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It’s a relief to some professors to find that making their course antiracist is not simply about introducing heavy and sometimes politicized topics into class discussion. I find that moving one’s course further along the antiracism spectrum can, and should, start with the syllabus!None of the below suggestions can magically turn a course antiracist – my experience is that antiracism is a lifelong journey, consisting both of moments of inspiration and, perhaps more often, moments of face-palming as you realize the way you’ve done something for years is problematic, but you literally never noticed it until right now. This is part of why I think many professors shy away from explicitly naming their own journey in antiracist teaching – it requires you to feel embarrassed about the way you used to do things and then using that embarrassment to fuel something better. But the glorious thing is that it does produce something better!The first thing to do with your syllabus is to take stock of the racial representation of your authors. If you use one or a few textbooks, this will likely be easy. If you rely on a variety of resources, it’ll take longer, and often require a bit more research. When you tally up who students are primarily hearing from, what voices are most prominent? Do white men win the day? Or is there substantive authorship from people with other racial identities?In my department, we calculate these totals every semester based on course days. Basically, what days are students only hearing from white people, and what days are they hearing from people of color? (It could be advantageous to do this in a more granular way too – examining how Black authors compare to Latinx authors, etc., but unless your percentage of authors of color is fairly high, you may not have enough data to draw meaningful conclusions). We submit our percentages every term, and part of our annual assessment is examining if we’ve met our minimums and if we’ve increased racial representation or lost ground overall. The fact that we can work in hard numbers here also tends to encourage something of a gamification of our syllabi – seeing if we can beat our last “high score” is motivation to make our authorship more racially diverse each semester. A single replaced reading feels like a victory in this context – and it is!Once that work is completed for the term, the next step is to ensure that it’s visible to students and that they understand why it’s significant. I do this in two ways: including relevant expertise and identity markers, including race, along with the link to the course readings, and telling my students directly about what I’m doing with authorship in the course. The first involves setting up Canvas (or whatever LMS) with more than just links to required text. I include the link, and then provide context after it about the writer. For example, “______ is a Black woman and a seminary-level professor of Theology,” or “______ is a white male journalist who primarily writes on religious topics.” This is part of an overarching lesson that people’s context is always relevant, and that nobody writes without bias. It’s also a practice I royally screwed up the first time I tried it – I only included the racial identities of authors who weren’t white and didn’t mention race for white authors. You know, because white is… normal? White default bias for the fail. Thankfully I caught that one halfway though the semester and worked feverishly to remedy it on the day that awful realization struck me.Finally, I like being transparent with my students about the “why” of my teaching – it makes them feel trusted and included, and it helps hold me accountable for doing what I say I will. On the first day of class, I show the students our hard numbers for the course and explain that the field is historically and currently white-dominated, but that our program values students learning from a variety of perspectives and voices, so we’ve made a particular effort to use and highlight authors of color. For whatever reason, this is the moment on day one when students will actually take their eyes off their syllabus and look at me directly. I find that there’s power in critiquing your own field, and doing it right away – it helps students feel more able to offer critique and criticism when they feel it necessary.So, there you have it – if you want to be a more antiracist teacher and aren’t sure where to begin, start with your course authorship and make your choices explicit to your students. It’s far from perfection, but it’s a starting point for the journey.

