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We live in a world that tries to manage risk, to assess whether this decision or that decision is more or less risky, better or worse for the long term good of the institution, more or less likely to lead to student complaints, and more. And we make plans to mitigate risks based on knowledge and experience. Then, the crisis we are not prepared for appears. And if the crisis occurs in the midst of a semester, teachers rightly find themselves asking, what does it look like to teach in the midst of a crisis? There is no "one size fits all" response in the midst of a crisis. Each school is different. Teachers are different. Students respond in their own ways. Some classes are small, some large, some medium. Some students and teachers have lots of experience online and others none. In addition, there are a variety of emotions that may be present such as fear, anxiety, lethargy, depression, panic, and worry to name a few. It is important for teachers to recognize that both the teacher and the student/s may be experiencing challenging emotions that they have to navigate while functioning in an upended life situation. Our awareness of these situations can help us as we think about teaching strategies during a crisis situation. These strategies are familiar. First, invite the whole self to be present in the classroom. When my institution moved to the fully online environment, I set up a forum for each class and invited students to “check-in” with both myself and fellow students. They were invited to share how they were doing, how they were feeling, and how they had been impacted by the coronavirus crisis. I gave a little credit for completing the forum to show students that I really wanted to hear from them. I also shared some of my own concerns with them so they could see that I was also impacted by this crisis. I plan to continue this “check-in” strategy over the weeks ahead since the impacts of the crisis will be felt for months to come. There is no use denying the presence of such a crisis. Second, communicate clearly. In the first week that we were online, I sent out several announcements sharing information as it was made known to me. For example, I let the class know it had shifted from face-to-face to online and indicated when I would send out more information. Two days later I emailed them with the class outline for the week and clear instructions about how to access and complete that week’s class. On our normal class meeting day, I reminded them that my TA and I would be available via Zoom for an optional session where they could chat or ask questions. Third, change assignments to fit the crisis. For example, in a class on the book of Acts I asked students to analyze the speeches in the book of Acts in small zoom groups and then talk about the message the scattered disciples took with them as they left Jerusalem. I then asked them to think about what message they wanted to take with them as they had been scattered from the seminary to their homes. And, I asked them to think about how they would communicate this message in the time of social distancing. In a different class, I changed a requirement for service hours to an opportunity to write on the early church’s response to plague and connect that writing with our own situation. Finally, aim for an encouraging, empathetic tone. Creating a tone that encourages both students and teachers, reminding us of both frailty and hope, and calling us to our best selves will strengthen the community of the course. Allowing many to reach out and uphold each other in the midst of challenging times means the burden is not on just one person (usually the teacher). In this way, teachers can model for the future leaders we are teaching how to be people who name their emotions/vulnerabilities, recognize the variety of responses people have to crisis, communicate clearly, work to connect the current crisis with current learning, and reach out to support one another. Which strategies are you using to teach during the time of coronavirus?

When we first move into online classroom spaces, we often miss the dynamic energy of gathered bodies in a familiar location. We lose the immediate gratification of watching in real time as new knowledge “clicks” for students in discussions and class activities. Online classrooms may initially feel sterile, artificial, and indistinguishable from one another in our learning management system. With time and experience in teaching in online classrooms, we may begin to reconsider how a traditional residential classroom is also an artificial space. Residential education occurs on the educational institution’s “turf,” asking students to put their relational connections, participation in the economy, and other vocational expressions on hold to enter into these four walls to be formed and informed. Traditional schooling is an attempt to engage life wisdom from across generations and cultures in a simulated environment that speeds knowledge acquisition and re-organizes it more efficiently from how we might naturally encounter it in life. There is nothing “natural” about a classroom with 12-200 students in it all trying to learn the same things at the same time, regardless of their existing experience or knowledge. What feels “traditional” about this education is actually a factory model of education largely adopted during the industrial revolution for the sake of increasing access to and efficiency of education for the masses. To be certain, online classrooms have many of the same constructed elements. However, they are also more porous than synchronous residential learning experiences. You may experience this in the plethora of Zoom meetings that are happening right now in the midst of staying-at-home as a part of Covid 19 mitigation. Suddenly, you see your students in their home contexts, sometimes with roommates, children, spouses, or pets wandering into the picture. The students’ home contexts become a part of the teaching and learning milieu in more pressing ways when they stay embedded in them. While they are still engaging with a community seeking knowledge, they are also embedded in other relationships and contexts where that knowledge can be tested and integrated on a daily basis. Another of the unique features of online spaces is the capacity for immediate linkage to communities and resources far beyond those of the “walled-in” residential