Resources

Upon reading the varied chapters that constitute Digital Story Telling: Form and Content, I could not help but be reminded of Salman Rushdie’s comments on the power of story. Those who do not have the power over the story that dominates their lives, the power to retell it, rethink it, deconstruct it, joke about it, and change it as times change, truly are powerless, because they cannot think new thoughts. (1991, Dec. 12, New York Times) Rushdie’s words illustrate the demands the postmodern world places on all individuals. It is a world replete with a multiplicity of stories in a myriad of forms… stories of domination and liberation, state narratives and personal accounts, corporate media renderings, and cellphone videos. In this world, the personal and political are not easily divorced. It is a world eager for new mediums which can offer the individual tools for agency and a space in which to tell, retell, rethink, deconstruct, joke about, and change their story. Digital Storytelling (DS) appears to be one such medium. What is DS? This volume’s editors, Mark Dunford and Tricia Jenkins, describe it as “a simple, creative process whereby people with little or no experience of computers gain the skills needed to tell a personal story as a two minute video using predominately still images combined with recorded voice-over, and often including music and/or other sounds” (3). The end products are “self-representational stories which emerge from a collaborative workshop process using a ‘Story Circle,’ in which a range of writing stimuli and other activities are used to develop trust within the group and ‘find’ the story” (3). Much of this definition comes from a pioneer in the field of DS, Joe Lambert, whose Digital Storytelling workshops, terminology, and methods have shaped the DS movement. DS is a form of participatory media in which political activism is embedded in its very practice. Lambert describes how in the 1990s he and those he was working with “thought of the Internet, new low-cost digital media production tools, and the distribution opportunities of the web as major advances that could promote global democracy and liberation” (22). The advent of the Internet for such a medium is tantamount to the proliferation of the printing press in sixteenth-century Europe. One need only look to social media platforms such as Facebook, YouTube, and Instagram to see how the Internet and low-cost media production tools have changed what we watch and how we watch it. DS is a precursor to this platform proliferation and the motivations driving it as a process appear to have been less fiscally motivated. One of the paramount intentions of DS is to provide the voiceless the means to be heard. Of course, DS workshops have facilitators and funders, both of which, intentionally or not, are intimately involved in the creation and dissemination of these personal stories. The volume is segmented into four elements or parts: Practice (five case studies from Kenya to the UK of DS in action); Content (pieces addressing the role content, especially content of a political [Simsek] or socially provocative [Kuga Thas] nature, plays in how that content is created, collected, received, parsed, and disseminated [Lewis and Matthews] and licensed [Spurgeon]); Form (insights garnered from when the cultural specificity of the DS model requires modification such as in Japan, Romania, and Ireland); and Understanding (three essays honing in on the limits and potential of DS as a political and personal force in the world). The volume culminates with Nancy Thumim’s chapter “Therapy, Democracy, and the Creative Practice of Digital Storytelling” in which she reflects on the unifying themes of the book (DS as democratizing work, DS as therapy, DS as meaning-making, reflection, presentation, and representation) as well as the logistical and ethical challenges DS faces (issues of ownership in regard to co-created media, the afterlife of created materials, restructuring workshops to accommodate participants of disparate backgrounds and differing needs). DS, in its varied iterations, straddles the personal and public and opens up a space for creativity among communities created by the DS workshops and those affected by their material output (artifacts). Perhaps the most compelling aspects of this volume are the stories (as found in Rainbird, Henry, Hardy and Sumner, Lewis and Matthews, Ogawa and Tsuchiya, Alexandra, and Brushwood Rose) of those persons challenged with mediating and assisting others (often those whose voices go unheard) through the process of narrating their own stories. As an academic advisor, the power of storytelling for self-actualization is readily apparent to me. Like the DS workshop facilitators in this book, academic advisors are involved in a co-creative narrative process. Advisors help students reflect on their goals and values and provide them with tools and mechanisms for authoring their own academic life story. The examples of DS workshop facilitators agonizing over how active to be in the creation of these personal stories should resonate with any reader who works in a co-creative capacity (advisors, administrators, teachers, parents, therapists, and so forth). The stories presented in each of these chapters are rather remarkable and, indeed, powerful. Anyone interested in modern media, narrative, social activism, communication studies, film, as well as those versed in DS scholarship, will find this a compelling read.

