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One of the most common pedagogical errors I see in course syllabi is confusing a learning activity for a learning outcome. This often becomes evident when reviewing course learning objectives. A professor will write a course objective that reads "The student will participate in class discussions." Or, "The student will write a 12-page paper on an assigned topic." Or, "The student will submit two case studies from their ministry context." Those assignments provide clear expectations of student learning activities, but they reveal little about desired learning outcomes. What is the student supposed to learn as a result of doing those activities? Or, in what ways and to what extent will those activities provide evidence of student learning? The potential miss in confusing a learning activity for a learning outcome is that a teacher will be satisfied with grading an assignment, like a research paper, but fail to assess what learning (knowledge or skill) the student has acquired. A learning activity is something you want the students to do in order to achieve a learning outcome. A learning outcome is the evidence the student provides that they have understood a concept, gained knowledge, mastered a level of competence, or changed affect (attitude, appreciation, or opinion). This can be tricky in that sometimes an assignment can be the outcome. For example, in an English composition class writing an effective essay can be an outcome. But in a theology or philosophy course, writing an essay may be a learning activity that leads to an outcome. In the former, the teacher assesses the quality of the student assignment, like form, grammar, styles, etc. In the latter, the teacher assesses the essay for evidence of critical thinking, correct application of theological concepts, logical reasoning, avoiding errors of bias, sound interpretation, responsible use of facts, comprehensiveness, etc. Well-written Learning Objectives Can Help One way to overcome the trap of mistaking one thing for another is to design well-written learning objectives. Instead of identifying what a student will do ("The student will write a case study," "The student will read the text"), which is a learning activity, identify what the student will demonstrate ("The student will demonstrate . . .") which is a learning outcome. Avoid being satisfied with vague educational terminology like, "The student will understand . . ." without providing a criterion for what constitutes understanding. Use a taxonomy of learning to define the quality, characteristic, or criterion of understanding you will look for in your learning outcome (e.g., Wiggins and McTighe's taxonomy of understanding). Rubrics Can Help Another way to reveal the learning intent of an activity is by applying a learning assessment rubric. A well-written rubric will identify the criterion and the quality of learning outcomes. Some rubrics evaluate the product of a student assignment, but fail to identify the learning that is supposed to result from the assignment. Elegant rubrics can do both, but at least try to write your rubrics for outcomes of learning and not merely for evaluating a student product (an assignment). It can help to differentiate outcomes from activities by placing them in different headings in your course syllabus. Needless to say, your learning activities should align with your published learning outcomes: (1) In what ways will the learning activity help the student achieve the learning outcome (if it doesn't, then don't assign it), or (2) In what ways will the learning activity demonstrate that the student has achieved the learning outcome? Attached is a graphic handout that can help you differentiate an activity (assignment) from an outcome. 

One of my favorite reality TV shows is Project Runway. It is a contest of fashion designers who compete by designing new garments each week. Each episode the designers receive a new design challenge. The episode ends with renowned fashion designers judging the garments made by the contestants, then eliminating the weakest design. While I know the producers control the storyline of each episode, my fascination is in watching the ways the contestants grapple with the challenges of design, of being creative, of being human, of problem solving. Watching artists create a new garment in the context of a challenge intrigues me as I think about the work of teaching and learning to bring forth the voice. A favorite episode involved a most difficult challenge. The designers were instructed to create a garment based upon some aspect of New York City – the aspect of the City was of their own choosing – the contestants were led to believe that this was the entire challenge. They were given time to sketch, then were taken to the fabric store to purchase fabrics. Once they got back to the work room a twist was added to the challenge. The designers were instructed to switch their bags of fabric with another designer. In other words, they had to create a garment using the fabric another designer had selected. This unexpected twist sent the designers reeling! The camera vividly showed the designers in shock, in panic, in fear. Emotional turmoil seized the group. The usually chatty, noisy, electric work room was still, and the mood was somber. Some designers became angry and railed and cussed. Others cried. One designer was so stymied she considered dropping out of the competition because the fabric she was given was unfamiliar to her and not to her taste. The story line of the episode showed