Blogs

As a professor, I am caught in the midst of a revolutionary period in education and technology. Education has had a slow building relationship with technology and has even had a love-hate relationship with the use of social media, despite its impenetrable growing prevalence in our lives. For younger generations, social media has gone from phenomenon to cultural norm, and the debate regarding whether or not to integrate social media into the classroom becomes more relevant. Social media is a pandora’s box of opportune connection, knowledge and dangerous pitfall. Though you can live without it, living with it in the digital age puts you among the same pace with the rest of the world. It holds everything that the modern world relies on for information, culture, entertainment and social activity. Aside from the obvious risks of using social media, like distractions and negative digital spaces, I have always been a vocal advocate for using social media in the classroom. As classrooms are going more digital and even more online courses are being taught, I believe that social media becoming a necessary tool to enhance student engagement, teaching methodology and learning development. I can share social media news that is relevant to the class materials or have students find relevant materials from social media which are pertinent to the content of the class. This can be done intentionally in the classroom, but unintentionally, it occurs rather frequently. This is due to the fact that students are already on social media and are sharing, following and seeking information which may help them in their studies. Social media is used by students for their assignments, for support, and for information. Since the students are already on social media, at times it is important to meet them where they are. We only have to look briefly at the major paradigm shift in education as a whole. Social media and technology have become the primary tool for personal education in the past decade, yet when you examine the educational and academic landscape, the archetypical classroom setting with a student listening to the teacher’s lecture has not changed all that much. The conventional antics in education are as always, a far step behind. Students now are gravitating towards learning digitally, where the preference to engage in information and material at an autonomous pace and in a self-directed manner becomes a greater expectation. Younger generations have grown up learning in such a manner, and its elevated efficiency leads me to believe that it’s not the students that need to adapt to educators, but rather the educators that need to adapt to them. Students today can and should expect to learn anywhere they are any time they want; they should be able to have the option to have a diverse learning source, not just the formal teacher and peer, but the global environment of classrooms filled with other teachers and peers. This fosters the opportunity for energetic co-learning and co-creation, inciting more dissemination of information for a democratic audience in a digital space. This is one of the greatest values of social media: its openness and interactiveness. It breaks down the walls between student and educator, allowing for all to be both simultaneously. We cannot slow down the consumption of information online, nor can we slow down how it is disrupting the traditions of education. As a result, rather than being the owner of knowledge I feel my responsibility adjusting towards being a facilitator and guider of knowledge. When I post on social media, I feel as though it is a conscious act of preparing my students to understand how to use social media as an educational, positive and professional tool in the modern climate. Information can quickly be disseminated on social media as the classroom goes beyond the walls of a classroom. Furthermore, it allows my students the chance to send me questions, while also keeping them informed and updated on what is occurring in the classroom. This unique avenue generates new forms of engagement that I would not otherwise establish in the typical classroom setting. The future of education will not be limited to physical spaces and classroom doors. Students and non-students alike should be able to learn in relation to updated current technology that allows for learning without bounds. As educators and students, we need to welcome this philosophy and utilize social media for a progressive education and a right step towards the future. You can follow Grace Ji-Sun Kim on Twitter, Facebook, Instagram and LinkedIn.

Years ago I devised a classroom demonstration, to use early in a semester when trying to help students become more aware, first, of the multiple dimensions of religion and, more importantly, of the ways in which diverse analytical lens for comparing and contrasting religion in a “toolbox for critical thought” will bring different dimensions forward while leaving others in the shadows.  Conceptually this is not a groundbreaking theoretical intervention for a first week of class exercise, although it does imply some theoretical “chess moves” that I feel strongly about.  Its main value here is to hone an entertaining and effective way to dramatize my points with a set of children’s blocks—both old-school wooden blocks and a few legos—plus a few crowd-pleasing additions to spice up the demonstration. I wrote this up for Teaching Theology and Religion in 2009 and have used it “live” with reliable success many times since then. Since I recently have been experimenting with moving one of my classes online, I decided to make a video version for my voice-over-powerpoint lectures.  It seems potentially useful to share the video here.     

