Victor Wooten re-energized and re-inspirited our Drew University community. It was a spectacle of the best kind. In preparation for our day with Victor Wooten, the faculty read and assigned many courses to read The Music Lesson, published in 2006. The book is a fictional account of how Victor learned to play the bass better. While talking with our faculty at brunch, Victor said about writing the book, “I wanted to write a book that would allow me talk about my particular approach to music theory and freedom without having then to defend my approach. It took me a long time to figure out the way to write it was as fiction. Since it is fiction, people read my story, enjoy the characters and get my meaning. If they do not like the story, they do not attack my music theory because it is my story.” Several faculty persons reported to Victor how much our seminary students resonated with his book and teaching philosophy. Students, even those who know little about music, were strengthened by the liberative pedagogy and life lessons woven into the book. The first of two classes Victor taught after brunch was an undergraduate Music Theory class. He talked with the students about the meaning of the musical term “key” and explained techniques for a better, more agile understanding of keys and key changes. A student asked Victor how to avoid writer’s block. Victor told a story which illustrated that the way to overcome writer’s block is to write as many “bad” songs as you can in order to get to the “good” songs. The second class of the day was Prof. Mark Miller’s Musics of the World course. Victor delved deeply into his book, answered questions about such things as the meaning of mistake making, what it means to hear music all the time, and the spiritual journey of becoming such an accomplished musician. A highlight of the session was Victor’s conversation with Tiffani Wheatlley, a first year student who said her sons were taking drum lessons and she wanted to learn to play. Victor brought her to the drums. With a few instructions and coaching, Tiffani played along with Victor Wooten and Mark Miller–and it sounded great! It was a pleasure to watch Victor’s lessons on teaching be embodied, enacted, and demonstrated before our very eyes. The evening concert was magical. Mark Miller played the opening number on piano, then Victor–now at home in our community–joined in. Wooten continued wowing the crowd with both jazz, blues, and gospel pieces. After an hour or so of solo bass performing, Victor announced “a friend is joining me on stage.” That friend was faculty member Elias Ortega-Aponte, who accompanied Wooten on the Cajón. The next faculty person to join Wooten on stage was me! At some point in our day-long conversation, Victor asked me if I played an instrument. I have been asked this question hardly ever in my life. My answer is one that usually is unsatisfying to the asking person because I play the didjeridoo–and few people know what that is. When I responded to Victor–he of course knew what a didjeridoo was, and instructed me that I was going to play with him in the concert that night. OMG!  During sound check, Victor listened to me play, announced that my didjeridoo was in the key of “D” and asked what song we should play together. I looked at Mark. He said “Wade in the Water.” Victor said–“Good, we’ll do that.” When we finished playing the piece during the concert the audience erupted! Just imagine–the very first time I play my didjeridoo in concert and it is with renowned musician Victor Wooten! The finale of the concert was an original arrangement which moshed-together the two songs “Halleluiah” and “Amazing Grace.” An improvisational genius, Victor led his band, composed of Drew musicians and the audience, to the highest heights. The piece was magnificent. The audience, rising to their feet to sing along with the moving and soulful rendition, cheered wildly at the end.   The day of teaching and performing ended in typical gracious Wooten style. Victor lingered more than an hour after the concert signing books and CDs, taking pictures and talking with students, faculty, and fans. It was an historic day of joyous excitement and improvisational learning! 