the designers, in multiple ways, rally to the challenge; the designers struggled and found unanticipated ways to solve the problems of the challenge. They found new solutions in the repertoire of design. By the run-way show – all designers had garments to show. The judges commented that so many of the pieces looked new, fresh compared to previous week’s work. The judges praised the group of designers for solving the problem well and with a refreshing aesthetic. Design is problem solving. Cultural aesthetics are not generic nor universal. Cultural aesthetics are determined by solving problems in particular contexts and arriving at solutions which have political implications and aesthetic qualities. If we had the eye to see, we would recognize that we are surrounded by, immersed in, design. Our coffee pots and mugs are designed. Computer keyboards are designed then redesigned. Our national and international transportation systems (on the grandest scale) are designed. From the smallest detail of life to the meta-patterns of society – design choices are made by us and for us. The design of a building portrays the architect’s philosophy. Visible to the eye, as well as experienced while walking through the building, is the architect’s beliefs about the nature of humanity. The viewpoint of the architect is expressed in the use of sunlight, the means and methods of access, the places of privacy and the materials which construct the walls, floors, and door knobs. The use of line, space, color, contrast (value), form, texture and space translate his/her understanding of human bodies and the ways we work, play and live in community. Architects become known for their “look” – their style, their aesthetic opinion and viewpoints. Even as laypersons, we recognize the work of Frank Lloyd Wright, I.M. Pei and Leonardo da Vinci. The same could be said about the work of many kinds of designers. In fashion, the aesthetic of Jason Wu, Betsy Johnson, and Donna Karen are easily recognized. In dance, the choreography (design) of Alvin Ailey, Judith Jamison, Katherine Dunham and Robert Battle are revered. To push the notion of design into sports – the genius of Venus and Serena Williams as designers on the tennis court is renowned the world over. Design expresses the voice. The voice evolves, matures and refines over the lifetime of the designer. Designers find, summon and bring forth new answers to old problems over their years of work. The longer they design the more they discover, uncover, and become aware of new expressions for their own point of view. The more they express their point of view, the more their opinion sharpens and hones. Designers interpret and reinterpret their truths searching for ways to say to the world what they are thinking, feeling, knowing, becoming and believing. Victor Wooten, Grammy Award winning jazz musician says it like this, “…an instrument laid on the ground makes no sound. It is the musician who must bring Music forth, or not.” What if, just as the philosophy of the architect is revealed in the blue prints and in the building, the voice of the teacher is revealed in the syllabus and classroom experience? What if, as teachers, we think of ourselves as designers? What if, in creating our syllabi and planning our teaching lessons we considered the line, space, color, contrast, form, texture and space of the course and classroom dynamics – not as whimsy, folly, but with the intent of expressing our genuine voice as critically reflective teachers? Since design is problem solving, we cannot trivialize this work by saying our students are the problem; that would be like a painter saying the easel and canvas are the problem. Nor can we say the topic at hand is the problem. Teacher/designers, like all designers, know that the problem to be solved is one of expressing the authentic voice of the teacher and inspiring the authentic voice of the student. In the words of Professor Nel Morton, our task is to “hear each other into speech.” The metric of good teaching is not figuring out a formula for the classroom then inflicting that formula upon students for an entire teaching career. Designers are after something more than the routine or the generic. Design sensibilities invite teachers to avoid teaching that is tantamount to fast food meals or paint-by-number kits. They challenge teachers to avoid teaching which is sterile, tasteless and steers learners “down a narrow road toward a destination not of their own.” (Wooten) Designers and artists invite new thinking and learning experiences to make the learning sticky, lasting, participatory and beautiful. Suppose you were to take out a large, ample sampling of your syllabi, then arrange them chronologically. Spread them out on the floor (or the computer screen). Look for the ways your teaching voice has matured, evolved, shifted and become more refined. What does your voice taste like, sound like, look like, feel like, smell like in the classroom? What is the line, space, color, contrast (value), form, texture and space of your teaching? If you cannot answer these questions – ask your students – they know. No one is born able to articulate their authentic selves. No one is born knowing their voice or design aesthetic. No one comes into the world knowing how to teach. It takes years to craft and refine your authentic voice – it evolves through work, rehearsal, practice, mistakes, and achievements. Recognizing our individual and collective power to get another person to express themselves freely is the insight toward freedom for both teacher and learner.