The Liberty Bell. The Franklin Institute. The Betsy Ross House. The Philadelphia Zoo and Botanical Gardens. The Art Museum (infamous for the Rocky run up the stairs). Boat House Row. The Library.  My brother and I attended public schools in Philadelphia, and these were some of the places we visited on trip days. These days were marvelous! Each trip brought great anticipation. We were thrilled about going, doing, being outside of the school building and away from the routine of the classroom setting. Our excitement, and the excitement of our classmates, was palpable. The excitement burst from the classroom into our household. There were permission slips to be signed, brown bag lunches to be packed, and outfits appropriate for the trip to be laid out the night before. Once we returned from the trip, the stories of what happened and what we experienced carried us for days.  Certain people and some kinds of experiences cannot and should not be brought into the classroom confines. Certain knowledge is best encountered in community, in neighborhood, in museums, in parks, and even on rivers and while crossing over oceans. Taking students to new lands, to meet new peoples, to encounter new smells, tastes, sounds, sights, feels and ideas summons the imagination which is too often dampened in classroom spaces. My hunch is that there are mysteries, experiences, knowledges, and truths which refuse to enter into the classroom; these understandings require learners to participate in excursions, pilgrimages, and field trips. In other words, some of the best learning happens outside of the classroom.  Learners must leave home to learn. If done correctly, excursions guarantee a decrease in a teacher’s control of learning and an increase in a student’s control of learning. Many teachers who, for example, have taken learners to the zoo to view the new born panda only to have little Jane or Johnnie be fascinated by the flock of pigeons and never once pay any attention to the pandas. Pigeons were not on the syllabus and will not be on the test! What if learning resists domestication? What if the better learning does not tame us, but instead makes us wild, unruly and free? What if, when given the chance, learners set their paths in such a way as to render our established curricular choices as being contrived and unhelpful in the landscape of the 21st century? What if the roads discovered while learning are more interesting than the roads mapped by teachers? The longer I teach adults, especially scholars, the more I work-at giving up control of their learning and allowing them to “go” by themselves into learning experiences.  In several classes, I required students design their own excursions based upon the themes we were studying in my course. Students were instructed not to go anywhere alone; they had to take someone from class or from their family or friends or church members. I required that the student facilitate a conversation with the accompanying persons and include the comments and impressions (based upon course learning outcomes) of their companions in their excursion report. Some of the most successful learning of students happened when they went into the world with their teenaged children or their church deacons - going together to places they had not been and talking with persons they had previously had no discussions. I learned from my colleague, Heather Elkins, that some excursions are pilgrimages. Sometimes, leaving the classroom requires the search for and journey to holiness and wholeness. I have had the privilege of witnessing the movement of the Holy Spirit with my students in New York City, Newark, Maui, Accra, Dublin and Long Branch, New Jersey.  Sometimes we were in a retreat setting – there for an intensive course. And other times we were traveling together for weeks – crossing borders, visiting our global neighbors in their own homes, mosques and shrines. Pilgrimage learning takes ahold of entire groups and brings expected and unexpected lessons for teacher and learner, alike. My advice is to resist trying to orchestrate trips which demonstrate the theory you are teaching in class as if the theory is in action in the world. Teaching and learning is much more complicated than this - learning defies this mundane dichotomy. Instead, ask yourself: Which colleagues’ work is best encountered, viewed, and metabolized in a visit to their studios, offices, shops, pulpits, and places of business?  What trip will best assist students with connecting the knowledge they have with the knowledge they need?  What experience will challenge the normative gaze of students and allow them a new vantage point upon the complexity of a craft worth seeing differently and better? Then - design a trip. Excursions, field trips, and pilgrimages must not become logistical nightmares; teachers are not travel agents nor concierges. And, refrain from trips where the passivity of the classroom is duplicated in the field.  Students leaving the classroom to sit in different chairs to hear someone else lecture is not optimal. Take students, body-mind-soul, into the world so they can encounter the unknown and the previously misconstrued. My most agile traveling students have always been my international students.  I suppose it makes sense.  If you are courageous enough to leave home and settle in a new country to learn – going to NYC is welcomed – journeying to learn is your motif. My most fearful students were those who had never traveled on urban public transportation and wanted me to rent a bus from New Jersey to New York so they would not have to bump-up-against the peoples. I paired the fearful students with the international students and off we went to see what there was to see (via NJ Transit and NYC subway). We all survived! Sometimes, mystery tiptoes around pedagogical mundanity and refuses to reveal its riches until we take or send our students out into the world. Avoid the mundane and design encounters for your students which will surprise, delight, befuddle, and amaze. What my brother and I remember most about our childhood field trips is that they were days of fun. Learning moved from the daily routine and became enjoyable.  