In a society wrought with busyness, contemplation is often deemed a foolish waste of time. Yet, for those of us who want to be reflective practitioners of teaching, contemplation is essential. In considering the needs of students who are navigating our frenetic society, perhaps they, too, need to learn to be more contemplative. Suppose the lessons we teach about social change, eradication of patriarchy and white supremacy, and the need to support the poor into economic stability, cannot be grasped or attained without contemplation? Teaching against the societal values of individualism, violence, greed, and competition needs deep reflection. Raising awareness of the oppressive economic systems, unnecessary suffering, and environmental devastation might mean learning the practices of contemplation if we are to survive. Recognizing the inhumanity of oppressive structures, and summoning the creativity to reimagine a society that is more communal, more humane, more equitable, takes long periods of thoughtful concentration. Clarity and wisdom can be beckoned through the work of contemplation. In considering the role of contemplation in teaching and learning, I asked myself if there have been moments in my life where I have had the experience of contemplation from which I might draw to better teach my students. If I am to incorporate contemplation for my own learning, what do I know about contemplation and how have I come to know it? When have I experienced contemplation that was useful?  This was the helpful recollection: My dad had a certain kind of know-how. Among other things, Dad knew the right days to fly kites. This, I have come to understand, is a kind of wisdom. Kite day was not a set date on the calendar. Kite day was the day that Dad knew the wind was just right. How he knew – I still do not know. On the appointed day, usually a spring Saturday, Dad would announce to me and my brother Brent that it was Kite Day. The announcement meant we, in great excitement, would gather the needed elements to build kites. Brent and I would grab previously read newspapers, the stakes used for tomato plants, assorted kinds of string and old undershirts. We spread the supplies out on the dining room table and my father went to work. With the precision of an origami artist, Dad carefully folded the newspaper, attached the stakes into the folds, then, using ripped up tee-shirts, fashioned and knotted a tail for each kite. The last step was to apply the string and check the makeshift reeling. Once the kites were assembled, we processed, kites in-hand, careful not to drag the tails, to the baseball field across the street from our row house in North Philly. Dad would choose the spot for the kite flying by pausing to feel for the wind. Then, I thought he was just being dramatic. Now, I know feeling for the wind is a necessary aspect of successful kite flying. After quiet moments of wind-testing, we were ready. With great care each kite was placed on the grass and its tail was carefully laid out. My brother and I wanted to run with our kites - demanding them into the sky, but no kite ever obeyed. My father said, “No kite flies from running it into the sky – you must wait for the wind.” Waiting for the wind was not easy because it meant just that - waiting.  What I learned is that once the flurry of assembling the kite is over – kite flying becomes a contemplative sport. Waiting for the wind required patience, stillness, and focus. These moments of waiting were full moments of silence, light conversation, or just observing the surroundings.  With no notice, sometimes gusts would come and abruptly snatch the kite up into the air then just as abruptly slam it down to the ground. If kites became bruised or even destroyed, Dad would fix it or fashion a new one on site. Sometimes, if my brother or I had been lulled into inattention, a gust would take our kite up and the fast-moving string would burn our tender hands. We learned about friction and how to put Band-Aids on fingers. As we became more attuned, Brent and I learned to hold the kite back from flight when the wind was too strong. We learned to judge the right wind and see our kites into lift-off. The moments of lift-off were exciting. Feeling the wind take hold of the kite in a gentle way was the anticipated moment realized. Once lift-off was achieved, the job was, as Dad instructed, to “Keep the nose up!” so the kite would gain altitude and so the line could be let out gradually and evenly. When the kite was 10 or 20 feet in the air, the goal was to get the kite to 40 or 50 feet. The best flying was when the line was completely let out, and we had time to quietly sit and gaze while it danced, soared, and pranced across the sky. The sky above our field in North Philly was quite a lovely site on kite flying days. Friends, am I suggesting we all learn to fly kites? Yes! Sometimes the literal is the best.  Beyond the literal, I am considering ways of designing learning activities for students, as well as developing practices for teachers, which require time to tarry, linger, be still and quiet. This elegant practice might spawn our best teaching, ever. It might be as simple as breathing and pausing before answering questions in classroom discussion or instructing students to think silently for a few extended moments before asking questions. Slowing the tempo of Q&A might led to deeper, more insightful inquiry.  Beyond that, crafting exercises which make use of meditation, silence, and stillness to consider complex or emotionally charged concepts could be a refreshing change to the typical patterns of classroom interaction. And of course, for teacher preparation, time spent in silence, in mindfulness practice, and in stillness for re-centering and preparation will likely make us calmer, more present as we teach. The greater change in our classrooms might be developing the sensitivity and patience to wait on the winds of our students, i.e. their curiosity, their questions, and concerns, to shape the course and discussions. A contemplative classroom could be a more attuned, a more relevant learning experience. Let us all find beneficial ways to wait for the wind.