Concepts are some of the most powerful components of learning and content mastery. In fact, concepts attainment is necessary for deep understanding. If your students don't grasp the concept, they don't really understand what you are trying to teach. This is a challenge in teaching in part because most students do not recognize a concept when they see it (and novice teachers often don't either). Further, concepts are abstract and therefore hard to grasp. And yet, the most important things we try to teach, what is referred to as "enduring understandings," is comprised of abstract concepts. What is a concept? Concepts consist of a category (sometimes called a class or a set) and the attributes by which to tell whether or not an object belongs in the category. Concepts, then, require the ability to build taxonomies. Students must discern likeness and difference, identify qualities, and name or create categories. No small feat for any learner, yet we've all been doing this cognitive feat since we were young children, and it remains a fundamental way we learn all through life. The Procedure for Teaching a Concept The best procedure to follow when teaching a concept is: Name the concept Define the concept Explicate the concept Provide an example of the concept Provide a non-example of the concept Identify criterial attributes of the concept Test for comprehension. It's quite amazing, but, if we follow this procedure learners are better able to acquire an understanding of a concept than if we try it any other way. Often it is in step three, that we fall into the trap of teaching misunderstandings. For example, using metaphors as explanation (rather than illustration). The genius of this powerful procedure is that you can apply it in five minutes, or, design an entire period or unit around it. You can use the procedure to introduce the concept for your lesson during the first five minutes of your class. Or, you can use the procedure as a scaffold for an entire unit of study, with each step as a student learning activity. Other common misunderstandings involve offering anthropomorphic ("The Bible says . . . " "History tells us . . ."), ontological (a failure to differentiate cause from end), or normative ("Because that's the rule . . . ," "God said it, I believe it, that settles it" or appealing to uncritical self-evident norms) explications when teaching concepts. Avoiding teaching misunderstanding requires we do the hard work of developing an accurate understanding of what we are trying to teach. Steps 4, 5, and 6 are the ones that help facilitate the process of acquiring an accurate understanding (going from the known to the unknown, building taxonomies, sharpening identification of occurrence, etc.). Here is a simple test: before trying to teach a concept try explaining it to someone else (1) simply, and (2) accurately. Preferably, you should have a young child around to experiment on. With complex concepts students will need more process time to gain a deep, nuanced, and accurate understanding. Complex concepts may require multiple facets of exploration, practice, and application. Step seven is critical. Learners are notorious for being able to explain a concept without fully understanding it. Students get adept at mimicking teacher explications or learning to give back what you, the teacher, said while bypassing all of the necessary processes that result in actually understanding. Unfortunately much of what consists of testing for understanding in schooling is assessing whether or not the student can explain it like the teacher did, rather than assessing understanding. Meaning, your students can get 100% "correct" on a test and still not have learned anything. When you teach a concept follow the correct procedure outlined and you will help your students acquire a deeper understanding of the concept while avoiding misunderstanding.

Teaching theology in the seminary is challenging. Many students, burning with zeal to do the “real work” of ordained ministry, pastoral care, often cannot immediately perceive theology’s role in that endeavor. Its utility for building community, performing diaconal service, celebrating liturgies, or providing spiritual formation is often not as apparent to them as it is to us. I have found that one way to defuse students’ skepticism toward theology is by early, direct, and repeated emphasis on the relationship between theological imagination and the embodied practice of faith. Once students catch a glimpse of how theological symbols function (thank you, Elizabeth Johnson!) and, conversely, how practices shape theological symbols, they more readily apprehend how preaching, teaching, and living good theology are essential to providing the pastoral care they expect seminary will train them to give. Last July, I participated in the Wabash Center’s Teaching with Digital Media workshop for the express purpose of developing more tools to help students connect the study of theology to the practice of ministry. As part of an exercise during the workshop, I reconceived a paper assignment at the end of the first term of a two-semester introduction to theology sequence I teach annually. I turned it into an outward-facing digital theology project. Having students dip their toes into doing a bit of public theology as the culminating task of a semester of study designed to demonstrate the link between conceptual and practical theologies seemed like it would further my pedagogical goals. The assignment I gave them was to imagine themselves the director of adult formation at a church and to create an original meme (a still image or a GIF) for the formation-program Facebook page of the church. The meme was to communicate the importance of preserving a robust concept of sin in Christian theology and practice. Students had to share the meme as broadly as possible and solicit feedback on it. They then needed to write a brief paper that would (1) explain, in conversation with the relevant course texts, the theological choices made in creating the meme, and (2) report and reflect on how the meme was received and what the student learned from this as