Resources

Perhaps one of the most painful memories I have of my early years in teaching was election night 2004. The pain comes from my too late realization that in my advocacy for a progressive outcome for the election I had semi-wittingly politicized my classroom in a way that still haunts me. I’d like to reflect for a bit on what happened and what I learned. What happened was quite simple. I was a progressive who was against the war in Iraq and the convulsions caused to our common life by extraction of our common wealth to finance massive tax cuts. Put simply, I was ardently against Bush and made no secret of it. In the weeks leading up to the election and the evening of the it, on which I had a class meeting, my advocacy had had the effect of drawing a political line along which members of the class sorted themselves. A consequence was that for the few weeks remaining after the election my pedagogical space consisted of political partisans and not a community of learners. What I learned from that was three-fold with the full effect being felt in the recent election. The first thing I learned was that I had spent insufficient time or energy teaching about my values, what they meant for how I understood the faith, and thus, how I constructed the task of teaching theology. Here I don’t mean to imply that I understand my role as being teaching my theology. Rather I want to suggest that it is good to realize that our values are being taught whether we are explicit about it or not. Being explicit means that I can reflectively engage students and materials in ways that shape our common experience. By focusing on values I can invite more people into our space than if it is a matter of politics. I did not do this work. The second learning was that I had spent insufficient time clarifying how I integrated scripture, faith, values in the work of theology for myself. So, while I am sure that I demonstrated a sort of integrity for my students it was not sufficiently reflective to build my teaching around. Certainly, the project to which I am dedicated as a theologian was/is clear and finds expression through my teaching but, at least at that point, the integrity at the center of teaching and that project were not clear. From this learning I changed my pedagogy radically. Teaching theology and not about it became my guiding pedagogical principle. The upshot of this change was that questions of the integration of scripture, faith, and values as the work of theology were at the center of every course from its beginnings. In the two classes I taught following the recent election I began with an observation that we as Christian theologians were being called into the public square at this moment for several very specific reasons. First, the candidate who won had made very specific promises about bringing harm to the weakest and most vulnerable among us, our neighbors. By placing promises to register our Muslim neighbors, round up and deport the stranger among us (immigrants), and the imposition of what amounts to martial law (a national stop and frisk policy), at its center the Trump campaign made the political theological. It is just here that my learnings of the past few years made it possible for our class(es) to grapple with our responsibility in this moment in ways that did not immediately devolve into partisan positions. We were able to draw on scripture, the various theologians we read, and our experiences of faith to imagine how to move forward. This was quite a bit different than in 2004. This then was my third lesson. By making the ongoing thread running throughout each class the explicit integration of our faith and values, it was then possible to interpret the political moment as a matter of faith and not partisan politics. A student summed up well what we had discovered on our journey: “loving and protecting our neighbor is a type of politics.”

Since the start of the twentieth century, Christian religion scholars from the dominant culture - specifically ethicists – shifted their focus on how to live the Christian life via praxis toward the nature of ethics, wrestling more with abstract questions concerned with what is the common good and/or which virtues to cultivate. An attempt is made to understand the world, but lacking the ability to differentiate within disenfranchised communities between a “blink and a wink,” à la Geertz, their final analysis lacks gravitas. Teaching religion has become a process which [de]liberates not liberates. While abstract deliberations at times might prove sympathetic to the plight of the oppressed, the first casualty of abstract thought is rigorous academic discussions concerned with how to construct a more just social structure based on faith claims.  A move to the abstract has, as my dissertation chair John Raines constantly reminded me, made the [class]room an appropriate name which signifies what occurs. This “room of class” becomes a space where students learn the class to which they belong, and how to assume the responsibilities associated with that class. During a visit to Yale, a student reminded me that while most seminaries train ministers for churches, Yale trains future bishops and superintendents. I doubt if such an attitude is limited to just one of the Ivies. Those with sufficient capital or connections to attend certain “rooms of class” on prestigious campuses are afforded opportunities normally denied to others (predominately students of color) who attend rooms at less prestigious locations. To occupy [class]rooms attached to power and privilege means that what is taught focuses more on the abstract as opposed to praxis designed to subvert power and privilege. To some degree, most eurocentric approaches to pedagogy at prestigious [class]rooms, more often than not, focus on explaining what is religious. But for those rooted in (or in solidarity with) disenfranchised communities relegated to the underside of prestigious [class]rooms, the question is not so much to determine some abstract understanding of religion, but rather, in the face of dehumanizing oppressive structures, to determine how people of faith adapt their actions to serve the least among us.  