Over the past few years, I’ve come to cherish the opportunity to observe others teach. Teaching my own courses, I don’t get the chance to do this as much as I would like, but it’s one of my favorite parts of the profession. I love a good lesson plan. I appreciate the confidence carried by teachers who know where they want to take a class. A detailed outline plotting the way one intends to lead students impresses me. I am that guy . . . the one that will start the slow-clap after witnessing an instructor’s smooth execution. Although these are the moments that make the highlight reel of best pedagogical practices, my sense is that effective teaching is truly on display when the plan falls short. It’s when the setting—whether a classroom, conference, presentation, or one-on-one discussion—presents detractions and the teacher must deal with them on the fly. When a traumatic event factors into the syllabus, we should take extra care to distinguish between distractions and detractions. Trauma can leave students raw, and we would be callous to begrudge the wandering or even hardening of the mind. Distraction can be a way of dealing with the circumstances. To me, detraction is a different story. It involves the active placement of obstacles to impede the learning agenda. This is when someone comes to loggerheads with the teacher and the lesson being taught. Detractions have to be dealt with or the class, and those on board with it, will flounder. Detractions also differ from disagreement. The contextual experience of trauma makes consensus near impossible. Although life would be easier were we all to agree, consensus is a bonus, not a condition. The problems that disagreements bring pale in the face of those caused by detractors who use disagreement to threaten the educational agency of those in the room. The HigherEd journalism beat and the academic blogosphere have chronicled the reasons why faculty might steer clear of engaging traumatic events in the classroom. There’s no reason to rehash those here. Nor will I repeat the ways this isn’t a choice in the same way for all people. But as the semester wraps up, and teachers get reflective (after recovering, of course), I thought I might share a few of the more subtle ways I’ve seen teachers deal with detraction on the fly. The moves were improvised, but my sense is that the tactics can be practiced. Put Out the Fire  If you teach long enough, you are bound to get someone intent on harming the people interested engaging your lesson. This sort of detractor is a flamethrower, using every chance to burn your lesson plan into cinders. Some do this for sport. Others have a bone to pick. You’ll never really know in the moment. Nor will they. Some teachers shut this down with decisive quickness, but if this isn’t a play available to you, then you need to keep in mind the physics of the situation. As much as we’re supposed to “reach one, each one,” the job is to teach those in the room. Obstacles to that teaching must be navigated, even when that obstacle is a student’s behavior. Left to their own devices, flamethrowers will combust, so how might you starve the fire? Don’t give the flamethrower the air of your attention. Choose to engage other people in the class by inviting only those who have not spoken with a chance to share. Or find one neutral-to-productive element in the flamethrower’s statement, interrupt with a restatement of the point, and redirect toward someone else. Ultimately your job is to win the room, not to throw flames with the heckler. If you get them on your side, you’ll have contained the flamethrower until it burns out. Disrupt the Momentum Detractors remind us just how much teaching relies on momentum. When everyone is agreeable and goes with the flow, teaching feels easy, or at least easier. At the same time though, we know that learning involves stress, pressure, and tension at the intersection of preconceived notions and the challenge of new information. Detractors keep us honest about this process, even though they’re not helping us bring the class to the desired educational destination. We can repurpose disruption, the detractor’s favorite tool, for the purpose of teaching. If you can tell that something has happened to stoke the detractor’s fire, call a class time out. You can hold a few moments of silence from the front of the room until you’re ready for class to resume. You can take a five-minute break, let people stretch, use the restroom, and leave the class for a moment. Some have implemented the latter to great avail. Putting the brakes on a class is a good way to marshal the favor of the group and disrupt the detractor’s plan. Take Notes  I began this post professing my love of the lesson plan. My affection has many facets. The written lesson plan gives the teacher a tangible record of intention. It is proof of what you wanted to happen and an explanation of what you were willing to do to manifest that wish. In these times a paper trail is never a bad idea. Lesson plans are living documents. Some people like to take notes on them after a class (and even during if they’re feeling dexterous) to note the changes as they come. I like having a record from which I can make sense of what occurred. It can help the next time one runs in a detractor. And in case the situation doesn’t go away, you have documentation to show how invested you were in making the class work. Detractors rarely can do the same. “Know when to Hold ‘em…Know when to fold ‘em.”  