a theologian. The results were remarkable. [caption id="" align="aligncenter" width="511"] Used courtesy of Nora Boerner, CDSP M.Div. student[/caption] Students created memes that were sometimes provocative, sometimes humorous, sometimes both. The richest and most sophisticated of them, not surprisingly, were produced by the students whose theological rationales were the most nuanced. What was gratifying about this was that they themselves realized this connection. They were able to grasp how easy it is to communicate theology sloppily and saw that providing a message consonant with the Good News requires a deep understanding of what that central communication is. If one is going to distill the Gospel into capsule form, such as a meme, with as little distortion as possible, solid theology is required. In cases in which viewers received a message different from the intent, students benefitted from a first-hand education in how easy it is to be misunderstood when concepts are not handled with sufficient care, and they could appreciate that this can have unintended negative effects on one’s audience and thus impair the pastoral relationship. [caption id="" align="aligncenter" width="451"] Used courtesy of Sunshine Dulnuan, CDSP MTS student[/caption] Some students were made anxious by the assignment because of lack of familiarity with meme culture or trepidation over engaging in public theological commentary. Confronting both of these anxieties is important for church leaders in training. Effective public communication in the visual and syntactical languages various publics use is crucial for those charged with mission, discipleship, and evangelism (the three foci of Church Divinity School of the Pacific’s program of formation). This may mean learning idioms quite different from one’s default mode of communication, and needing to translate theology well from one into the other. The anxiety this assignment provoked was, to my mind, the one commonly experienced when confronting a developmental challenge, and so it was, in the end, a productive anxiety. [caption id="" align="aligncenter" width="405"] Used courtesy of Joanna Benskin, CDSP M.Div. student[/caption] This media-based assignment contributed nicely to my overall pedagogical objectives. Students were required to produce and disseminate a micro-theology expressive of their developing theological imaginations. They communicated a formational message with a theological foundation they could articulate and justify. They were thus given an opportunity to enter intellectually and affectively (and also tentatively and gently) into the arena of public theological exchange and to grasp how challenging, indispensable, and even, yes, pastoral, the discipline of theology can—and, in the context of these students’ particular vocations, must—be.

One of the most unfortunate practices in instruction is a teacher trying to get “right answers” from students. This is not to say that getting your students to get it right is a bad thing–in fact, it’s very desirable. Usually what happens, however, is that the teacher is engaged in teaching a concept and then pauses to “test” to see if students are getting it. The teacher asks a question intended to solicit a right answer, then is satisfied when one or two students answer correctly. The trap is that in the mind of the teacher a right answer indicates that learning has taken place and the student understands the concept. The truth is that a “right answer” may merely indicate that the learner has learned to mimic the teacher’s explanation—or maybe the learner made a lucky guess! When I was in grade school, I was chosen to be the spokesperson for an exhibit at the annual science fair. My job was to stand in front of a large container of water upon which were two small model boats. One model was intact and floated on the surface, but the other model had a hole in it. When I placed the second model boat on the surface of the water it would soon take on water and sink. I remember that my job was to explain to people why a boat with a hole in its hull sinks. I was chosen for the job because apparently I gave the "right" explanation well. But I have to confess that I was well aware that I didn’t really understand what it was that I was explaining! Even as I was giving the explanation to enraptured groups of students and teachers, I was keenly aware that I didn’t comprehend what I was talking about. I’d learned to mimic my science teacher’s explanation, but I didn’t understand it. Even when a learner gives a right answer, the skilled teacher will use the opportunity to follow up on how the learner arrived at the correct answer. Effective teachers assess understanding of the concepts being learned, not just test for “right answers.” In other words, effective teachers do not just focus on what a student says in an answer, but also assesses how a student arrived at the answer. One way to help learners acquire deeper understanding is to be more intentional in your response to student answers. When responding to a learner’s correct answer, don’t just say, “Right!” or “That’s correct!” Respond in a way that will both enforce the correct answer and help teach the group about why an answer is correct and how to arrive at the right answer. Teacher responses that include information about why the learner’s answer is correct, such as rephrasing the response to emphasize factors that make the answer correct, or the steps or methods used to get the correct answer, are helpful to other learners who are in the process of learning the reasoning behind why something is so, or who are trying to figure out the steps for arriving at an accurate answer to the question being posed. You can help students move beyond mimicking a right answer and toward comprehension by: - Amplifying the student’s response - Restating, modifying, or rephrasing the learner’s response and redirect for further discussion - Asking the student to explain how he or she arrived at the answer - Asking the student to provide an example or a corollary - Probing for further discussion. By the way, can you explain why a boat sinks?