Justice is one of those ideas that has captured our imaginations for generation upon generation; yet it is still a contested notion. Collectively, systemic racism, sexism, classism, homophobia, white supremacy, and a judicial system that is lenient on “white collar/white male” crime, while vengeful upon the poor and minoritized people, provide ample evidence that justice for some is not justice for all. For these and other reasons, I need my students to be articulate about the notion of justice. It is not enough to “believe in” the idea. It is not enough to agree with it intuitively or “in your heart.” Education as a practice of freedom, as a practice of transgression, as a practice of re-humanization, is the theory I teach in my graduate level introductory course. This course insists that the ability to articulate the theories of justice, regardless of personal experience or personal belief, is a pedagogical necessity. It is the rare student who enters my introductory course able to speak the language of liberative pedagogy or to talk about the connection between education and social transformation. This is why they are learners–there are important things which they do not yet know and which they cannot articulate, but which we can teach them.  My pedagogy of justice is not so interested in teaching skills of “critical thinking.” Most of my students have families, are gainfully employed, and have responsibilities in church as well as community. Many own their own businesses, provide support for several generations in and beyond their households, and are looking to religious leadership as a second or even third career. By the time they reach my “Introduction to Educational Ministries” course they have demonstrated considerable ability to think critically, to problem solve, to engage successfully in tactics of survival. Rather than “critical thinking,” I want to teach my adult learners methods of power analysis necessary for the summoning of moral courage in a society steeped in body politics, violence, and systemic hatreds. I want my students to be praxis thinkers, able to analyze injustice and articulate justice in an unjust society. They must be able, in their own communal context, to analyze white supremacy and patriarchy in its myriad expressions. The healing of their community and the restructuring for a more equitable society depends upon their ability to articulate justice. What I stress in my course is the ability to articulate what justice actually entails in the world. Simply feeling it, believing it, desiring it, hoping for it–just won’t do.  The power is in speaking it. Have you ever known something but could not articulate it? You thought you understood it, but did not know the words, the vocabulary, the way to convey the basic concepts with depth? Sometimes, as a consequence of complex experiences, you may find your ability to describe the learnings of that experience to be limited or incomplete. In order to give full voice to your experience, as well as the insights gained from that experience, drawing on the collaborative power that emerges from sustained conversations is a key. Equally, having a firm grasp upon basic theories of justice making and moral courage are imperative. Being able to articulate theories of justice provides a hermeneutical mirror for analysis of, and meaning-making from personal experiences and perspectives. Finding ways to assist my students with articulating theory and helping them order the learnings of personal experience entails exposure to new vocabulary and interrogation of basic concepts. Personal experience can provide new insights, new understanding of the age-old problem of injustice when communal-reflexive habits are incorporated as a way to animate and elucidate theory. Because, of course, theory and practice are two-sides of the same coin. On the first day of the course, then reinforced in each subsequent session, I tell my students to pay attention to the argument of the authors we are reading. The focus of reading is not so much deciding if they “like it or not,” but noticing the authors’ use of vocabulary, basic concepts, and illustrative examples and narratives. I tell them to learn these funky words and use them in and out of class. Once new vocabulary is mastered, the ability to conceive the basic concepts and the ways these concepts create the theory is more evident. I tell them to be able to map the basic concepts of the theory because all basic concepts do not function in the same way to create the theory. When they look puzzled, I teach them concept mapping. Learning to play with theory for praxis is a mighty challenge. I have, over the many years, devised this mid-term learning exercise to assist my students in articulating the basic concepts of the theory we study: Step One - I email, before the class session, and instruct my students to be able to access in class all the readings, all their notes taken, and all the assignments graded thus far. In other words, bring all you stuff! Step Two - Once we are gathered in class, I tell them to get out all of these materials and base any group participation upon our conversation since day one of our class. In other words, do not talk off the top of your head, focus upon what we have been discussing all semester. Step Three - I divide the class into small groups. I inform the groups they have an hour to collaboratively write 10 basic concepts of the theory of liberative pedagogy. When the anxiety in the room spikes, I inform them that they are to use all the materials they brought to class. Sometimes the anxiety lowers and sometimes not. Step Four - I say, “On your