Plan experiences for your students and for yourself which bring fun and joy into the collective learning. I have just returned from my annual pilgrimage to the Samuel DeWitt Proctor Conference (SDPC). It was great fun and much joy! SDPC convenes leaders from the academy, church and community to discuss issues of justice. This year more than one thousand persons attended the Washington DC conference.  Also present were two hundred fourteen seminarians attending the conference for academic credit.  This excursion keeps me informed and reminds me of the critical importance of partners and collaborators. The plenary speakers, workshop leaders, preachers and musicians assist me in thinking through the social, economic, and political realities which so greatly impact the teaching and learning in colleges, universities and seminaries. Like the trips in elementary school, my excursion to SDPC renewed my spirit and sent me back to the Wabash Center with new questions and refreshed curiosities. The Wabash Center is a destination for those teachers who want to leave home in order to learn. We are an excursion, a field trip, and in many cases, a pilgrimage. What would it mean for the Wabash Center to expand and deepen the experience of learning by teachers? If the better learning requires leaving the familiar for the unfamiliar, in what ways might the Wabash Center became “unfamiliar” even for the most seasoned teacher? In what ways might the Wabash Center pitch a wider tent for more pilgrims who fear domestication and who are willing to risk gathering and scattering to kindle and rekindle the delight of learning while a teacher?

Cognitive strategies are pedagogical ways that enable learners to manage their own learning. They mediate the transition from teaching to student learning. Instructors and students acquire cognitive strategies from their experience and schooling—for better or worse. Many instructors settle on those strategies that "work," or seem to. This is a pragmatic approach often uncritically unlinked to foundational theories of learning or research-based knowledge. The danger here is that it does not take long for these uncritically held strategies to become biased practices. An instructor will continue to use them even when they stop working. Lacking rigorous assessments of learning there is danger in continuing to use methods even when they don't work. Below are four theory- and research-based cognitive strategies. Most instructors use some form or another and likely refer to these as "methods" or "approaches." You can download a handout of these strategies here. Input Cognitive Strategies. An input cognitive strategy depends on those things to which learners pay attention. Most instructors overestimate the level of attention students give to the instructional intent of learning experience (the teacher's lecture, for example). Aside from short attention spans, learners pay attention to events external to them, by their own choice, or by distraction. An external stimulation might include anxiety about a job loss or family situation, which creates significant emotional distraction and is an un-motivator to learn. An internal stimulation might include remembering a career goal, which will motivate learners to give attention to those things in the lesson that will help meet that goal. Input cognitive strategies are applied to intentionally gain and maintain student attention. The rule is: students learn that to which they pay attention; and when they don't pay attention, they don't learn. Process Cognitive Strategies. A process cognitive strategy helps learners make sense of what they learn. Gagné and Medsker (1996) list several such as, Rehearsal: trying out something new; Elaboration: associating something new with something previously learned; Organization: imposing a structure on what is newly learned through such methods as outlining, categorizing, or diagramming. Instructors need to embed student learning activities throughout the lesson or course that facilitate these experiences. Output Cognitive Strategies. An output cognitive strategy helps ensure that learners acquire new knowledge or skills by applying what they have learned and making meaning of their experiences. For example, assigning learners to teach on something they would like to learn. The teaching (output) focuses the learners’ attention on organizing the new knowledge or skill to teach it to others. Through this approach, learners make sense of what they want to learn. Feedback Cognitive Strategies. Through feedback cognitive strategies learners to acquire new knowledge or skills by giving feedback to others. An example is to ask learners to hear a presentation or sermon and provide feedback to another student about that delivery. Giving feedback focuses the learners’ attention on organizing the new knowledge or skill to provide feedback to others. It is necessary to provide students a rubric of the concepts, principles, or criteria for assessment upon which to give feedback. For more information on cognitive strategies see Rothwell, William J., et al., Mastering the Instructional Design Process : A Systematic Approach, Center for Creative Leadership, 2015. See also Gagne and Medsker, The Conditions of Learning Wadsworth Publishing, 1996.

