Resources
When we engage our teaching world online, let me encourage you to start where you are. It is not about the tech, gear and gadgets. It is about vision, imagination and design. In this vlog I show you my setup, my online classroom and how I think about this space. This is not a “how to video” but rather it is a glimpse into my inner world. I want to invite you to dream about your space, your vision for online teaching and how this might look for you. My goal is to inspire you to think deliberately about your presence and vision for your online classroom. [su_vimeo url="https://vimeo.com/403354389" title="My Online Classroom"]
What does it mean to coach students as the course moves to online teaching? Teaching during the COVID 19 crisis requires we maintain classroom community. Dr. Nancy Lynne Westfield hosts a conversation with Dr. Bernadette McNary-Zak (Rhodes College).
Now more than ever, we must abandon the performative and embrace the authentic. Our essential mental shifts require humility and patience. Focus on real internal change. These human transformations will be honest, raw, ugly, hopeful, frustrated, beautiful, and divine. And they will be slower than keener academics are used to. Be slow. Let this distract you. Let it change how you think and how you see the world. Because the world is our work. And so, may this tragedy tear down all our faulty assumptions and give us the courage of bold new ideas.
What is spiritual formation for teachers? Teaching during the chaos of the pandemic is soul work. It requires a soul pedagogy. This discussion provides insights into nurturing the spiritual awareness of teachers to better support and assist the learner. The conversation provides practices for the online classroom, encourages teachers to risk creativity and imagination, and suggests that formation or deformation of students is a matter of attentiveness, flexibility and freedom.
Online teaching, even for those teachers who abruptly made the transition weeks ago, is here to stay. Improving and enriching online teaching means better use of image and storytelling. This conversation provides insights, practices, and know-how-suggestions for including poetry, film, novels, music – all forms of the arts – into learning sessions and student assignments. The courage of being an artist who teaches, and the inspiration to take risks, is a central theme of the dialogue. The use of technology does not have to be a hindrance to creative teaching; it might actually be an asset.
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?
This conversation with teachers who are artists (Dr. Ralph Basui Watkins, Columbia Theological Seminary, and Sophfronia Scott) will focus on ways to incorporate image and story into the learning plan and syllabus design. The dialogue will focus on ways storytelling can be an integral part of your course to enrich and enliven the student’s learning experience.
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.
This crisis moment is a time to rethink formation into being a more embodied learning. Doing theology in crisis is about prayer, intimate conversations and hope.
This conversation with teachers who are artists (Dr. Ralph Basui Watkins, Columbia Theological Seminary, and Sophfronia Scott) will focus on ways to incorporate image and story into the learning plan and syllabus design. The dialogue will focus on ways storytelling can be an integral part of your course to enrich and enliven the student’s learning experience.