I learned something this holiday season—my first holiday season as a grandfather.  My family traveled from Atlanta, Georgia to Orlando, Florida to surprise my mother, Mrs. Earlene Watkins, on her 80th birthday. The surprise is summed up in this moment. [caption id="attachment_239279" align="aligncenter" width="397"] Mrs. Earlene Watkins, My Mother[/caption] My mother didn’t know that that I was coming with my wife. But, we weren’t the big surprise. The big surprise was the new addition to our family. Her new, four-month old, great-grandson, Princeton Josiah Smith. My daughter, Nicole Smith, and her husband, Walter Smith, conspired with us to make this day possible! My daughter Nastasia Watkins and I both videotaped this historic moment. I shot with two cameras: I walked in using my Canon G7 Mark II, and then I shot with my Canon EOS C100. These two cameras are what I am most comfortable with. I had to bring them in large camera bags, set them up, and prepare to shoot. In contrast, my thirty-two-year old daughter, Nastasia Watkins, shot her video with the camera she lives with: her iPhone. She not only shot this video with her phone, but she also edited the video on her phone. She posted her video within minutes. I took my video back to the hotel, edited it on my laptop in Final Cut X, and posted my video on the next day! [caption id="attachment_239281" align="aligncenter" width="392"] My Mother, My Daughter, My Son-in-law and Princeton Josiah Smith[/caption] What did I learn? Nastasia Watkins is no teenager. My daughter is a partner in her own law firm. She and her peers are completely comfortable making memories with what is in their hands. As I watched her shoot video and take pictures over the holidays, it was clear that she was always ready to shoot. On the other hand, it was more work for me. It didn’t come naturally. I didn’t use my phone. I had to go get my camera, get ready, shoot, and then put the camera down. My daughter never put her camera down. It was no challenge for her to be engaged in the moment and shoot simultaneously. I was wowed by her ability to be fully present and to capture the moment.  She taught me how her peers and those coming up behind her are processing, capturing, and seeing their world. They see the world with phone in hand. Their phone is not used to make phone calls, but as a way to see, engage, make sense of, understand, and frame their world. For we teachers, these are our students. They see their world through a screen the size of their phones. If we are to understand how to engage them, we must see what they see, how they see, and how they learn to make sense of that which they engage. How do we do this? We must pick our phones up and start to use them as they use them. I have to put my big, expensive cameras down. I am recommitting myself to using my iPhone X for the reason I say I bought it: for the camera. When you see commercials about the latest phone, they never advertise the phone’s ability to make phone calls. They sell the phone as a camera. It was the commercial that sold me, and after this holiday season I have recommitted to using the most powerful pedagogical tool I have with me all the time and that is the camera on my phone.  When we use the phone as a camera and editing device, we will begin to engage and make sense of the world our students live in. This will, in turn, inform our teaching and learning. We will see the phone as a teaching and learning device and not as a distraction from our traditional teaching moments. When we see the tool in our hand as a revolutionary pedagogical device, it will change how we use that which we have in our hand. [caption id="attachment_239282" align="aligncenter" width="408"] The Family at the Surprise Birthday Party for Mrs. Earlene Watkins @ 80![/caption] Well, I know you want to see the two videos . . .  here you go! Video by Nastasia Watkins https://vimeo.com/382453975 Video by Ralph Watkins https://vimeo.com/382456567 Photo credit: Victor Watkins

There’s a term for the anxiety many novice instructors feel about the online teaching-learning environment. It’s called “transactional distance.” This relates to the dissonance of feeling “distant” or disconnected from students when one is used to only the experience of the face-to-face classroom experience. Tisha Bender, in Discussion-Based Online Teaching To Enhance Student Learning (Stylus, 2013), identified the pedagogical components that can mitigate the discomfort of transactional distance (something that potentially affects both teacher and student online). Interestingly, but not surprising, they are the same things that are applicable in the classroom learning environment. Arguably there is as much, if not more, transactional distance in a traditional classroom experience as there is online. I've done classroom observations where I witnessed over half of the students spending most of their time on Facebook, Instagram, and shopping sites while an oblivious professor lectured on. Here are the things we know enhances student learning: For the student: Experiencing a sense of belonging Having a safe place where they can risk learning Having the opportunity to learn from others Feeling self-motivated to learn Receiving feedback from the instructor Understanding and feeling comfortable in the social environment of the learning context. For the instructor: Practicing hospitality in the learning environment Providing a place where respect and affirmation of others' opinion is affirmed Providing opportunities for collaborative learning Giving feedback Creating the conditions for learning (interest, curiosity, challenge, and meeting student needs) Understanding and managing the social environment of the learning context (classroom or online). All that to say, one way to overcome anxiety about transactional distance is to remember: • Learning is learning, in whatever context • Learning is a social phenomenon; pay attention to the important “non-instructional” dynamics of the learning environment and experience • It is the application of sound pedagogy that makes the difference in the effectiveness of learning (context and modes are secondary) • The context of learning matters, but no context is perfect and learners have great capacity for being resilient when it comes to contexts of learning • Pedagogically sound course design can mitigate the challenges of the online environment that create transactional distance • The role of the instructor is critical to effective learning. The two absolutely necessary components for successful online learning are: (1) teacher engagement, and (2) student participation. Whether you teach in the traditional classroom environment, design a hybrid course, or facilitate an online learning experience, how well are you paying attention to transactional factors for successful learning?