Some professors who embrace a more liberative approach to pedagogy recognize there is no such thing as a neutral education system. Rather, students, depending on the [class]room they attend, are either conditioned to domesticate or be domesticated. A theological education serves to normalize and legitimize existing power structures within the faith community and society. A liberative pedagogy instead seeks to cultivate the student’s ability to find their own voice by creating an environment where collective and individual consciousness can be raised. The starting point is not some truth based on church doctrine or rational deliberation. Instead, the starting point is analyzing the situation faced by the dispossessed of our world and then reflecting with them theoretically, theologically, and hermeneutically to draw pastoral conclusion for actions to be taken. To function in the [class]room as a scholar-activist is usually to be dismissed, especially if one chooses not to engage in the methodologies acceptable to eurocentric thought. A division, unfortunately, exists where those concerned with the importance of maintaining their privileged space in [class]rooms oozing with power insist on lessons revolving around the thoughts and ideas of mainly dead white scholars (and those soon to join them) dismissing scholar-activist and the scholars from marginalized communities who inform their own thoughts. Simply peruse the reading lists on syllabi at prestigious [class]rooms to notice how scholars from disenfranchised communities are ignored – except, of course for that one elective class offered to check off the political correctness box. The [class]room space is protected with a call not to engage in the politics of our society, but instead to limit our thoughts to the polity that is the church, usually a homogenous church which more often than not misses the mark. The calling to be a scholar-activist is a recognition that by seeking solidarity with the stone rejected by stale builders regurgitating dead thoughts incapable of saving anyone, one finds themselves among the cornerstone of relevant, cutting-edge scholarship capable of revolutionizing society, literally turning the world upside-down.   

I help people have difficult conversations for a living. I facilitate dialogues–usually in communities deeply divided over issues that touch on people’s values and worldviews. I have spent much of the last three years working with professors as their classrooms increasingly fit that description. In Jill's terms, I help people wobble, but not fall down. Jill talks about wobble in terms of letting something happen and getting out of the way. That is a piece of it for sure, but there is a choreography to wobble, a delicate but purposeful crafting of space, time, language, movement, and furniture that makes wobble possible. The purpose is to break people out of the conversations that hold us back from seeing complexity in ourselves and others. It is meant to crack the surface conversation to reveal new possibilities, to deepen understandings of values and lived experience, and to unmask our own assumptions. I call it “choreography” because every choice we make while facilitating a conversation invites some responses and discourages others. And every choice we make leads people to focus either on us or on each other. If we call on people, it invites people to raise their hands and wait for us to conduct. If we don’t, it invites people to give and yield focus as they move in and out of the conversational space. It is choreography at its most subtle. If we ask people to sit quietly and reflect for two minutes before answering, we invite the second and third thought that someone has, not just the first. The work of dialogue is disruptive of old patterns. It disrupts dynamics of dominant voices monopolizing the space–including ours. It weakens the power of the first speaker. It breaks the pattern of asking questions we already know the answer to while our students try to read our minds. It invites silence as a space of intention and reflection rather than of fear and disengagement. It invites empathy rather than judgement. It prompts uncertainty rather than certainty and curiosity rather than declamation. It allows for wobble rather than steady motion along the straight and narrow. When I visited Jill’s class, I stood up and talked about dialogue in front of rows of chairs, with people raising their hands and I called on them–ironic. It was a fine conversation. But when I sat down to watch the rest of the class, Jill didn’t just allow or encourage wobble, she choreographed it. Jill asked the students to move the chairs into pairs of arcs facing each other. A wobble happened. Then Jill sat outside the circle. Another wobble. Outside the circle is one of those places that disrupts the old pattern, a place of intellectual humility. It disrupts the pattern of students relying on us for the prompt, the answer, the nod of approval. Then she asked a question she didn’t know the answer to. Wobble. She gave people a chance to reflect before speaking. Wobble. This is not just allowing something to happen; these are a set of choices we make–a choreography that when done right makes possible a new kind of conversation that breaks the dominant polarized and divisive rhetoric or silencing that we see so often in our discourse. What happens when we choreograph wobble is that students rise to their own power and possibility, and move through their own wobbling moments to muster the momentum to move together. In Jill’s class, the conversation had to be interrupted after 40 minutes to announce something about papers, but it would have gone on. Even if Jill and I had quietly snuck out of the room, it would have gone on because the students had turned toward each other and engaged.  Whether we recognize it or not, much of our public discourse is designed for simple, polarizing, escalating episodes of attacking and defending well-worn positions. We have opportunities to design and incubate a new discourse, one designed for the generation of ideas, the exploration of new ground, the contemplation of complexity. The patterns we have to break are strong and so our choices must reflect that. Our choreography must reflect the need of this moment; the need to turn to one another with curiosity, complexity, and care.

