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Developing a more learner-centered course design does not have to mean pulling everything up by the roots. A good start is to examine the activities already happening in your courses, finding where good learner-centered design principles already exist. Here, I look at two versions of an activity that is common in my own course designs: Peer Review. The first example is simple; the second example is more complex. Both are fully asynchronous, allowing learners to manage their time as their lives require. (Honoring learner time and agency is a learner-centered principle.) Along the way, as in the last sentence, I keep an eye out for learner-centered design principles that I can identify and name. Example One: Peer Review and the Short Writing Prompt: In small groups on an online discussion forum, learners write a short weekly post in response to a writing prompt asking them to integrate course readings with their own contexts and insights. (Constructivism is a learner-centered theory.) During the week following a due date, small-group classmates offer each other 2-3 sentences of substantive informal engagement, followed by a peer review embracing three yes-or-no elements: Balance (every element of the prompt receives attention); Engagement (the whole work is engaged substantively with the course and its materials); Mechanics (spelling, grammar, organization, citation). For the first 1/3 of the term, peer reviews are purely diagnostic: no revisions are needed, but learners MAY reach out to the instructor for guidance in response to feedback. (Learners taking responsibility for learning is a learner-centered principle.) For the middle 1/3 of the term, learners getting two or more "No's" from peers must reach out to the instructor. For the final 1/3 of the term, learners getting any "No's" must reach out to the instructor. In practice, my role as instructor is mostly to provide guidance in the early weeks, rewarding (via recognition) social goods like risk-taking and commitment. (Guide-on-the-side-style facilitation is a learner-centered practice.) Example Two: Peer Review and the Final Paper: Bear with me on this one. There's this final research/thesis paper, see? (My course is "Introduction to the Hebrew Bible," and this is the notorious exegesis paper.) But a complete draft is due at the midterm...and by "complete draft" I mean Complete Draft: it's at the full word count and includes all of the expected elements of the final paper. Why? For many reasons, but relevant here: your small-group classmates need something complete to be able to peer-review it! So that's the "bad news" on the draft: it must be complete. What's the "good news"? The draft does not have to be particularly good! Because the Complete Draft does not count toward the student's grade in the class: this peer review is a formative evaluation, not a summative evaluation. (Formative evaluation is a learner-centered practice.) So, learner: in your draft, take risks! Try things! Get out on a limb! Pull out all the stops to try to articulate the things you are trying to say. (Creating conditions for student voice is a learner-centered principle.) In order to promote informed, substantive peer review--something more illuminating than "I liked it; it was good"--students are armed with two (2) rubrics. First, there is the rubric for the final paper itself, made available to learners at the start of the term. (Instructor transparency and accountability in assessment is a learner-centered principle.) If reviewers have so far neglected this document or struggled with it, now they are put in a position to have to get to know it better and work with it constructively and ask for help if needed. The second rubric is the rubric for the peer reviews themselves. (Are the reviews engaged with the draft being reviewed? Are they engaged with the final-paper rubrics? Are they constructive as well as affirming?) Here I include one coercive element: 20% of a student's peer-review grade requires that *their own draft* be complete and on time, and this element is a binary: you get 20 points, or you get zero points. And here's the thing: the evaluation for peer reviews is not formative, but summative. This thing must go smoothly and tightly, or the wheels fall off. (Don't ask of learners more self-motivation than reasonable for their level: scaffolding is a learner-centered principle.) Closing notes: Learner-centered course design principles didn't descend from the sky on stone tablets. Rather, they arose from the reflected-upon experiences of educators like yourself. By joining in this process of reflection and discovery, you join in the construction of applied learner-centered pedagogy. Where can you discover some more of the learner-centered principles that you're ransacking your course designs for? Do a web search for "student centered learning"; "learner centered instruction"; "learner-centered assessment" (or "student-centered assessment"); "learner centered teaching"; and so on. Good luck and have fun.