In the first blog of this series (“Nobody Goes to the Cinema to Read the Screenplay"), 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 for the purposes of enlivening the preached word, communicating the gospel, and impacting hearers and their/our world. One of the most delightful ways of boosting cinema literacy is by attending film festivals and their accompanying “talks.” At a recent documentary film festival, I heard about “Impact Teams,” and knew immediately that this is one of those impactful (!) convergences between filmmaking and preaching. Preaching professors guide students toward paying careful attention to their hearers and identifying what impact their preaching might have on them. Noted homiletician Thomas Long encourages preachers to identify a one-sentence “function statement” for each sermon.[1] This statement identifies what a preacher wants the sermon to do to/for the hearers in light of what the biblical text does and in light of what is known about the hearers and their lives. In other words, the preacher identifies the hoped-for impact of the sermon on individual hearers, the church, and maybe even the world. Often the first weeks of introductory preaching courses are dedicated to helping novice preachers get to a faithful function statement in order to craft a sermon that will do what the preacher (with the guidance of the Holy Spirit, of course) hopes it will accomplish (e.g., inspire, comfort, challenge, motivate, encourage, etc.). A good place to begin is to help preachers identify the impact sermons have had on them. Because this task does not come easy (surprising as that might be), getting some distance from the discipline of homiletics altogether is often a helpful starting place. A Film’s Impact on the Viewer Have you ever wondered why the majority of people have a conversation with someone about the films they see and the majority of worshippers (so it seems) rarely talk about their worship experiences with another? Somehow, we’ve been culturally formed to identify a movie’s impact on us beyond “I liked it” or “I didn’t like it.” We’ve developed a sense that movies are supposed to affect us and in this age of expanding cinematic literacy we’ve gained the capacity to articulate such effects. The preaching classroom is served by taking the discussion one step further and exploring with students what created the impact, e.g. lighting creates mood, camera angle forces point of view, the pace of dialog might create a sense of immediacy. “The filmmaker organizes shots, camera movement, editing, and music to elicit certain reactions so that viewers will respond right on cue precisely as intended.”[2] Learning the techne of filmmaking points to the intentionality of a filmmaker seeking (unapologetically!) a hoped-for impact on the viewer. A Sermon’s Impact on the Hearer Grasping the cinematic intentionality of a filmmaker aids recognition of the homiletic intentionality of the preacher. What tools do preachers have to create mood or to adopt a point of view, for example? How can preachers choose and use these tools to accomplish the sermon’s hoped-for impact? Even beyond homiletical techne, students begin to develop an appreciation for the power of preaching. In other words, with some intentionality, sermons can do things. (It’s worth noting that intentionality can be Spirit-led and, therefore, need not be equated with manipulation as some have been led to believe.) Sermon Impact Teams While many preachers learn to embrace the need to identify their sermon’s hoped-for impact, far fewer preachers embrace the encouragement to find out what impact a sermon actually has had on their hearers. Preachers can learn from filmmakers in this regard as well. Not only do filmmakers work toward a desired impact, but they often have “impact teams” to find out how films affect their viewers. It doesn’t take blockbuster budgets for preachers to adopt sermon feedback practices in order to find out how their sermons are received by their hearers. •  Consider soliciting responses to two or three written feedback questions posed on the back of the bulletin. • Designate one table at the coffee hour following worship as the sermon roundtable where members of the “sermon impact team” facilitate conversation. It is important to remember that this is not the occasion for the preacher to receive ego strokes or ego strikes. Instead, consider asking simply, “What happened to you during the sermon today?,” “What in particular made this experience happen for you?” With a bit of coaching, congregation members will soon embrace the power of the pulpit for their lives. What has been said about the screen can most certainly true about the pulpit: Movies change us. . . We can benefit, in other words, from an honest dialog with movies that probe the affairs of life, even unpleasant or disturbing events and conditions. And we become better critics with deeper self-awareness through spirited post-movie discussions that make us consider our values and refine our point of view, and even sometimes challenge us to think differently.[3] [1] Thomas G. Long, The Witness of Preaching, 3rd ed. (Louisville: Westminster John Knox Press, 2016), chapter 4. [2] William D. Romanowski, Cinematic Faith: A Christian Perspective on Movies and Meaning (Grand Rapids: Baker, 2019), 55. [3] As noted by Los Angeles film critic, Justin Chang. Romanowski, 26.