Daniel Madigan, my mentor when I first began teaching Islamic studies, considers his introductory course an opportunity to help students understand Islam as a religious choice and vision. This, in contrast to a politicized framework wherein Islam, is a problem to be solved. Marshall Hodgson also refers to the vision of Islam early in volume one of his series, The Venture of Islam. He writes, “Islamicate society represents, in part, one of the most thoroughgoing attempts in history to build a world-wide human community as if from scratch on the basis of an explicitly worked out ideal.” In an earlier blog post, I recommended the use of graphic novels and comics in teaching Islam because they are substantive and because students benefit from the engagement with visually rich, multimodal texts. Courses in religious studies have an unfortunate tendency toward abstraction. Separating ideas from their cultural expression is a disservice to our students and Islamic or Islamicate culture itself, which represents the “highest creative aspirations and achievements of millions of people;” Hodgson again. If we are to help students appreciate a vision, we must show them how that vision is lived, and the cultural heritage it has built over the centuries. In this post, I want to highlight some of the online resources available through museum websites, particularly the website of The Metropolitan Museum of Art in New York, and provide ideas for how these tools could be used in the classroom. In conjunction with a virtual exploration, it would be ideal to send or accompany students on a museum visit but this is not always practicable. Fortunately, museums are committed to education and the advancement of knowledge in their mission statements and their online resources are often exemplary for that purpose. Teaching is sometimes isolating because it can be accomplished in isolation. A busy professor can close off the classroom and get through the term without doing the work of engaging outside institutions. But to do this job right, we need partners whose missions intersect with our own. In my experience, museum professionals are eager to help and they have created a wealth of resources to draw from. A small investment of time spent researching museum offerings or reaching out to a museum education office can pay huge dividends in terms of student learning and engagement. In fact, a more student-driven classroom can save time in the long run. Letting students take charge of their own learning means they are doing more of the work. Anyone who has visited The Metropolitan Museum of Art knows it is an overwhelming experience. Thanks to a sense of direction that allows me to get lost in my own neighborhood, I have spent the better part of an hour just trying to find my way to the right wing in the Met. Their website can provoke a similar experience. It requires a certain amount of detective work to identify the right online resource for your students and a significant amount of scaffolding to guide them to its best use. But there are unique opportunities to be found! Five decades of Met publications are available to search and download, sometimes in their entirety, for free. This collection includes a full online copy of Art of the Islamic World: A Resource for Educators that pairs well with an online lesson plan on “Arabic Script and the Art of Calligraphy” suitable for modified use in the college classroom. The Met website is also home to 82nd & Fifth, a series of two-minute videos in which curators discuss works of art that changed the way they see the world. These videos, including an engaging presentation on the official signature of Süleiman the Magnificent, are also available as part of a YouTube playlist. Projects like this provide useful modeling for classroom activities. A student can be tasked with exploring Islamic art and creating their own short video on how it has changed the way they view the world. The most powerful resource on the Met website is the ability to search its collection as a whole. Students searching for “Islam” will bring up thousands of entries, including photographs, historical information, and links to related objects and textbooks as available. This is a fantastic opportunity but it must be used wisely. Casting students into this sea of information without a clear purpose is not likely to be successful. As a colleague once instructed me, “Throwing everything against the wall to see what sticks is not a sound pedagogical strategy.” Certainly, the Met collection can inform garden-variety research papers and projects begun in the classroom but it can also provide an initial inspiration for detective work. Students might start with an item from the collection and generate questions based on its features and provenance. Finding an elaborate illustration of a drunken party from the Diwan of Hafiz, students may wonder about the relationship between intoxication and mysticism. Confronted with a folio from the Blue Qur’an, they might want to know more about the aesthetic and practical features of other Qur’anic manuscripts. The key is that students are puzzling over museum objects and formulating their own paths of inquiry leading to a more holistic understanding of Islam. Advancing toward the highest, creative and comprehensive level of Bloom’s Taxonomy, you could ask students to curate their own virtual exhibition using an online collection. Seeking out meaningful threads of continuity between temporally and geographically disparate objects is an enormously challenging task but the rewards for a job well done are great as well. Such an assignment, carefully wrought, has the potential to help students consider the vision of Islam as it was realized in material culture; not in abstraction, but as a source of creative renewal and inspiration across time and space.