When the pandemic hit, everything changed overnight. We were in a state of crisis. Crisis has a way of exposing our frailty. Our vulnerability rises to the surface without our permission. Lack of control, uncertainty about the future, and anxiety about the unknown work together like a torrent, forcing us to let go of certitude. We know in part. That’s how it’s always been. But crisis beckons our confession of not knowing. Crisis humbles us, allowing us to see life from the vantage point of the powerless. Crisis reveals what busyness can hide. Crisis can be a pedagogical tool. What lessons have I gained from the pandemic crisis that will stay with me when vaccines and face masks are no longer a point of division? This vignette helps me explore this lesson. [text_only_widget] Vignette I opened an email from one of my students who said she needed to speak with me in person. Despite the growing number of safety protocols on campus, I agreed to meet with her. When she arrived, she sat in my office chair. Her shaky leg indicated her restlessness. “How can I help you?” I asked. She could no longer remain on campus. Despair had stolen her will to complete work, hang with friends, and ultimately to continue. Being home with family, she shared, seemed to be her best option. At home, she would be surrounded by those who knew how to love her well as she navigated depression. After sharing her concerns, she looked me in my eyes, and invited me to be honest with her about what I thought. Now, it was my chance to love her well as her professor. I wrestled with my thoughts: “Couldn’t she just figure it out?” “Is it really that bad?” “Is this just an excuse to go home?” At the core was my own selfishness—I wasn’t ready to lose one of my top students. Despite my inner wrestling, loving her well meant letting her get the help she needed. She didn’t really need my blessing, although she wanted it. “Give yourself permission to take care of yourself. Do what you need to do to be whole,” I told her. My insistence that self-care was nonnegotiable offered some sort of release. That was my last time speaking with her in person. She disenrolled from my university. Her sense of urgency to preserve herself was quite admirable and brave. [/text_only_widget] As we continue to remain in the pandemic crisis, these narratives show up in my office, emails, and coffee conversations repeatedly with many students who are navigating similar concerns. Depression, stress, anxiety, insomnia, and fear of returning home describe a large number of students. Counseling services are so full that they find it a challenge to adequately accommodate our students. “Give yourself permission to take care of yourself. Do what you need to do to be whole,” I told her. That brief response embodies a lesson I’ve been trying to learn ever since the pandemic started. That lesson is on self-care. The crisis of self -care did not start because of the pandemic; rather, the pandemic simply exposed what has always been burgeoning beneath the surface, exacerbating it so it can no longer be hidden. Lesson 1: We are not fragmented. All of me in one space. That’s what the pandemic did. Fragmentation is only an illusion. I am guilty of trying to live under that illusion. During COVID-19, I could no longer live a fragmented life. I could not put motherhood on a shelf until I finished teaching; my children were with me. The bedroom became a makeshift office as I tried to supervise my children’s e-learning while also teaching a Zoom class. My children offered no apology for competing for my care. Lesson 2: Wholeness is the new cool. I don’t want to only pursue wholeness for the sake of my own sanity and peace. But, I must do it because my students need to know that wholeness is a worthy pursuit. Lesson 3: Self-care is the new norm. Self-care recognizes that we are not fragmented. I’m learning how to create space for myself. Self-care requires intentionality. It requires permission-giving. It requires discarding the guilt. Self-care does not equal selfishness. It requires exorcising the lie that I should have superhuman strength. Our students do not possess super strength; nor do we.   “Give yourself permission to take care of yourself. Do what you need to do to be whole.” My own hypocrisy is appalling. If actions speak louder than words, what would it look like for my assignments and classroom space to reflect self-care as a priority for my students beyond COVID? How do we model self-care without crossing boundaries? Possibilities include: Normalizing a mental health day as an excused absence. A Prioritize Yourself Day, where I invite students to engage intentional practices of self-care during class time. Stretching before or after a heavy topic or exam. Inviting gratitude into the classroom. Encouraging students to reach out to other students when they notice someone is missing. Celebrating hard work, even if it is not an A. Creating a culture where students know that failure and disappointment is expected as part of the learning process. How do we make self-care the norm for both teachers and students post-pandemic?