mark–GO!” I do not tell them it is a mid-term exam, but it is. Step Five - While the groups are working to articulate their lists of basic concepts, my teaching assistant sets-up the computer so there is a blank page projected on the screen for all to see. The teaching assistant, during the report-in by the small groups, will record each of the concepts I approve to be written on our class list. Step Six - After the hour, I reconvene the groups for our “round-robin report-in.” Our aim is to take the lists from all the groups and create one list of basic concepts that we can ratify as a class. We refine the concepts during the group report-in through our conversation and through my editing. A member from one of the small groups reads aloud one basic concept from the list they created when it is their turn. Groups will have multiple turns but will report-in only one concept at a time. If, when the one concept is shared aloud, the concept sounds reasonable and resonates with our collective understanding (and my listening ear), then the teaching assistant records the draft of the concept as read for all to see. Once that concept is typed on the screen, I ask if any other group has a similar concept. If so, we use the other group’s work to wordsmith the concept on the screen until it is clear and strong. If not, we wordsmith as a class. Once a concept is refined to my satisfaction, we move to the next group to read aloud one basic concept from their list. We continue with the “round-robin report-in” until all the groups have exhausted all the concepts they recorded during their small group collaboration and until we have one common, sound list of basic concepts refined on the screen. This takes about an hour. Step Seven - I provide a list of basic concepts from a previous course as a final way to strengthen our collective work. I invite the class to look through the list in order to add, reword, or strengthen the new list we have just drafted. There are always additions, edits, and re-wording to strengthen the list we have just created. Students like seeing the work of other classes as it lets them know the complexity of the task of articulation. Step Eight - I ask, referring to our list on the screen, “Does this list of basic concepts articulate the theory we are studying?” If yes, we celebrate our hard work. If no, we continue to work until we are satisfied with our articulation of basic concepts of emancipatory pedagogy. Step Nine - I email our list of basic concepts to each student. Of course, my students’ ability to excel at this exercise varies from class to class. Most fascinating is that, from year to year, no two lists of basic concepts have ever been the same while still capturing the crux of the theory. Every class has found their own way of articulating, from their own unique perspectives and experiences, the basic concepts. I am not looking for an essentialist or universal list of basic concepts. I am looking for their rendition. We say a learner-centered education nurtures, kindles, and coaxes students into voice. With voice comes the responsibility of agency and service. Teaching toward voiced students is teaching the ability to speak articulately, eloquently, and intelligently about the issues of oppression, hegemony, violence and captivity–and not just passionately, without substance. Coming into voice is hindered by class sessions riddled with self-centered, pseudo-psychological moments of students filibustering through personal stories and anecdotes. Learner-centered teaching focuses upon the learner being able to articulate new ideas, new theories, new concepts, new vocabulary and hopefully, newly refined visions for a more just and equitable society.

In the late 1980’s, the church I served had a large staff and a sanctuary worthy of rental for the filming of a professional TV Christmas special. On an otherwise humdrum day in March, word that Stevie Wonder was in the sanctuary spread like wild fire around the staff offices. Along with the gossip, came the foreboding reminder that staff were not to enter the space since it was being rented. Never having been one to follow foreboding reminders, I used my master key to make my way down the back stairway and into the sanctuary through a little known and rarely used door. The sanctuary was abuzz with a TV camera crew, producers, musicians, and many persons I could not identify. I made myself invisible and sat in a pew behind Vanessa Williams. I looked at the chancel–sure enough, Stevie Wonder was at the keyboard. The Harlem Boys Choir was gathered around the piano and sprinkled in the pews and chancel area. I was wide-eyed and amazed. What a moment! In not-too-long, the men Stevie Wonder was talking with left the chancel. Stevie Wonder started playing the keyboard. He looked up from the keyboard and called over to the church’s organist who was seated on the organ bench. Stevie Wonder said, “I feel like Malott’s Lord’s Prayer.” This piece of music is considered one of the music standards of African American church musicians; every church musician worth his/her salt knows this piece. The organist paused, called over to Stevie Wonder and asked, “Do you have the sheet music?”    