“It’s like you’re crying out for them to trust you.” These insightful words were said to me nearly 10 years ago in a small group conversation at a Wabash Workshop for Pre-Tenure Theological School Faculty. I remember the conversation with gratitude.  We were sharing with each other what we had written down individually in response to reflection prompts about our experience in the classroom. The prompts had elicited some unprocessed emotions in me about my first few years of teaching. I was fortunate to get a teaching job the same semester I earned my Ph.D. I had some confidence in my abilities to do the job well, as I had graduated at the top of my class and gained some valuable classroom experience and mentoring in graduate school. But what little confidence I had was quickly shaken. After I had distributed and explained the syllabus in my first class, a student declared, “We’re going to run you back to Toronto where you came from!” Everyone laughed and cheered. This class was comprised mostly of men, ranging in age from 40-70 years old, with one year left in their graduate program before they were ordained to the deaconate in the Roman Catholic Church. I stood before them as a freshly minted Ph.D., who had just turned 30 years old, and had not yet had the time or experience to find confidence my teaching voice. The demanding syllabus I had crafted may have surprised them, given my age, gender, and long blond hair. I made it through that first semester, but I have the scars to prove it. I still remember one classroom discussion in which a student admitted, “I don’t know why I like to pick on you so much.” In another class, after a student bluntly told me that he didn’t know why I was teaching the way I was, I shouted, “I have a PhD!” In hindsight, over a decade later, I can see the situation for what it was. My body was not welcome in the space. Just by standing in front of the class, as a woman in a position of religious authority, I challenged their assumptions of credible leadership. It’s likely that my students asked the (un)conscious question, “If she can’t be ordained, can she teach those who will?” At the time though, the resistance I faced in the classroom, caused me to doubt my teaching vocation. “Maybe they’re right,” I worried. “Maybe I just don’t belong.” As a first-generation college student, I always felt like a bit of a misfit in graduate school. But now I was feeling for the first-time like a misfit in the church. Sharing these experiences with my Wabash cohort colleagues brought healing and affirmation of my teaching vocation. Each of us in the cohort were all so different in so many ways (i.e., personality, educational background, race, ability, religious affiliation, culture) but we shared a vocation (in addition to a lot of food and fun). Others had not been welcomed in spaces due to their embodiment, in far more violent, ongoing, and consistent ways than I had ever experienced. My cohort experience was also free from the academic pretense that so often deepened my self-doubt. I felt like I could be exactly who I was and that I was valued for it. I belonged. As I began to trust my vocation and my place in the academy and church, my eager desire for my students to trust me waned. It didn’t matter as much. While trust is necessary for real intellectual and spiritual formation to occur, it can’t be earned, begged for, or contrived. In fact, now I understand that the most certain way to gain this trust from students is by embracing who I uniquely am and being true to my vocation.

For the past twelve months, I have made several pivots in my teaching to meet what Dr. Martin Luther King, Jr. identified in his 1967 speech on the war in Vietnam at The Riverside Church in New York City as “the fierce urgency of now.” Dr. King began by affirming the activists from Clergy and Laymen Concerned About Vietnam for their moral vision in organizing people together with the following call: “A time comes when silence is betrayal.” Dr. King then connected the organization’s call with his own challenge to act for peace in Vietnam and join in the global struggle against poverty and racism: “We are confronted with the fierce urgency of now. In this unfolding conundrum of life and history, there is such a thing as being too late.” In addition to teaching through a global pandemic, we are tasked with the responsibility to educate toward racial, social, and intersectional justice. We teach in different disciplines and at diverse institutions, but we inhabit the same world. We live in a world where millions marched to protest the killings of George Floyd and Breonna Taylor, anti-Black racism, and police brutality in May, June, and July. We all witnessed the violent insurrection and mob violence at the U.S. Capitol on January 6. More recently, we grieve and rage at the horrific murders of Soon Chung Park, Hyun Jung Grant, Suncha Kim, Yong Ae Yue, Delaina Ashley Yaun, Xiaojie Tan, Daoyou Feng, and Paul Andre Michels across several spas in metro Atlanta on March 16. In meeting “the fierce urgency of now,” my teaching pivots, as an historian of Christianity in the United States, to reveal that the scourge of hate and violence against Black, Indigenous, and other Persons of Color and the sins of white supremacy and misogyny have roots in Christian traditions with long records and unjust legacies of nativism, settler colonialism, sexism, and slavery. I have pivoted to share honestly with students about how my education at a predominantly white and theologically conservative seminary left me unprepared to confront the challenges before