Finally, and this cannot be stressed enough, you might need to call it a day.  Excellent teaching doesn’t have a time quota. One certainly should not exceed an agreed upon time, but we so easily forget that there may be a virtue to ending a class early. Some teachers can gracefully introduce a prompt that class time is better spent leaving students to reflect on their own. When detractors are involved, participant energy can be depleted in an unusual manner. If there’s no more good to come from being together, then don’t stay together. Bring the class to a coda and resume at another time. These are just a few tactics worth keeping in your back pocket for the next time you encounter a detractor. If you have some to share, please do so in the comments section or on social media. The more, the merrier.

The cactus can be a metaphor for our institutions; institutions whose pasts may seem dead, yet there may still be new growth emerging. The cactus grows around its historical center. The flowers are new life, distinct from and arising out of the present – in all its steadfastness, stability, and prickliness. The dean is to be the light of perspective whose shadow highlights the institution’s place in time.

In Powerful Pedagogy, Ruth Powley, Love Learning Ideas blogger and experienced teacher and school leader, debunks teaching and learning myths and shows how the more we know about pedagogy, the more able we are to make informed and efficient choices about our practice, saving ourselves valuable time. Focusing on building sequences of learning rather than one-off lessons, it is an antidote to ‘quick fix’ books, empowering teachers as professionals in possession of ‘powerful’ pedagogical knowledge that can be used to improve teaching in a sustainable way. Powerful Pedagogy draws extensively from a wide range of educational writers and research, offering an accessible synthesis of what really works in the classroom. Together with strategies to put theories and research into practice, each chapter contains a handy list of questions for the reflective practitioner. It explores reasons for the confusion over what constitutes effective pedagogy in recent years and presents practical research-based solutions, outlining successful and efficient: Modelling of excellence Explaining for understanding Practising to fluency Questioning as assessment Testing to permanency Marking for improvement Effective planning of lessons and curriculum sequences. Powerful Pedagogy allows teachers to understand how to make the best choices about what works in the classroom, improving the quality of teaching. It is an essential companion for trainee and experienced teachers in all sectors, and for school leaders and educational trainers. (From the Publisher)

Click Here for Book Review As more postsecondary faculty become engaged in designing online learning environments, research conducted on distance education program quality becomes increasingly important. Measurements in Distance Education is a concise, well-organized guide to some of the many instruments, scales, and methods that have been created to assess distance education environments, learners, and teachers. Entries are organized according to the qualities these measures attempt to gauge—such as engagement and information retention—and provide summaries of each instrument, usage information, the history of its development, and validation, including any reported psychometric properties. Offering more than 50 different surveys, tests, and other metrics, this book is an essential reference for anyone interested in understanding distance education assessment. (From the Publisher)

Leading a Diversity Culture Shift in Higher Education offers a practical and timely guide for launching, implementing, and institutionalizing diversity organizational learning. The authors draw from extensive interviews with chief diversity officers and college and university leaders to reveal the prevailing models and best practices for strengthening diversity practices within the higher education community today. They complement this original research with an analysis of key contextual factors that shape the organizational learning process including administrative leadership, institutional mission and goals, historical legacy, geographic location, and campus structures and politics. (From the Publisher)

I was not happy to see the headlights of an approaching dune buggy – its presence would ruin the unspoiled beauty of the beach. Yet when the dune buggy (labeled the “Turtle Patrol”) got close, I realized that the very friendly driver was actually removing a lot of plastic and other litter from the beach, thus caring for and enhancing its natural beauty. I still do not like vehicles on the beach, but I need to be more discerning. In theological education, as a dean, I must learn to withhold prior judgment of what I perceive about the ‘dune buggies’ approaching in the distance.