classroom. Opportunities to have students video-conference with scholars or practitioners around the world, curate their own examples or applications of course content drawn from internet resources and their local context, or interact with external media or images related to the course are easy to arrange in online classrooms. This allows course content and the contexts in which knowledge is situated to expand in ways sometimes even beyond faculty expectations and expertise. By asking students to take the insights they are gaining into other settings or to make connections with external resources, faculty may find ways to make online interactions more analytical, more relevant to students’ final vocational destinations, and more engaging for both students and faculty. Additionally, porosity means that students can share learnings from the course through online forums from Twitter feeds to YouTube videos by linking to these in the online classroom. This practice serves as a way to test out ideas in other publics and to help students understand that ultimately this knowledge is not for regurgitation in a classroom setting for their instructor to judge but rather for integration and application in other settings. The longer I have taught online, the more I have become reluctant to serve as the primary audience for student written work. While I always read student work and provide the best feedback my own expertise and experiences with the material can provide, I find that they are better and more committed scholars when they know that what they are creating will find its way into a group who can benefit from what they are creating, whether their class colleagues or some other part of their community. Student papers are remarkably stronger when they know they will share them with their classroom colleagues or other external audiences in comparison to the ones that they will just dash off at the last minute to submit to me in order to complete an assignment. This strategy improves student formation by positioning them more regularly as persons whose knowledge impacts not only their experience but serves other communities as well.  The space for collaborative exchange between students is so much easier to engage in porous online settings where students can share resources and insights easily through links and public postings. There are times when the porosity of online classrooms can be concerning. It is helpful to protect some spaces where mistakes can be made and opinions shared that are within relationships of mutual accountability rather than in the general public. And in theological education where I teach, students are often accountable to ordination boards and hiring committees who may not yet need to witness their growth and development as they encounter new ideas. Some of those boundaries can be maintained in online classrooms to the extent that they can in the public space of a residential classroom. But the possibility of regularly opening up the classroom to the world outside the four walls is an engaging gift of online education.

Death is all around us. The palpable feeling of impending loss, grief, dread, doom, and despair has gripped our families, our nation and the world. With each passing day, there are increased numbers of positive diagnoses, hospitalizations, and loss. It feels as if we have been snatched up into the sci-fi novels of Octavia Butler.  We are on the inside of an apocalyptic narrative. We, the global community, in this pandemic moment, are walking through the valley of the shadow of death.  Mental health professionals are part of the teams of experts who are working tirelessly during this pandemic. Societal shuddering and quarantine have meant an increase in domestic violence, self-harm, and child abuse. There has been an uptick in all the forms of mental illness. Sustained periods of terror, trauma, and isolation shred our imaginations. The pressure of this moment will drive some people mad. The corporate value of rugged individualism is not serving us well in this moment. The myths of the lone ranger, the solitary winner, the underdog triumphing against all odds, are box office favorites. In the past, we have preferred the lone achiever, we have favored the one winner, and have envied the one, most prized, beauty. In this moment of pandemic, the ideologies which promote “I, me, mine” are failing us. Slowly we are awakening to, and becoming desperate for, “we, y’all, us, everybody.” The pandemic will be interrupted by a vaccine and/or by a cocktail of medications which will more rapidly quell symptoms. In the meantime, let us steady our fear, anxiety, hopelessness and despair by revitalizing our notion of community. We know all life affects all other life. Martin L. King, scholar and activist, said it this way, “We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly.” The poignancy of this truth was made vivid for me and my students when we traveled to West Africa. Many communities in West Africa welcomed me and my students many times over many years. While learning in the homes and schools of othered persons, my students and I were immersed in the life saving and unfamiliar practices of ubuntu. Ubuntu is a communal value of connectedness, radical care, hospitality and inclusion. Ubuntu means simply – “all-of-we-are-one.”  It means, “I cannot know myself apart from you. And you cannot know yourself apart from me.” I means, “If we are not, I am not.” When Ghanaians greet a friend in the market place the question is not “How are you?” This question, in the practice of ubuntu, has no merit or meaning. The question about the welfare of a single person apart from kith and kin seems absorb in the ubuntu philosophy. The greeting, “How are you?” infers that you could be some way that your people are not. Or that the circumstances of your people are not your circumstances. In the practice of ubuntu, the report and disclosure of your wellbeing is a report of the wellbeing of your people.  So, the greeting in the marketplace is “How is it?” The response is - “We are well.” The response is in the plural. In ubuntu, if your mother is well - you are well.  If you brother or sister are on hard times – then you are on hard times.  