us because of several pedagogical imbalances and gaps. The pedagogies of my professors overemphasized the courageous ministries of Christian heroines and heroes who strove to combat injustice and underemphasized the complicity of Christians in perpetuating discrimination and hate against women, persons of color, and LGBTQIA+ persons. These pedagogies also elevated white men by treating their perspectives as normative and either erased women, persons of color, and LGBTQIA+ persons or reduced the presence of “diverse” voices to recommended (versus required) readings or one isolated lesson under a mishmash of topics. With this pivot, I am implicitly prompting students to assess what they are learning in my classroom as well as in the classrooms of my colleagues at our seminary. Is my pedagogy as a teacher better than what I experienced as a student? Does the teaching and learning at my seminary connect in meaningful ways with the congregations and ministry contexts our students inhabit? In reflecting with my students over the past year, I can offer two insights. The first insight is that pivots to address anti-Black, anti-Asian, and other forms of racial injustice are most helpful when they reinforce and strengthen existing course content. When a course syllabus already contains multiple lessons about communities of color with assigned readings from many scholars of color, pivots to cover urgent events are organically integrated to the foundational structure of the teaching and learning. When a pivot requires the introduction of different lessons or a sudden detour to new assigned readings, it may reveal a larger imbalance or gap in the course syllabus specifically and teaching philosophy more broadly. The second insight is that pivots are generative and effective when they cultivate collaboration in the classroom. In other words, a pivot works best as an invitation to learn together with students rather than an opportunity to be the “sage on the stage” with all the prescriptions to the world’s most pressing problems. One of the most useful prompts in my pivots is to ask students to share what is happening in their families and communities of faith and to discuss together how certain religious beliefs in our diverse Christian traditions have shaped different responses to racial, social, and intersectional justice in the forms of righteous activity, passive inactivity, and hateful violence. Heeding Dr. King’s message, we seek to confront “the fierce urgency of now” through genuine, vulnerable, and collaborative dialogue engaging the challenges, prejudices, and opportunities in our communities of faith.

During the past year, two of my favorite Brazilian writers and educators, Luiz Antonio Simas and Luiz Rufino collaborated on yet another book: Encantamento: Sobre a Política da Vida (Incantation: On the Politics of Life).  One of the central affirmations of their work (which follows their previous co-authored publications: A Pedagogy of the Crossroads, An Arrow Through Time, and The Enchanted Science of Macumbas) is that the opposite of life isn’t death—it is desencantamento, or an inability to surrender to a process of incantation. As a verb, incantare evokes our capacity to fuse song and word in an effort to raise our spirits, to spark magic in our imaginations, to invite divine presence. Our capacity to incantate spaces of learning does precisely what theologian Rubem Alves invites us to do:  name and invoke the not-yet worlds, so as to break the spells of right-here worlds that continue to abandon, oppress, exclude, and sever from ourselves and our communities of belonging. Incantation as a poetic of resistance allows us to escape, disobey, and ambush the traps set through the colonial matrix of power so that bodies can dare to see, create, invent, and integrate new possibilities freedom, belonging, and liberation through creativity and imagination. Incantation, Simas and Rufino affirm, nests our capacity to move through time, to experience a passage between forms and worlds, to change our points of reference through a politic of life that is rooted in an imprinting of the everyday as rites of reading and writing different poetic routes capable of setting traps to our collective loss of hope and vivacity.[i]  In this sense, incantation is an exercise in emergence and survivance that lives and breathes beyond the terrorizing effects of coloniality. It’s the commitment to movement, occupation, visibility, insertion, and participation. It’s the creative force that travels through crossroads of knowledge-making, confronting hierarchizations produced by ontological, epistemological, and semiotic violences. Art, as I understand it, has a tremendous power to forge incantatory pathways of resistance because of its capacity to dis-educate us from disciplinary molding. It reverberates and discloses to us that which is hidden in our interior recesses in embodied, striking, and visceral ways. It can help us re-educate our affections, as Paulo Freire puts it, or work a kind of magic in our souls, as bell hooks states.  It also inspires us to name the world as we see it, and to find a poetic tongue when the language we know fails us. It helps us resist, heal, connect, conjure, and tend to all our relations. As generative clearings, the arts are sites for world-making, for dreaming, rehearsing, and choreographing new possibilities of being and intervening in the world. When we immerse ourselves in acts of artmaking, we have the opportunity to access the visceral, the somatic life of the body, its reflexes, limits, intuition, responses, desires, needs, and its alchemies.  