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

In 2015 my wife, Dr. Vanessa Watkins, took a trip with National Geographic to Cuba led by one of their photographers. One of the things I love about National Geographic trips is that the tour leader lectures in the hotel prior to going out to engage the culture. This leader lectured, but what blew my mind was that he never put a word on the screen. Throughout our fourteen-day trip, he always lectured with a computer, projector, screen, and images. Still images were his language of choice. He showed us what he was talking about and it was powerful. The images he shared were his images, he was a professional photographer, but that wasn’t what made the images work, it was his pedagogical decision to use the screen to project pictures. He would talk around the image; the image became the center piece of his comments and it worked amazingly well. Those images are still with me, five years later. What does this say to us as pedagogues? [caption id="" align="alignnone" width="2560"] Vanessa and Ralph Watkins in Cuba 2015[/caption] We have the big screen in our classrooms, in Moodle and Canvas, but how are we using this real estate? Are we using the screen to project words, words that we are re-reading to our students? Are we using the templates designed by engineers in Power Point who have no artistic or pedagogical training? Are we using the screen to show our students what we are talking about so that they can see it? I would suggest that we think about how we might use the screen as a pedagogical tool to show the students what we are talking about, to engage the creative centers of their brains, and to embrace the old saying, “a picture is worth a thousand words.” I would rephrase that old saying, “a picture saves us from saying a thousand words.”To use photographs in the powerful way they can be used, we have to understand why a photograph works. Better yet we have to learn to read photographs. Lets go to Cuba: This is my favorite image from Cuba. Why?  This image is rich and full of information. When you read an image, you first read it from left to right. From left to right we see the juxtaposition of the old cars, a new car that is a taxi, a school bus with the backdrop of the capital. Smack dab in the middle of the image behind the newer black car is a street sweeper’s trash can. The image offers clarity, negative space (open space), and the beauty of Cuba’s sky. From the far-left bottom of the frame you see a blue car and that is put in conversation with the far-right of the frame where you see a white car. Sandwiched between these two cars is the complexity of Cuba. The capital stands as a monument under reconstruction; a symbol of Cuba’s determination to live, build, rebuild, reconstruct, and embrace its rich heritage of rugged survival. You also read an image from front to back. In the foreground we have this old blue car. The car’s headlights shine in the morning rising sun. You can vaguely make out the people in the car. The blue car greets you and it says, “Good morning Cuba!” As you move one layer back to the middle ground of the image, you see the black car, the street sweeper’s garbage can, the woman walking on the side of the school bus, the school bus, the capital, and the beautiful morning sky. The streets are clean and the streets speak of the beautiful blackness that is Cuba. This is an image that could be the opening for a lecture about my trip to Cuba. Why put words on the screen when I can put this picture on the screen? This picture takes you to Cuba. No words needed. This is an image you can talk around as you share with your students the complexity that is Cuba. When it comes to using images in our classes we need to use powerful images that tell stories and read well from left to right and from front to back. You are looking for images that speak to what you want to say, and say it in a way that brings to life the argument you are making. You have to ask what does this image say? What’s in the edges of the frame? Where does the eye go and where does it wander? What thousand words does this image say that I don’t need to say? Images speak if we look at them and listen. What are your images saying in your lectures? Here are some more pictures from my Cuba trip. I present them for your consideration to practice reading images. Start from left to right, then read the image from front to back, look at the edges of the frame and then ask, where does the eye go and what does this image say? [caption id="" align="aligncenter" width="1000"] Picture #1: The City View of Havana[/caption] [caption id="" align="aligncenter" width="1000"] Picture #2: The Fruit of Cuba[/caption] [caption id="" align="aligncenter" width="1000"] Picture #3: Walking and Talking[/caption] [caption id="" align="aligncenter" width="1000"] Picture #4: Time for Dinner[/caption]   To view all my photos from Cuba: https://www.flickr.com/photos/ralphwatkins47/albums/72157652605129753