If your aunt or uncle had a victory, then you had a victory. How you are is how they are – because “all-of-we-is-one.” Ubuntu is bubbling up all around the USA. People all over the country are finding ways, while honoring physical distancing and quarantine, to build community, find community, be community, support community, live as if we are one community. Neighborhoods are having cocktail parties while each neighbor stays on their own porch. Synchronous on-line experiences like concerts, card games, birthday parties, yoga, cooking lessons, and writing sessions are easing the feelings of loneliness and the strain of being alone. Streamed and recorded worship experiences are connecting disconnected souls.  Experiencing community, being part of something bigger than oneself, knowing that you are connected to neighbor, fictive kin, family and co-workers helps all of us cope and survive in these death dealing times. In ubuntu, individualism is replaced with empathy, forgiveness, mutuality, and a feeling of deep connection with all that is. The Wabash Center, in our nimbleness and responsiveness, has reached out to our participants asking, “How is it?” We have heard from our colleagues the many ways they are sustaining and building community. We have also listened to laments from persons in the academic community who feel neglected, overlooked, and lonely.  We have heard colleagues say, with relief in their voices, – thank you for checking on me, because no one in my school has reached out to me.  Friends, the life of the mind cannot be a life of isolation unto death.  Check on your colleagues – just say, “How is it?”  And – as important - do not be afraid to reach back when you receive a call. Participating in activities of community will beat back the fear, the anguish and the trepidation. The devastation of the pandemic will be felt for years. Together (and not apart) we will survive. In the words of Toni Morrison -- "This is precisely the time when artists go to work.  There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language.  That is how civilizations heal."  Let community building be our artistic message. Let the composers among us write songs celebrating the marvel of community. Open the old cookbooks for cocktail formulas and recipes to reconnect with the ancestors. Make quilts in virtual sewing bees for the babies born at this peculiar time; knit shawls for those who are now widowed. Relieve a parent who is home schooling by writing poetry with their children on Facetime. Map the vegetable garden you will soon plant and ask your neighbor which veggies would they like planted.  Find a way to create something for someone else knowing this gesture of care and thoughtfulness will radiate out to everybody. And when the blues come (as they will) – write the words of lament, despair and hopelessness, express the uncertainty and rage, make vivid your messiness and unbalance and sorrow. Then share it with someone else – a neighbor or friend - to help them release their pain. And so – the question, I suppose, is “how is it with me?” I am both overjoyed and overwhelmed.  I am so grateful to the Wabash Center staff for their maximum flexibility in a time when we could have gone dormant.  We transitioned to working remotely while at the same time scrambled to create needed resources for our participants.  We created a dedicated web-page for online teaching resources, tripled the number of podcasts, hosted digital check-in conversations for more than 20 workshop groups, created a Facebook page and started live webinars. We are creating a page for artistic expression and dedicated blog column for online teaching. I am overjoyed about my staff’s dedication and hard work.  We have gotten feedback that our efforts are helpful in this moment of disenfranchisement. My overwhelmed-ness is that I started the job of directing the Wabash Center just three months ago; I am still disoriented.  Then, last week, I was informed that in my circle, three friends are diagnosed with COVID-19; the wife of a friend died on Wednesday, and the brother of another friend died of cancer on Sunday.  Both families are in grief and in upheaval because the funerals will be livestreamed. In the spirit of ubuntu – we are overjoyed, we are new to our job and overwhelmed, we are grieving the loss of loved ones and incensed because a livestreamed funeral is inadequate to hold our sorrow. Even as I write this, I have a keen sense of my community gather around me - calling daily, checking-in regularly – finding ways to be together through this chaos.

One of the major advantages of the online learning environment is the capacity to help students develop critical thinking in more effective and efficient ways than the classroom environment allows. Emphasizing student engagement through online discussion forums is a powerful way to cultivate critical thinking. By having students engage more intentionally with texts and media, and respond to well-crafted prompts and questions, instructors can immediately assess the level of a student's understanding and concepts acquisition. Reading student responses to well-crafted prompts and questions is akin to a form of mind reading. The instructor gains immediate feedback on what the student thinks, how a student is thinking, the level of understanding achieved, and can identify misunderstandings. Assessing online student responses allows the teacher to provide correctives, follow up with clarifying questions, challenge fuzzy thinking, and push for specificity. In this way the teacher can cultivate critical thinking and assess evidence about how well students achieve it throughout the course. Critical thinking is one of the universally desired goals in teaching. The current ATS M.Div. program goals includes “. . . development of capacities—intellectual and affective . . . ” as one of its ministerial formation outcomes (Degree Program Standards A.3.1.3.). The online discussion experience is one of the most useful methods for developing and assessing critical thinking. What is Critical Thinking? Critical thinking is a particular cognitive activity evidenced by specific components. Attached is a handout, "Assessing and Cultivating Critical Thinking Online" with nine of those components. Other components of critical thinking not included are credibility, sufficiency, reliability, and practicality. You can use the handout to assess student responses for critical thinking. Sharing the chart with your students, or, converting it into an assessment rubric for online academic discussion can help your students cultivate critical thinking and help you assess how well they achieve it.