When we encourage and invite students to in-corporate artmaking processes as they engage readings, discussions, and bodies of knowledge, we participate in this politic of incantation. A student’s performance and ritual entitled “Disposable Beauty” still stands as one of the most profound and generative projects to which I have been witness.   As a final integrative assignment, the performance consisted of placing delicate flower arrangements throughout locations in her neighborhood that were marked by abuse, violence, and abandonment. Such poetic gestures in vulnerable spaces in the city sought to raise awareness of our transience, interdependence, and negligence in the face of injustice. The flower assemblages were made out of blossoms and foliage that flower shops would throw away at the end of the day. This poetic gesture both incantated and resisted the (i)logic of degradation, disposability, oppression, and inequity by orienting herself and participants in acts of creative wonder. Through her invocation of not-yet worlds, she extended a gesture of care, of regard, of re-worlding, refusing to be desencantada with the world around her. At the end of these performances, she invited folks to partake in tea ceremonies that were rooted in offering the gift of reciprocity, spiritual care, regard, and a warm cup of tea. As a poetic of incantation, her artistic gestures imbued spaces of desolation, disposability, and abandonment with love, presence, and beauty through a practice that integrated the semester’s resources, readings, discussions and questions with her own wisdom, creativity, and spiritual sensibilities. I return to this experience often to remind myself to continuously ask how many of the assignments outlined in my syllabi impede or foster poetic and incantatory experimentations. Notes [i] See Luiz Antonio Simas and Luiz Rufino, Encantamento: Sobre Política de Vida (Rio de Janeiro, RJ: Morula Editorial, 2020). Photo Credit: Miguel Garcia Saaved - stock.Adobe.com

There’s no one way to go about developing a course. More often than not, it’s an individualized process driven by standards, one’s academic field, the course intent, and personal preferences, and habits. Below is one way to approach the development of your online or hybrid course. FIRST Prepare your syllabus and outline your course. Choose the course structure that best fits your student learning outcomes and the pedagogy appropriate to that end: fully online, hybrid, tutorial, synchronous or asynchronous, concepts-mastery, competency, skill-attainment, scaffolding, etc. Using a mindmap or a scope and sequence worksheet to plot your course can be very helpful. Determine the assessment of learning practices or instruments you will apply. Discern how much you really need in your syllabus and what best resides on your online course site. Hint: you really only need a two-page (printable) syllabus! SECOND Prepare the course learning support content: course reading checklist, handouts, bibliography, assessment rubrics, course project descriptions, work samples or models, etc. Post all documents in PDF format unless they are editable worksheets. Determine the student learning activities that support your course objectives, including assignments, quizzes, exams, course projects, discussion forums, exercises, etc. Be sure the student learning activities align with course learning outcomes. If your LMS uses competencies frameworks, be sure to align and link your student learning activities to the appropriate competencies framework. Rule of thumb: do not teach what you will not assess. THIRD Write the copy for your online course, including Induction components: introductions, orientation, transitions, closure, directions, instructions, prompts for forum discussion or exercises, session and course closure session, etc. Determine the pedagogical function of the discussion forums (discussion and dialogue, analysis, providing evidence of comprehension, critical reflection, theological interpretation, reflection on experience, etc.). Not all online courses or course sessions require student “discussion.” Avoid superfluous material: align learning objectives with content, student learning activities., and assessments. Repeat: do not teach what you will not assess. FOURTH Determine interactive and media components for your online course. The online environment is a visual and experiential platform, exploit that advantage to enhance the learning experience. Make wise choices and applications of media: recorded Powerpoint slides (Do not post Powerpoint format files), videos (a 20-minute video is too long), internet sites, recordings, etc. The criterion is that every component needs to have a pedagogical function related to your learning outcomes. Avoid superfluous material: align learning objectives with content, student learning activities, and assessments. Again: do not teach what you will not assess. THE LAST THING YOU WANT TO DO The last thing you want to do is set up your online course site. Determine the course format (weekly, thematically, etc.) Create a course banner to give your course site personality. Create your course modules using your copy from step 3 (copy and paste). Create your online Gradebook. Assignments you create should automatically populate your Gradebook. Determine how you will use the Gradebook (e.g., will you make it visible to your students?). Link writing assignments to the Turnitin function on your LMS if your institution uses it. Ask a colleague or your instructional design staff to review your course site.