Growing up, one of my all-time favorite TV cartoons was Quickdraw McGraw and his faithful companion, Babalooi (does that date me?). Do you remember it? Quickdraw was the noble but naive, quick-on-the-trigger sheriff who fought off wicked desperados who inevitably found their way into his small, quiet prairie town. Sheriff Quickdraw’s first attempt at stopping a criminal type was to cry out, “Cease and desist!” Of course, it never worked. What hardened criminal would desist bad behavior just because you tell them to? Which brings up the question, when learners misbehave, how do you get them to desist without disrupting the learning process? While those of us who teach graduate level courses rarely have classroom management problems as those in undergraduate and lower grades, when they do happen, they can derail the learning experience. I once had to dismiss an adjunct in a graduate course mid-semester due to her poor handling of classroom management issues, mostly due to her inexperience. Because she was not able to get her classroom under control early by providing effective interventions (desists), things just got worse, to the point that the situation became unsalvageable. Fortunately, there are effective ways for a teacher to say “Cease and desist” to stop off-task behavior and get learning back on track. A teacher who knows how to stop class disruption before it spreads not only stops the deviancy, but at the same time has a positive effect on other learners in the class. A desist is an action the teacher makes to stop off-task learner behavior. The trick of course, is to use desists which not only stop unwanted behavior but will not also distract the other learners in the class. For example, if a teacher uses angry, punitive desists, then the acting out learner may stop his or her misconduct, but the ripple effect on the other learners will cause an increase in emotional anxiety which disrupts learning, and possibly causes additional unwanted disruptive behavior. An effective teacher gives attention to the quality of desist, those characteristics of teacher behavior used to stop disruptive learner conduct. Quality of desist has three indicators: Clarity, Roughness, Task-Force, and Approval-Focus. Clarity of Desist. Clarity refers to behavior on your part that specifies who the acting-out learner is, what he or she is doing wrong, and why this is improper behavior or what the proper behavior is. Roughness of Desist. Roughness refers to the way an attempt to stop misbehavior expresses impatience and anger, or ways the teacher's facial or bodily behavior expresses anger. Task-Force Desist. The task-force desist refers to ways you direct learners to the task at hand as the desist is given. Major Deviance Desist. In this teacher behavior, the teacher selects the major disruption when two or more deviancies occur simultaneously. The rule is to focus on the major disruption and ignore the lesser. Correct Target Desist. In this behavior, the teacher desists the learner who caused the disruption, not a bystander. Approval-Focus Desist. In this student-affirming teacher action, you make a statement that implies your warmth toward and feeling for the learners. This type of desist loses its effectiveness after about the third grade. Research in classroom management indicates that: Soft reprimands are more effective in controlling disruptive behavior than loud reprimands, and that when soft reprimands are used, fewer are needed Learners who witnessed a punitive or angry desist responded with more behavior disruption than when they observed a desist without roughness Task-focused desists resulted in more favorable ripple effect on the conduct of learners than the approval-focus desists When a simple reprimand was observed, learners felt the teacher was fairest and able to maintain control. Learning effective desist techniques is one of the most valuable skills a teacher can master. A teacher who can minimize time spend on classroom and behavior management will increase the time he or she has for actual teaching and instruction. One study found that teachers trained in specific management behaviors, including the use of positive questioning techniques and soft reprimands/desists, decreased the amount of non-instructional time by 20 minutes per day! SOURCES: Becker, W.C. et al. Production and elimination of disruptive classroom behavior by systematically varying teachers’ behavior. Journal of Applied Behavior Analysis (1968) 1:35-45. Borg, W.R. et al. Teacher classroom management skills and pupil behavior. Journal of Experimental Education (1975) 44:52-58. Emmer, E.T., et al. Effective Classroom Management at the Beginning of the School Year. Elementary School Journal (1980) 80: 219-231. Kounin, J.S. Discipline and Group Management in Classrooms. New York: Holt, Rinehart and Winston (1970).

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