In the first blog of this series (readers are encouraged to read this introductory blog, “Nobody Goes to the Cinema to Read the Screenplay,” HERE), I noted that I’ve tried to boost my multimedia literacy by becoming a student of the cinema and seeking convergences between filmmaking and homiletics. The second blog introduced the importance of audience impact in filmmaking (and especially “impact teams”) as a model for encouraging preachers to find out the impact a sermon actually has had on their hearers’ lives (find Part II HERE). It’s time now to turn to editing, an important step in both filmmaking and preaching. As effortless as it might seem, “a film is a universe where chance is never an excuse for anything . . . it is a series of hundreds of very particular decisions, and every single one of them must be felt. That is the agony and the satisfaction of the process.”[1] The same is true in preaching. (Unfortunately, sometimes the “agony” bit as well.) Instead of chance, we might talk about the Holy Spirit. But even then, it is often said that crafting sermons is “10% inspiration and 90% perspiration.” Part of the 90% is coming up with content, but another part is the arrangement of that content. That’s where editing comes in. Two big picture editing tasks have to do with changing scenes and cutting. Scene changes A lesson in scene changes begins with the script. Look at a film script and you will find that screenwriters indicate a scene change as such: INT. NIXON TEAM OBSERVATION ROOM – DAY – (1977) Soon thereafter might be a similar notation: INT. FROST TEAM OBSERVATION ROOM – DAY – (1977) Every time the scene changes (even simply from the interior of a room indicated as “INT” to the exterior indicated as “EXT” or, in this case, from one interior observation room to another), the screenwriter makes such a notation. In the homiletics classroom, it is instructive to have the screenplay in hand while watching the scene to become more observant of these changes. When the editor has done a successful job, we hardly even notice such changes when immersed in the film. While preachers want hearers to have this experience, it will not be a seamless one if, in the crafting process, preachers are not aware of the scene changes and the sense-making they serve. Therefore, literally inserting scene directions like these in our sermon scripts (as a reminder, I call them scripts) is one step (and not a very time consuming one) in the revision process. This helps us see if scenes are changing too often or not enough, or if they are in the right order. So, for example, one might see the following in a sermon script. EXT. SEA OF GALILEE – DAY – (30 C.E.) After a move highlighting the disciples strengthened relationship with Jesus, the preacher might remind her congregation about a recent congregational gathering organized for the purpose of strengthening their relationship with Jesus. The preacher would add the following to the script:  INT. FIRST LUTHERAN FELLOWSHIP HALL – DAY – (2019) It often comes as a surprise to preachers to see how many times they flip back and forth between the 1st c. and the 21st c. in only one paragraph of writing. The result creates a kind of “homiletical jet lag” for the hearer and, therefore, needs to be edited. If preachers do keep the back-and-forth nature between centuries, transitional phrases become very important as “establishing shots.” Unlike the filmmaker, the preacher typically does not have a visual to suggest such a change. The visual must be created with words. A common (if not somewhat cliché) transition is, “just like the disciple, we . . .” At least this serves to move the hearer from the 1st c. to the present. Cutting Pardon the violent imagery, but “Kill Your Darlings” is the phrase used to exhort creatives to get rid of one’s pet (some say “self-indulgent”) scenes in order to serve “the greater good of the work.” In the same way that filmmakers know that movie-goers will not sit for a 4-hour film (nor will their budgets allow for it), preachers know the time expectations of their parishioners. A one-hour worship service likely requires a sermon that is no longer than 15 minutes. So, using best practices from filmmaking, teachers can teach the following steps to student preachers. First, return to the importance of impact; in preaching, this is called the sermon’s function. Make sure each move of the sermon advances that hoped-for impact and cut everything that does not. While that opening joke might get a laugh, if it does not guide people to a deeper relationship with Jesus, cut it. Second, rethink too much exposition of background story. Think: less is more. The film editor discovers it may not be necessary to run through a montage that begins with the moment of the protagonist’s birth, followed up with a wide shot of a current house before getting to the argument with one’s kids in the living room. Staying close on the body language during the living room dialogue, with an occasional shot of the photographs on the mantel, will give us the idea that there is a backstory. The same is true in preaching. The preacher need not reiterate the entire story that was just read a few minutes earlier. After offering an “establishing shot” followed by a transitional phrase, zoom in to the action of the scene of the living room. Let the hearers fill in the surroundings after you’ve given them what they need in order to do so. Now, I suspect many preachers hardly have enough time just to come up with something to say Sunday after Sunday, much less spend time in the “editing room.” As a teacher of preaching, I tell students that while I cannot give them time, I can teach steps for revising if and when they have even small bits of time. If nothing else, I encourage them to watch more films with an eye toward editing and impact, and perhaps some tools will serve their homiletical practices. [1] Jon Boorstin, Making Movies Work: Thinking Like a Filmmaker (Los Angeles, Silman-James Press), 6.