Over the past few months, the entries in this blog series have attempted to provide guidance and insight related to the pedagogical challenges of teaching traumatic materials. The series was initiated to provide a sense of reassurance about facing these challenges. By discussing the range of challenges, the variety of approaches, the multiple potential topics, and the significant questions, it may, of course, have had the opposite effect. Readers of the series may be even less confident that they can engage such topics in their classrooms. In my final entry, then, let me try and make the case for why—pedagogically—traumatic materials belong in our classrooms.  First and foremost, and this is consistent with everything I’ve said in my contributions, as teachers of religion, we don’t decide to introduce traumatic materials into our classrooms; they are already the warp and woof of our subject matter and of our students’ lives.  We can make decisions to avoid such materials and topics or to try and ignore their affective charge, but we can’t avoid them if we are treating our subject well.         Since we have to engage traumatic materials, we should be mindful of what they can do in our classrooms, to our teaching, and for our students. Traumatic materials are, for all kinds of complicated, and unpredictable, reasons, interesting. They have a charge that engages and enlivens students. They demand a response. Traumatic materials are complex. They require a wide range of approaches—both disciplinary and interpretive. To treat traumatic materials well, students will have to think like historians, like textualists, like rhetoricians, like sociologists, like psychologists, like ethicists, like political theorists. They will have to think about questions of nation, identity, power, race, sex, class, and cultural difference. Traumatic materials cannot be mastered. They cannot be mastered by teacher or student. This means they necessarily create a collaborative learning environment in which everyone has a chance to shine and everyone has a chance to listen. They require patience, and attention, and stillness, and reflection. But because they are so complex, when we begin to understand them, there is a genuine feeling of accomplishment that not only vivifies the learning environment but also gives students (and teachers) a sense of capacity and competence.  Finally, and perhaps most importantly, traumatic materials are difficult. Not just difficult to comprehend and interpret, but emotionally, affectively, psychically difficult.  They demand something of us. They demand something more from some of us than others. But this means that teaching traumatic materials generates a situation that calls for a certain ethical attentiveness. Students and teachers are required to listen to each other more carefully, to respond to each other more thoughtfully, to sit with each other more patiently. We must learn how to recover from slips, and mistakes, and hurts. In his Netflix special, “Thank God for Jokes,” comedian Mike Birbiglia notes that jokes are sites of offense, insult, and even danger because jokes are always about someone.  (He references as an extreme case of this problem—the Charlie Hebdo shootings—a traumatic event that brings together jokes, violence, and religion.) Similarly, traumas always impact someone. But Birbiglia goes on to observe that because jokes are always about someone, they create an invitation to attend to each other with great care and sensitivity, to make sure that we are not rushing to judgment, or taking each other’s words out of context, or quickly ascribing ill motives. The attention that Birbiglia claims jokes can foster in us sounds a great deal like the habits of scholarly attention that we want our students to develop. Let me be clear: we should not use traumatic events and materials instrumentally to build skills in our students. The last thing we need is to establish some new pedagogical trend that posits trauma as the new tool for engaged student learning! At the same time, we should not be afraid of the challenges posed by traumatic materials because, as I’ve said in my contributions to this series, the challenges are not so different than the challenges posed by teaching generally. And, as I am suggesting here when there are sound reasons for considering and investigating traumatic events, the rewards of engaging them with our students are quite rich and profound.