A nervous hush-your-mouth fell over the enormous room. It was one of those rare moments when the shock was so great things seemed to go into slow motion. Some of the shock came from the fact that a professional musician asked a blind man for sheet music. The rest of the guffaw came from the pronouncement that a professional church musician could not play this standard without reading it from sheet music. As providence would have it, the director of the Harlem Boys Choir had heard Stevie Wonder’s request and the organist’s embarrassing response. The Director pointed to one of the boys who was standing on the chancel steps. The boy, dutifully and without hesitation, ran to the piano and began playing Malott’s Lord’s Prayer. As soon as Stevie Wonder heard the piano sound, he joined in on keyboard. That afternoon, I sang Malott’s Lord’s Prayer with Venessa Williams, Stevie Wonder, and the Harlem Boys Choir. A few camera people and producers sang too. It was a triumphant moment of Christmas in March! Gardner Taylor, considered an extraordinary preacher, would leave his sermon manuscript, which he had spent the entire week poring over, in the middle of his desk, then go into the pulpit and preach. He would preach his sermon relying upon his preparation and the movement of the Holy Spirit. The reason we know this to be the case is that he never entered the pulpit with anything but a Bible in his hand and there are reams of Dr. Taylor’s sermon manuscripts. My former colleague, Otto Maduro, would lecture from post-it notes–only 3 or 4 for an hour lecture. Never did I see him stand and read aloud from a manuscript and always did he give an impassioned and informed lecture. About ten years ago I decided I knew the materials in my introductory course well enough that I would no longer use a manuscript for lectures. The first couple sessions, I was afraid I would forget something or leave out some vital aspect of theory. What I discovered was that rather than reading to my students, I began to talk with my students as I lectured. Without a manuscript, I was able to be present with them in a significantly different way. Being untethered from a manuscript allowed me to come from behind the podium; allowed me to watch their expressions and pay closer attention to their breathing; allowed me to think fresh thoughts as I talked. My glitch then and now is when a student wants me to repeat something verbatim. I say, “Hmmmm . . .  I was not listening to myself.” Then a student (there is always one) who takes copious notes repeats what I said and we move on. Teaching without a manuscript allows me to gather-in previous conversations, items in the news, and the temperament in the room. I can have moments of scripted thoughts and I can have moments of improvisational musings which ground the discussion in the here-and-now. When I am free from a manuscript I can help students in meaning-making with the inflictions of my voice, the gestures of my body, based upon what I know of their own life experience. It makes me more agile, more dexterous, more in-tuned with a conversation between us rather than information from me to them. Lecturing without a manuscript has changed the tempo and rhythms of my teaching. I linger over notions when students signal they need more time and move quickly through items for which students signal they understand. I feel I have a better rapport with them because I am not focused on the page in-hand. I feel more free to teach. After doing this for ten-plus years, I am convinced that by the end of the semester I have covered as much or more intellectual terrain as I did when I had a manuscript. Like the piano-playing boy in the Harlem Boys Choir–there are some intellectual standards that I know, and letting go of the manuscript makes me better able to perform what I know with conviction and percussion. I can play it on cue, not in a mechanical or rote fashion, but in the moment and for the people who are also there to play. We learn, in these moments, to listen for each other. Highly respected musicians make it their craft to read the notes as printed, as intended by the composer, as expected by the listening audience when they are knowledgeable and ridged. The great work of composing music or writing a manuscript is not to be overlooked or belittled. Playing the music without interpretation, without deviating – trying to get it perfect--is a respected form, discipline, practice. Even so, there are genres of music and kinds of musicians who lift their heads from the sheet music and dare to interpret, dare to make the music their own in every moment. I want to teach, not toward the illusion of perfection, but toward authentic expression of my own voice, my own “take,” – exposing my students to my own spiritual authenticity. I suspect the boy who played for and with Stevie Wonder that day is now a man who still remembers that remarkable moment. I hope he is a man who still knows how to say “yes” to improvisation and the grace which comes with letting go.

We are celebrating the 50th anniversary of Paulo Freire’s magnificent book Pedagogy of the Oppressed and the Wabash journal, Teaching Theology and Religion, has published a Forum to  to celebrate the book and Freire’s legacy. Very few books in recent history have made their way around the world expanding the ways people think about education and learning processes. Freire’s legacy is one that will always be developed and challenged. Developed by those who care for deep, critical thinking and challenged by people and governments who see the danger of Freire’s thinking. Regarding the latter, Jair Messias Bolsonaro, the new president of Brazil, where Paulo Freire is from, sees a danger in Freire’s work and legacy. While campaigning, the new president said that he would go into the Ministry of Education with a flame-thrower to burn anything associated with Paulo Freire. Even though Mr. Bolsonaro most probably has never read any of Freire’s books, he claims that Freire offers a sectarian and socialist education whose Marxist teachings undermine the education of the