Amy Oden offers this Christian mindfulness practice for faculty and students who may need to pause occasionally during this time of disruption and anxiety in order to be more fully present. The practice draws on attentive breathing and embodiment from traditions of Christian spiritual practice. In this audio file, Oden walks through the 4 steps of 1) attentive breathing, 2) attentive embodiment, 3) acknowledgement and 4) discovery as outlined in her book, Right Here, Right Now: The Practice of Christian Mindfulness (Abingdon Press, 2017). 4 Steps To Christian Mindfulness Audio File Dr. Oden is also featured as a guest in the Wabash Center's Dialogue On Teaching Podcast.   Episode 10 - A Teacher’s Imagination during the Crisis: Conversation with Amy Oden

I’ve been reviewing instructional video presentations for a project. Primarily I screen them to review how effective the presenter is in applying sound pedagogy. It’s amazing how many basic rules of good communication presenters break—consistently—-even professional speakers and celebrated “master teachers.” The other side of the equation that puzzles me is the level of tolerance audiences seem to have for poor presentations. I wonder sometimes if we’ve seen so few well-delivered presentations that we’ve lowered our expectations, and therefore, demand so little of presenters. Most of the presentations I see are entertaining but not educational, even when they portend to be. Here are five elements that are consistently ignored or poorly handled by presenters—lecturers, instructors, or workshop leaders. If these had been given attention every presentation I reviewed would be improved tremendously. Focus. Presenters need to have ONE focus for their presentation or lecture. The question to ask oneself is, “What is the ONE thing this presentation is about?” When you identify it, then stick to that one thing. The most powerful presentations make the “one thing” a concept, sometimes called a "big idea." Therefore, the better question is, “What is the one concept I want to present?” To maintain focus, it is critical to avoid "scattered dialogue," digressions, or any verbiage that is not on point. If something is not related to or derivative of your big idea, don't talk about it. Scope. Scope has to do with coverage. Any one thing (concept) we choose as our focus can still be complex. The question is, “What is the cope of my treatment for this one thing I want students to learn and master?” Every element of the presentation—from illustration to visuals, should support and legitimately connect with the one concept you are presenting. Pace. The brain has its own rhythm for how it processes information. One element is the role of “attention span.” People have a longer attention span than we give them credit for due to the brain's capacity to "chunk" and make connections with the information it receives; but we have to help students make the connection. One key to helping students process information is the pace of the presentation. An effective rule is to change the learner’s focus every five to seven minutes (using "stimulus variation"), and you want to shift the pace every ten to fifteen minutes. Acquisition. In order for your presentation to be meaningful to the learners, they must be able to “acquire” the concept you are trying to teach. Students cannot learn what they don't understand. The question is, “Do my listeners comprehend what I am communicating?” Therefore, you need to build in points of “testing for comprehension” throughout your presentation. This includes testing for misunderstanding and providing correctives. The flow is: (1) provide exposition, (2) assess comprehension, (3) provide correctives, (4) link to previous, (5) bridge to what is next. Application. The final element that most often is missing from presentations is application. If your listeners or students are not able to immediately apply, at some level, what you are presenting then (1) it is not meaningful to them, and, (2) it will result in a failure of retention. If you cannot make immediate application of the one concept you are teaching, then your learners will tend to forget it as soon as they walk out the door. The next time you prepare a lecture, class, session, or workshop presentation, check to see how well you address each of the five elements for effective instruction.