The following axiom is often met with solemn nods, sad sighs, and knowing looks of empathy and understanding: “Church hurt is the worst hurt.” At every seminary, there are students with deep wounds from the emotional, mental, physical, and spiritual abuse they experienced in congregational contexts. Seminary communities understand that a church can be the site of terrible harm and heartbreaking pain. There are also powerful testimonies of resolve and resilience. Our students are not satisfied with the status quo and are seeking the kinds of theological education that will equip them to lead ministries of healing, hope, redemption, and transformation. Some are called to work within existing congregational and denominational structures. Others are participating in new church developments and enacting their convictions to form religious communities in places and among persons that have been ignored and forgotten. But what happens to teaching when seminary hurt is the worst hurt? I find that the seminary classroom is more responsive to church hurt than seminary hurt. Faculty in theological schools are generally open to acknowledging the trauma and affliction that people encounter in congregations. Some of us share our own scars and wounds. Many of us are theological educators because we too have not given up on all the good that is possible in churches. We are quick to assign readings that address pastoral leadership. We encourage our students to make connections between the theologians in our respective syllabi and congregational praxis in the “real world.” However, the seminary classroom is sometimes slower to respond to the harm and pain inflicted upon students within our own learning communities. The remainder of this reflection focuses on three specific forms of seminary hurt that I have encountered in my classroom. The first results from a student harming another student with deleterious commentary that assails the dignity of persons within our learning community. My seminary is committed to the full inclusion of LGBTQIA+ persons in Christian leadership and society, but we also welcome students from religious communities that do not share our conviction. A few of these students have been outspoken in their opposition to our position and have utilized classroom discussions to express their disagreement. Other students are unfamiliar with queer theology and grapple with the practical implications of our commitment to LGBTQIA+ justice. My approach to these instances of harm is to respond promptly and firmly with direct intervention. As a teacher, it is my responsibility to maintain a respectful learning environment. It is my role to hold my students accountable when public professions of their personal beliefs are hurtful. Even if the bulk of these interactions with students occur outside of the classroom in private conversations, there must also be a public acknowledgment of the harm done inside of the classroom. The second form of seminary hurt is more difficult when I encounter it in my classroom. How do I respond when my colleagues harm students? There are few secrets at a freestanding seminary like mine. With a smaller student population than the nearby high school and an entire faculty collegium that is the same size as a computer science department at some universities, my seminary inhabits an intimate and fraught ecosystem. When I teach about racism within the history of Christianity in the United States, there are occasions when my students discuss the racism they have experienced in other classrooms at the seminary. In doing so, they are rightly underscoring the pervasive realities of racism within Christian institutions today. Studying history is not just about the past, it is also about helping us better understand how the past reverberates in our present. But what is my responsibility to my students? When matters move beyond my classroom, I must navigate multiple layers of collegiality, mutuality, hierarchy, and power. The third form of seminary hurt revolves around institutional decisions that harm students. My teaching often pivots to engage current events because I seek to be responsive to what is happening in the actual lives of my students. Sometimes, the events at hand deal with controversial matters in our seminary community. There has been confusion and anger when beloved colleagues are dismissed or depart because of arduous conditions. There has also been dismay and frustration regarding policies, procedures, and the pace of institutional change. In my classroom, I have engaged the following challenge from my students: “What I have dealt with at this seminary is worse than what I have experienced in the church. Shouldn’t the seminary be better than the church, or at least as good as the church?” In these moments, I wrestle with ambivalence. On the one hand, I am further motivated to grow as a teacher and determined to do better in my classroom. On the other hand, I know that participating in pathways toward institutional change requires that I venture outside of my classroom. And some of those places are where seminary hurt awaits and abounds.