student. Along with Bolsonaro, the Brazilian new conservative movement called “Schools Without a Party” also blames Freire for making students receptacles of ideologists who want to put socialist interests before the love of Brazil and threaten the “Christian values” of family, property and church. It is with good reason that the president of Brazil and conservative sectors of society are all concerned with Paulo Freire. Freire’s education helps people to figure out their own lives more fully, to develop critical minds, to engage into social mobilization, to gain their own sense of liberation, and become subjects of their own history. This process helps people to see, judge and act, challenging all forms of power. Education for Freire is the unfolding of worlds for the one who is learning. It is a way to gain conscientization of one’s own life and the environment in which one lives. When Paulo Freire is teaching a village of fishers, he starts by asking people “what is a fish?” Then he asks what is the meaning of the fish to the community, and how fish and fishing are connected with their own ways of living, as well as how they relate with other fishing villages, the environment, and even big fishing companies. Through pursuing the meaning of the word “fish,” the fishers describe several power relations around their lives. In the end, people learn not only how to spell and write “fish,” but also how “fish” tells people about their lives, their world, and the other worlds with which they are connected. Done this way, education is a path from being oppressed to become free. Education is a way of giving voice to the voiceless and gaining conscientization that unleashes the struggle against the domination of those in power, of realizing that everyone has the strength to organize and struggle to change their lives. This form of education is everywhere in the world and as educators we must go where transformation is at work. In order to continue to honor Paulo Freire, we must acknowledge that popular education is present in the movements of resistance and emancipation. For us to get a better sense of what Freire’s pedagogy can do, we should listen to those who are at the bottom of society trying not only to survive, but to thrive. It is from those places that we gain a much better sense of what Freire’s pedagogy of the oppressed means. As Oscar Soto says: The popular education of Paulo Freire is the possibility that workers, peasants, landless workers, excluded and marginalized people will think and re-invent themselves in the transit from being spectators to become genuine creators of the material conditions of life. It is not in vain that the language of the pedagogical rebellion of the oppressed is spoken in the popular movements, in the base communities, in the theories of dependencies, the sociologies of exploitation, the liberation theologies, the Latin American socialisms, the research/activism, participatory action and so many traditions of resistance in Our America.[1] On the other hand, Freire’s pedagogy can also be relevant for teaching contexts with privileged students in elite universities. It can help students gain a sense of vincularidad[2] or deep relationality, of unbalanced power, exploitation, and class struggle. By gaining consciousness of our lives in the relation with others and larger societies, we learn how to act towards somebody else, and move from protecting our own groups into seeking common justice for all. This opening of the world of oneself into the world of another brings a demand with it, namely that we engage in each other’s worlds. What happens then is that I have to check how my own ways of thinking and living are related to other forms of thinking and living, how my habits of eating fish relate to fishing villages and the massive destruction of the sea life by big corporations. This consciousness of our common situation and the fundamental sense of vincularidad challenge teachers and students in any school, poor or rich, to engage in uneven exchanges. Freire’s education for consciousness is the beginning of the unfolding of a vast world of wonders and imperfections that need to be engaged. For instance, if we want to deeply honor Paulo Freire and his legacy, we must respond to one of the most fundamental challenges of our times: patriarchy/fascism and the “masculine mandate.” Rita Laura Segato calls our attention to the war against women and how the new forms of fascism are aimed at the destruction of the women.[3] How can we engage pedagogies of liberation that help us engage and relate with this those being oppressed by it? How can we find tools, together, to understand it and create conditions of possibilities for transformation? Our lives, and the life of our planet, depend on forever-expanding forms of conscientization that keep demanding freedom, and justice for every person. In this way, the work of Paulo Freire, developed by the work of women, indigenous voices and popular movements, can reach any and every school and community, connecting us deeply with the work of Martin Luther King who said “Injustice anywhere is a threat to justice everywhere. We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly.” (Letter from Birmingham Jail) [1] Oscar Soto, Freire, Mariategui y una educación popular campesino, Noviembre 22, 2018, http://contrahegemoniaweb.com.ar/freire-mariategui-y-una-educacion-popular-campesina/ [2]  Walter D. Mignolo and Catherine E. Walsh, On Decoloniality: Concepts, Analytics, Praxis (Durham:  Duke University Press Books, 2018). [3] Rita Laura Segato, La Guerra Contra Las Mujeres (Madrid: Traficantes de Sueños, 2016).