[caption id="" align="aligncenter" width="562"] Egypt https://www.flickr.com/photos/ralphwatkins47/43570551171/in/album-72157669384150857/[/caption] What is the promise of documentaries for teaching and changing the world? Is the documentary the new pedagogical model for everyday classrooms? Is the professor of tomorrow not a lecturer or one who uses the Socratic method, forums, discussion boards, and blogs, but rather are they documentarians? Is the professor of the “now “ one who makes their own documentaries as content for their classes? Is this the game changer?  Nick Fraser, in his book Say What Happened: A Story of Documentaries says, “. . . docs have morphed into contemporary essays, becoming a form whereby we get to experience highly provisional stabs at reality, but, far more than fictions, which are usually finished and fixed in their own reality, they are transformed by it. . . . . The best docs celebrate a sense of the accidental. And they matter.  Like unknowable bits of the universe, they come into existence when a collision occurs.”[1] Fraser argues in his book that documentaries matter, they change the way we see and engage the world.  Documentaries educate us, transform us, and challenge us. Fraser argues that the documentary is the new long form essay, it is what people are watching as they read. We are no longer a culture that is rooted solely in the literate and oral tradition, but a new tradition has emerged and it is the documentary as reliable scholarly source. If Fraser is right, and I believe he is, then how does this new reality expand our opportunities to teach in ways that are truly transformative and liberating? In my Evangelism and Social Justice course I assigned Michelle Alexander’s book The New Jim Crow: Mass Incarceration in the Age of Colorblindness along with Ava DuVernay’s, Oscar nominated documentary, 13th: From Slavery to Criminal with One Amendment and to my surprise this pairing was a game changers.[2] The students got it because they read, they saw, they felt it, and our conversation was transformative. The students were able to weave the two forms of scholarship together. In this class, we were wrestling with the fact that God calls God’s church to spread the gospel and that gospel is one of justice. God is on the side of the oppressed and God calls us to set the captives free. God calls us to see injustice, call it out and address it by correcting it. We spread the gospel by being the gospel. My students got it. One of my students said to me, “I finally get what Black theology is all about. I get it and I have to do something. Thank you so much for assigning the documentary. I see it now.” When she said, “I see it now!” this was eye opening for me (pun intended). It was the wedding of these two, the written word and the visual demonstration of that word, that help my students see. My students are used to watching Netflix, all of my students had a subscription or access to someone’s subscription and this viewing came natural to them. They live in the visual world and I have found that documentaries, like books, are a part of their scholarly diet. Why not feed this appetite? Do documentaries really make a difference? Can they change the way we see the world and then make us act on behalf of justice? Let me cite one case as example of just how powerful documentaries can be. The Fall 2019 edition of The ARTnews reported, “Agnes Gund believes in giving her art away, with donations of hundreds of works from her collection to the Museum of Modern Art spanning decades and others to the many institutions she has supported. But the 81-year-old philanthropist thought she could achieve more by selling a treasured painting after seeing 13th (Ava DuVernay’s,13th: From Slavery to Criminal with One Amendment). Feeling a call to action, Gund choose to sell her favorite holding . . . for $165 million to billionaire investor Steve Cohen, after refusing his overtures for years.  She then used $100 million of the proceeds from the sale in 2017 to launch the Art for Justice Fund, a partnership with the Ford Foundation and Rockefeller Philanthropy Advisors currently working against the scourge of mass incarceration through concrete and poetic means.”[3] Agnes Gund’s worldview was changed by engaging the work of Ava DuVernay. Gund saw and she acted! Can we get our students to see and act? Can we employ the use of documentaries in our classes in similar ways we have employed readings in the pass? Can we make our own documentaries and have them replace our lectures? What does it take to make your own documentary? All it takes is a camera, editing software, and our no-permissions-asking selves to just go and do it. In my African Roots of Black Theology class, I created a two-part documentary to start the class. The students engage my asking the question in the context that gave rise to the question. It is a new and more visceral way for them to engage in a new form of contextual visual education. My students got to travel with me as I traveled through Egypt. I used the daily vlog as way to tell the story, share my questions, pondering and musings. The students go with me to where my story begins and it begins in Africa. I also created photo albums for all major stops along my journey so that students could pause and admire the still images in conversation with the moving images. I offer these examples as a testimony of my first attempts and I look forward to seeing yours as we ask what are the now / next in pedagogical practices? Sample Documentaries: Vlog Style [su_vimeo