It is no secret that the arts are powerful tools that can be used in any classroom to challenge, liberate, expand, complicate, and even heal aspects of our educational practices. The visual arts, in particular, not only allow us to connect in deeper ways with the content and context of our studies but can also function as a portal to what is hidden in our deepest recesses in embodied, striking, and visceral ways. From rage to grief to wonder and joy, the arts help us access emotions and educate our affections while inspiring us to resist, denounce, agitate, connect, conjure, and generate tools for speculative imagination, for integration of embodied and intellectual knowledge for the healing of all our relations. As a site for world-making, art lends itself to dreaming, rehearsing, and choreographing new possibilities of being and acting in the world. Artists and works are poised with the capacity to enhance our understanding of how historical and cultural amalgamations circulate our bodies, shape our culture, and inform our experiences, while also offering opportunities to assess and integrate multimodal processes of learning. What follows is a series of suggestions on how to bring the arts into the classroom to activate and enrich multimodal learning. When I am presenting an artwork within the context of classes in art and religion, I like to begin by providing historical information based on my previous research of the work. I find the work’s curatorial files which, depending on the artist, are broadly available online. Many contemporary artists use their own websites as archives of works, exhibitions, ephemera, press clippings, etc., so be sure to check those as well. Then I consult chapters, articles, catalogues, and reference works which provide context for the creation and reception of that particular artwork.[i] I also provide the artist’s full name, the work’s title and date, the collection to which it now belongs, how it was acquired, and how the museum or gallery’s curatorial practices participate (or don’t) in “unlearning and changing the base of colonialism in the concepts of private property, Manifest Destiny,… Eurocentrism, Cartesian dualism, heteropatriarchy, capitalism, positivism, sexism, racism, individualism, extraction, classism, violence, and control,” as Wanda Nanibush, the assistant curator of Canadian and Indigenous Art at the Art Gallery of Ontario, puts it. The goal is to deepen and expand the experience of engagement with the works—not so much to define, constrain, or limit the contours of interpretation. In other words, the contextual information we offer on any creative work should not limit the personal connections, emotional reverberations, and embodied experiences that teacher-learners may develop with the work. Beyond the artist’s and work’s contexts, I ask teacher-learners to describe in detail what they see and what they understand. For example, if I share a painting, I ask them to describe the color, contours, textures, contrast, movement, proportion, composition, medium, size, dimensions, and how the lines appear in relationship to one another. This step reveals to us how we have been conditioned to take in a lot of images hastily, spending a very short amount of time looking, identifying, and savoring what the works are doing, and how the textures, colors, and rhythms of the composition have been carefully arranged by artists to elicit responses in us. Only after exhausting our capacities for naming what is in front of us, do I ask teacher-learners to progress in the interpretation of “what is” to “what it might mean.” We often claim that artworks mean something without carefully tracing for our class participants where these meanings are visually located or where they originated within the work. The last question I engage with is the “so what?” that Gilda Williams proposes in How to Write About Contemporary Art.[ii] What are the echoes for the context of our class? How does it invite us to look at our subject and discussions differently? How does it open up a space for the poetic to guide and allow us to access our deepest, sometimes hidden, recesses? Works of art are powerful in connecting us to our emotions, in helping us understand what it means to be human, to be whole, to be here. As theological educators who are laying out the blueprints for sacred, embodied, planetary change, we must remember to have the arts in our toolboxes. The arts are never far away from what matters most in life. Artistic productions participate in decolonial efforts—are capable of doing what Macarena Gómez-Barris names as “the erosion of the extractive gaze” while “affirming the diversity that resides within the matrix of coloniality.”[iii] As antidotes to Empire, visual arts are sites of subversion that promote imagining and shaping into being other emergent worlds. They also require from us, as Indigenous Brazilian thinker Ailton Krenak puts it, an acknowledgement that we are co-responsible for maintaining our capacity and responsibility to keep the dreams of our ancestors alive.[iv] As apertures into worlds of the not yet, artworks also welcome wonder, openness, diversity, reciprocity. Allowing a careful looking, engaging, and sensing what the works are activating emotionally, intellectually, and spiritually in us is generative way to amplify learning in our classrooms. Part II of this series will provide practical examples of engagement with artworks. Available April 27, 2022.   [i] A helpful resource for helping in the design of the experience with works of art is Teaching at the Museum: Interpretation as Experience by Rikak Burnham and Elliott Kai-Kee, published by the J. Paul Getty Museum in 2014. [ii] Gilda Williams, How to Write About Contemporary Art (New York, NY: Thames & Hudson, 2014). [iii] Macarena Gómez-Barris, The Extractive Zone: Social Ecologies and Decolonial Perspectives (Durham, NC: Duke University Press, 2017), 133. [iv]Ailton Krenak, Ideias pra Adiar o fim do Mundo (São Paulo: Companhia das Letras, 2019), 47.