Over the past several years, there have been any number of events that have prompted professors to abandon their syllabi and lesson plans and create space for addressing events unfolding outside the walls of the classroom. This in-breaking of the contemporary, this pressure of the immediate, is often traumatic in nature. It frequently relates to histories of racism, nationalism, imperialism, xenophobia, misogyny, or homophobia. It may stem from global, national, community, or even campus contexts. Not all professors and students will feel the force of the blow in the same way. Addressing the affective, psychic, cognitive, and physical after-effects of our “shared” reality transpiring alongside course content poses any number of significant pedagogical challenges. As much as current events may require a certain agility, presence, nimbleness, and attentiveness, I want to think instead about the pedagogical challenges of teaching course material that demand similar skills. What happens when one is teaching a topic that is still unfolding? In some ways, virtually anything taught in the religious studies classroom is still “live” in important ways: this, in fact, might be something that we are trying to get our students to understand. If I am teaching Hebrew Bible, I will have to grapple with the ways that Christian students read those texts because of what they’ve heard in church or Sunday school. If I am teaching about material religion, I will have to grapple with disputes around Confederate memorials, insofar as they are sites of sacred meaning—left or right—for many people. And, of course, if I am teaching about Islam or new religious movements, I will have to negotiate the complex and disparate motivations and (mis)understandings that prompt students to enroll in my classes. But some topics, of course, are more alive than others. As I’ve mentioned in previous posts in this series, I recently taught a course on the Catholic sex abuse crisis and am scheduled to teach it again in the coming academic year. Although Church officials and apologists are invested in characterizing the crisis as something that is finished, resolved, and in the past, this is a polemical position, not one grounded in the evidence. New allegations of abuse surface on a weekly—if not daily—basis. New information about what bishops, cardinals, Vatican officials, including the Pope, knew, did, and failed to do surface with as much frequency. We continue to gain greater insight into the global scope of the scandal—both historically and contemporaneously. With every positive step forward—in terms of policy changes or the rhetoric of pronouncements—there are just as frequently significant strides backward. There are stories about study commissions, and institutional apologies, and advocacy groups, and the vagaries of each that continue to shape the crisis and its meanings. And, then, of course, there are the parallel stories of sexual abuse and misconduct as it has been practiced and ignored by a range of other institutions. When I was last teaching the course, I would always make sure and spend an hour prior to going to class to see whether some big story had broken since we last met that I needed to address in class. Sadly, the Internet in all its glory never failed to provide. Although this ever-moving target of what I need to include in my course is anxiety provoking, there’s also a calming freedom in these circumstances. I don’t need to try and master the material because I can’t. This inability, on my and my students’ part, creates a very different classroom dynamic. I never had to come up with strategies and practices to encourage collaborative learning; I only had to pay attention to what we were trying to understand. We necessarily had to cooperate, to pool information, to treat each other as equal partners in our common endeavor. I was able to drop the weight of the fantasy of “coverage,” which let both me and my students slow down, breath a little, and reflect on the material in front of us more thoughtfully. And, of course, the attempt to understand—rather than the accomplished feat—is always at the forefront of everyone’s minds, underscoring the invaluable lesson that learning is a process and not an achievement. While the Catholic sex abuse crisis—and some other topics—are obviously and keenly living animals that demand this kind of pedagogical attention, we can learn something from such material about how we might want to teach generally. What do you teach your students about that continues to grow and change, to influence and shape the contemporary moment? How can you attend to those features and dimensions to create a different experience of learning, conversation, and inquiry?