“Toto, we’re not in Kansas anymore.” So many of our students have a “Dorothy” experience when they enter theological and religious education. Our classrooms are not what they have had previous experience of. Our classrooms are not the local church, not Bible college, not the family reunion, not church camp, not church conference, not undergraduate school, not job site; not anything like they have ever had to traverse. The location of our adult classrooms, for many students, is unique. And, once the degree is received, it will be a space to which they never return. Our classrooms, for so many, are the most foreign space they have ever ventured into. So many students are out of their comfort zones. They are away from home. While our teaching goals are rarely to comfort our students, teaching students who are upset, distressed, and skittish does not make for good teaching or good learning. Like many schools, we have a growing number of commuter students. My school draws from the boroughs of New York City, Jersey City, and Newark. While those of us who are familiar with living in the suburbs do not think of it as a “dangerous” space, those brothers and sisters who call the city home can find thick forests and dimly lit walking trails to be a problem. One night after class I was walking home. Home was on the other side of campus. Between the building where I taught and home was the baseball field, then an expanse of unlit trails through the campus arboretum. I had walked this route at night for many years with no fear or trepidation. After class, I passed a student getting into his car. Edgar (not his real name) was headed back to the City. We quickly exchanged after-class-pleasantries, then I resumed my walk toward the woods. Edgar called out to me in a concerned tone, “Doc, where you headed?!” I turned around and told him I was headed home and said, “Good night.” Edgar got in his car, raced around the parking lot until he caught up to me. He rolled down his car window and in a distressed tone called me to his car. I walked over–not sure what was wrong. He asked if I was going to walk through the woods–in the dark, alone. I said yes. He asked, “Please let me drive you home.” Feeling Edgar’s concern for me, I got in the car. During our five-minute drive, he expressed his anxiety for being in “the country.” I told him I had lived here for many years and felt comfortable walking, even in the dark, in spaces I had come to know. He told me that if I needed a ride home after class for the rest of the semester that he would gladly drive me home. Before this experience, I had considered that students might be uncomfortable with new ideas or new people or new values presented in our classrooms. I had not previously considered that students might be uncomfortable with being “in the country”–away from the city–uncomfortable in the terrain where they did not know the rules and the pathways were, literally, unlit. Suppose an obstacle to good teaching is the literal space we occupy? What if we have city people who have ventured to the country, or country people who have ventured to the city, and are fearful of this unfamiliar space? In either regard we have students who are distracted by their uncertain safety, worried if they will get back home safely and without incident. What does it mean to teach with this kind of discomfort in the room? Dorothy, of The Wizard of Oz, turned her situation into a quest. She constructed a journey which eventuated in her return home. So many of our students are not on a quest; they simply want to get a degree and the degree-giving-place is located in a place that is very foreign, a long way from home, but commutable. They commute to the foreign place and then return home each week. I suspect some students resign themselves to being uncomfortable for the duration of their education. Complicating the discomfort and anxieties of our students, another dimension to their discomfort is the experience of possibility. Author bell hooks said, “The classroom remains the most radical space of possibility in the academy.” So many students resist encounters with “radical spaces of possibility” preferring instead spaces which are reliable and previously known. My first teaching challenge was at age thirteen when I taught elementary-aged children in my church’s summer day camp. Snack time was a favorite moment in the day’s schedule. The teachers would gather all the children in one room and provide fruit as a snack. Ralph, age 10, never ate his fruit snack. He would complain and ask for cookies or chips. One day I sat with Ralph who was pouting. I asked, in earnest, why he would not eat the fruit. He said, “Because you don’t know what you’re going to get.” I told him that I did not understand. Ralph said, “If you eat an orange you don’t know if it’s gonna be sweet or sour. It might be juicy or it might be nasty. But if you eat an Oreo – they all taste the same. You know what you’re gonna get.” Many of our students find our classrooms too risky with possibility. They simply want to know, like Ralph, that they are going to get what they previously know, what they previously experience as dependable. When we say learning will be discovery, newness, encounter with the unfamiliar, even transformative–the Ralphs in our classrooms recoil. They do not want to be transformed. Some of the resistance and anxiety is that lots of people do not have an adventuresome spirit. Or more to the point, students will say that in their busyness they do not have time for an adventure. The thought of new ideas is worrisome, even burdensome, rather than motivational or inspirational. Students’ discomfort about risking the randomness of learning is anxiety producing and can make our classrooms woeful. The spring semester is upon us and my syllabus is prepared. Even so, I do not have strategies to relieve the many real discomforts, anxieties, and fears of my students. Edgars and Ralphs will likely be in my course as well as a few new kinds of fears I have yet to catalogue.  By now I have enough experience to know that much learning can happen even when fears, uncertainties, and reservations are not calmed or eased.  Beyond that, I know I need to be a non-anxious presence for the sake of all of my students and me.