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

Students are always already being "formed" in our online classes, whether we mean to have incorporated "formation" into our course designs or not. In this ineluctable process of formation, do the communities of inquiry designed into our online classes align with the norms and values of the communities into which we mean to form our learners? By "formation" in this post, I do not particularly mean "spiritual formation," but I also do not exclude it. If "spiritual formation" involves the practices and conditions for becoming transformed into the community of disciples to Jesus Christ so too is the instructor of (say) Hebrew Bible, Church History, or Theology also forming learners toward the norms and practices of their respective disciplinary communities. Even before that, however, we are already forming learners into a prior community: the communities of inquiry fostered in our course designs. Some readers will already know that from a constructivist perspective learning always involves a creative synthesis, accomplished in the learner, of the experiences and insights she brings to the learning moment, with the new information she encounters there. Crafting within herself this new thing, she is changed in the process of constructing for herself new enduring understandings; that is, she is transformed. Moreover, again from a constructivist standpoint, this creative enterprise of making meaning happens most reliably in collaboration with other learners and in the generation of public projects; that is, the learner is transformed among and via community. Learning, then, is always a matter of transformation in and into community. What, then, will be the norms, practices, and ideology of this learning community, or community of inquiry? To what extent will these be intentional or accidental? How well or poorly will they align with the communities into which we mean our learners to be formed: the community of disciples, or of biblical scholars, or of chaplains, or historians, or theologians? For example, one enduring understanding that I mean for learners to absorb in my Hebrew Bible courses is that biblical studies grounds its claims in publicly available evidence and explicit lines of reasoning, rather than in private revelation or sectarian dogma. Documentary hypotheses for the composition of the Pentateuch are not "alternative dogmas" to an unassailable sectarian claim that Moses authored the first five books of the Bible. An archaeological conclusion that Jericho had no fortifications during any possible time in which one can posit an emergence of Israel in the land is not an "alternative dogma" to an appeal to tradition that Joshua made the walls to tumble down. In this context, with what sort of cognitive dissonance do I set a learner if I refuse to make transparent my rubrics for assessing his exegesis paper? ("It just feels like a B minus.") If my appeal is to the inscrutable and unquestionable authority of my disciplinary expertise and teaching experience, I signal a very different kind of norms for the community of biblical scholars to that which I have been at pains to illustrate in my course design. Do my syllabus and other communication documents direct learners toward institutional policies regarding accommodations for medical issues, disabilities, neurodivergence, and so on? An explicit commitment to reasonable accommodation signals a community norm of inclusion. If I want my learners to imagine the community of disciples as one marked by radical inclusion, then the community of inquiry fostered in my online class is the place to start. Do you find that your institutional policies regarding accommodation are difficult to locate, or hard to understand, or implicitly overridden by instructor whim? It may be time to escalate the matter (to a dean of students or academic dean, to a faculty council, even to a student council). Accommodation in the online class is at least as challenging as in the face-to-face class. How does one accommodate "extra time" for a collaborative assignment that begins and ends over the course of a week? Have I crafted my course documents (syllabus, assignment instructions, feedback) such that they are legible to a "reading" computer program used by a cognitively or visually impaired learner (or my audio-visual resources for the hearing-impaired learner)? It's a tough standard by which to evaluate my online course design, but one that takes seriously the facts that 1) I explicitly describe to learners the ideals of the disciplinary community in which my class seeks to form them, and 2) my course design is forming them into some kind of community of inquiry with its own values . . . intended or not, planned or accidental.