url="https://vimeo.com/355109032" title="Part #1: Out of Egypt"] Part #1: Out of Egypt I’ve Called My Son: A Son’s Journey Black to Africa (https://vimeo.com/355109032) [su_vimeo url="https://vimeo.com/355118012" title="Part #2: Out of Egypt Final Cut"] Part #2: Out of Egypt Final Cut ) Portraits of Egypt https://www.flickr.com/photos/ralphwatkins47/albums/72157669384150857 Giza Pyramids https://www.flickr.com/photos/ralphwatkins47/albums/72157693534362690 Sakkara, Step, Red & Bent Pyramid https://www.flickr.com/photos/ralphwatkins47/albums/72157697707740291 The Cairo Museum https://www.flickr.com/photos/ralphwatkins47/albums/72157696165977282 The Temple of Aset https://www.flickr.com/photos/ralphwatkins47/albums/72157698917086034 Edfu and Komombo https://www.flickr.com/photos/ralphwatkins47/albums/72157699345621995 Luxor https://www.flickr.com/photos/ralphwatkins47/albums/72157669383738737 Karnak https://www.flickr.com/photos/ralphwatkins47/albums/72157698915679014 East Bank Temples https://www.flickr.com/photos/ralphwatkins47/albums/72157671458282618 Denderah https://www.flickr.com/photos/ralphwatkins47/albums/72157696165292492 Abu Simbel https://www.flickr.com/photos/ralphwatkins47/albums/72157697695476081 References [1] Fraser, Nick.  Say What Happened: A Story of Documentaries. Faber & Faber; London, 2019. p. 28. [2] Alexander, Michelle. The New Jim Crow: Mass Incarceration in the Age of Colorblindness. The New Press; NY, 2012. DuVernay, Ava. 13th: From Slavery to Criminal with One Amendment. Netflix; 2016. [3]Sheets, Hilarie M.. “Justice League: How Agnes Gund’s $165 Million sale of a beloved painting helped get others to join the fight against mass incarceration.” In The ARTnews Fall 2019 VOL. 118, NO. 3, p. 75-76.

We are in the midst of unprecedented social upheaval. Many colleagues are being asked to migrate their teaching formats to online learning and curtail their interactions with learners to the digital spaces. Even so, I believe our roles as teachers can assist our students as we move through this crisis, together.  Teaching during crisis can seem as if we are taxed beyond our capabilities, pushed beyond our job descriptions, and stretched beyond our capacities. According to the scientists and medical professionals, this particular crisis will last longer than a few days. The pandemic which grips our nation, and the world, will likely have a duration of months.  We do not know how many months.  We are likely participating in a paradigm shift in higher education. Before our very eyes, this crisis is likely causing long-term societal shifting. The abrupt behavioral shifts of the society are and will continue to affect the patterns and habits in our schools and classrooms. Practices of social distancing will likely linger in our society after the threat of the pandemic has been eliminated. The advantages of online learning will become more utilized as the threat of human proximity lingers in our shared memory. In the midst of so much abrupt and radical change - still yourself. Ask yourself not to panic, but to find balance and calm.   The health, healing and wholeness of our schools and communities will require all of us to be attentive to this situation. Resist the impulse for “business as usual.” In these emotionally charged times, teachers are looked to as role models, as responsible people who set the tone and tenor in our classrooms of students as well as in our own families and communities. We are called to be a non-anxious presence even when we are struggling in anxious times and with our own personal anxieties. Faculties are being asked to immediately shift from a face-to-face format of course design to online learning. Teachers are having to quickly redesign 1,2,3, and in some cases, 4 courses to an online format in a matter of days. Migrating courses from face-to-face formats to online is not impossible, but it takes thought and preparation. Returning to the basics of your course seems key in this unusual/unprecedented situation. Format affects teaching, but it does not have to diminish or weaken your standards. Resist surrendering to your own frustration. Relax your typical standards for what “has to be taught.” A key is to keep your students engaged and keep your learning aim and goals as your guide – there are many, many ways to get to any one of those goals. What do you do? Do enough and do it well enough – it will not be how you planned, but it will be good enough. Do new and needed activities with your students. Remember the learning activities maybe new to you, but likely not new to your students.  Do differently than you planned. Migrating from one format to another is no small task.  Lean into the difference and know that teaching differently does not mean that your teaching will become inferior or bad.  Change does not have to compromise quality. Remind yourself of the metaphor you employ when you think of yourself as a good teacher – in the best of times. Typical metaphors or similes for the good teacher are: gardener, light bearer, guide, architect, chef, builder, dancer. The list could go on. Each of these metaphors has in its wider narrative and iconographic knowledge the role of teacher in a crisis. For example, the gardener knows ways to combat drought or flood; the light bearer knows ways to keep the wicks trimmed and burning; the guide knows alternative routes should one path be blocked or destroyed; the chef knows how to save a ruined dish; the builder knows how to correct architectural errors; the dancer knows how not to get caught unaware when the tempo of the music suddenly changes. In this moment of unimaginable circumstance, use your imagination to encourage yourself for the ways you need to adapt your teaching and teaching persona.  Refrain from allowing your classroom time (online or face-to-face) to dissolve into conversation exclusively about the health crisis. Continue to teach your course, even in its modified and adapted forms.  Students are still enrolled in degree programs and still seeking graduation. Stay focused upon your course topics. It is likely that concentrating upon something other than the crisis will be refreshing to you and your students.  Consider that this is also a time of opportunity, adventure, and new learning. The foil to crisis is creativity. Creativity is the tool of innovation and invention. Let go of that which would have you stay mired in established ways and current semester plans. Allow yourself to think new thoughts about your own old, rehearsed modes of teaching. Let the tropes go! Suspend judgement about the fictitious standard of teaching which no longer applies in this peculiar moment and let yourself be creative. Finish the semester strong by finding ways of engaging with your students on the course themes – it could be that straight forward! In this moment of social distancing, hand washing, quarantine, suspicion, and fear continue to take notice of your students. Inherently, teaching is a communal act. Even in online classrooms, pedagogical intimacy can encourage, strengthen, and hearten students. Students depend upon our words of assurance, our gestures of care, our attitudes of warmth and belonging. Be empathic with your students, remembering that they too are in crisis. The Wabash Center has provided a dedicated page for online teaching - https://www.wabashcenter.wabash.edu/resources/teaching-online/.  We have also published podcasts of many interviews with colleagues who are well versed in online learning https://www.wabashcenter.wabash.edu/resources/videos/.  

The notion that learning is not an outcome of teaching is a challenging conundrum to those who teach. Perhaps for two reasons, first, it’s counter intuitive, and second, it begs the question, “Well then what am I teaching for if not to bring about learning?!” While teaching and learning are two sides of the same coin, the reality is that it is possible that what learners actually learn in a given lesson or course has little connection to what the teacher does or is trying to teach. We can imagine that some of this has to do with poor teaching. But some of it has to do with other complex dynamics of learning, including motivation, confirmation bias, attentional states, and capacities. A teacher who does not understand principles of learning, neglects to prepare well-designed learning outcomes, fails to ensure student engagement, and fails to apply sound instructional practices will likely not bring about meaningful learning. But the concept that “learning is not an outcome of teaching” goes deeper than that. The idea has to do with the fact that learners need to be, and are, active participants in their own learning. Regardless of our particular educational intent as teachers, students bring to the learning experience their own expectations, felt needs, goals, assumptions, frames of reference, and limitations related to the learning experience. Those factors often are more determinative of what will actually be learned than will anything the teacher intends or works toward. Experienced congregational ministers are familiar with this phenomenon. Regardless of how well they craft a sermon and despite how intentional they are in being clear about the purpose, function, and objective of the sermon, the fact is that the “real” sermon is the one that is heard by each parishioner in the pew and not the one preached from the pulpit. The preacher may be preaching the one sermon he or she prepared for Sunday, but there will be as many sermons heard as there are people in the sanctuary. This phenomenon always makes for interesting conversations at the door as the pastor greets the parishioners. If five people comment on the sermon on their way out, the preacher will be left wondering how and when it was that they heard those five different things in the sermon! The concept that learning is not an outcome of teaching can challenge certain educational approaches, like “teaching by telling,” lecturing, or an exclusive diet of direct instruction. If learners are active agents in their own learning, then we need to use those educational approaches that tap into what students bring to the learning experience. Ways to Ensure Better Outcomes The best way to ensure better learning outcomes is to design for student engagement. • Facilitate ways for students to discover their own learning and insights • Allow students to negotiate their own learning goals and facilitate ways for them to achieve them • Focus on problem-posing (which requires data gathering, observation, analysis, and interpretation) as well as problem-solving • Cultivate student's capacity for learning how to ask questions rather than getting good at answering teacher’s questions • Facilitate ways for students to construct their knowledge rather than providing them with information • Help students articulate their prejudices and bias • Help students uncover and identify their misunderstandings • Help students identify their resistance to new ideas • Allow students the options of approaching learning in the ways (modalities) they need. • Ensure that students apply knowledge to demonstrate learning, including through non-academic venues.