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How are you doing with taking chances? Are you engaging the wonder in your students, or are you still grading participation posts? If you read part one then you know what I’m talking about. For today’s episode of what Miss Frizzle teaches us about teaching, we learn about making mistakes. Not learning how to make them per se (because let’s face it, we all have plenty of experience) but what to do when we make them.Mistakes are inevitable. They will happen. Part of the reason we fear them so much is because we are still recovering from the trauma of unrealistic expectations from our graduate programs, or from our education in general (I’m looking at you formerly “gifted and talented” students). It may seem redundant then to be told to do the thing that you have already done and will certainly do in the future. But the advice to make mistakes isn’t about intention, it's about adaptation (cough…taking chances…cough).  In a world where failure and risk are old friends…If I had to choose one thing that scientists and entrepreneurs have in common, I'd say it's that both understand that failure is information. Scientists have revolutionized their fields by using information gained from failed experiments. Think of the countless medicines that didn’t work for the illness they were intended for, only to produce an outcome that changed the medical field. In the same way, entrepreneurs are learning about trends, marketing, supply, demand, and a whole host of other things when they start something that doesn’t work out. If you are going to be a person to take risks (go ahead honey, take a chance!) then you will have to embrace making mistakes. But wait, you say, a failure and a mistake are not the same thing! A failure is when you do something and it doesn’t work out, while a mistake is doing something wrong. And you’d be correct. A failure focuses on the outcome, while a mistake focuses on behavior. This is why you can make mistakes but you cannot be a failure (go ahead and read that again). And while mistakes made along the way can aid to the result of a failed outcome, several other factors, many beyond your knowledge and control, makeup that failed attempt.  Let’s play a game… Where it's all made up and the points don’t matter.So, how and why would you be intentional about making a mistake? Remember, the lesson isn’t about intentionality per se, it's about adaptation. Being intentional about making mistakes means being intentional about taking chances and risks. One of the best and easiest ways to do that is through the act of play. Playing a game is about creativity and knowing which of the rules you want to keep, bend, or break (every UNO player understands this). You are willing to push the boundaries or cross them to meet the games’ goals creatively, or to make a better play experience. One of the best examples of this is improv. Improv thrives on making mistakes. Nothing is wasted, and the space feels limitless. You can say the wrong word, or get caught off guard by another’s response, or even fall off the stage, and there will be someone there, not necessarily to catch you, but to use your “mistake” to continue the time of play. This communal act of play creates a kind of generativity that encourages you to make mistakes. So, what does this have to do with Theological Education? Much of our objectives in theological education feel daunting. We want our students to say something meaningful about the divine, or about implications on our world. We train them to lead others in matters of the heart, mind, and spirit. We do deeply meaningful work. This is the kind of work where mistakes matter. Where we are held accountable for the implications of our theology. Our theological intentions land somewhere, usually in the lives of other people. I recognize that asking someone to make a mistake in this context is no small thing. But that is exactly why we need to encourage it in our classrooms. I approach all of my classrooms as part of a grand experiment. Students are encouraged to “say the weird thing” (IYKYK) then work-out what that means in community. If I didn’t encourage my students to make mistakes, then how am I preparing them to lead? Preach? Teach? How can I teach them to adapt if I attempt to create a space with no obstacles for them to adapt to? If students say or bring up concepts about God that cause tension, we work through it. I help them understand the implications of their theological actions. And yes, they make “mistakes.” So do I. But because we do not forsake play in the classroom we learn to adapt. Taking chances means making mistakes. And like scientists we learn from the outcomes. We discover the ways theology can help us change the world, especially in ways we didn’t originally intend. We do this because we’ve learned that mistakes do not automatically end in failure. They create a possibility to open up a new pathway we didn’t originally plan. They generate new lessons we didn’t know we needed to learn. And for that, they will always be worth making.

It’s a relief to some professors to find that making their course antiracist is not simply about introducing heavy and sometimes politicized topics into class discussion. I find that moving one’s course further along the antiracism spectrum can, and should, start with the syllabus!None of the below suggestions can magically turn a course antiracist – my experience is that antiracism is a lifelong journey, consisting both of moments of inspiration and, perhaps more often, moments of face-palming as you realize the way you’ve done something for years is problematic, but you literally never noticed it until right now. This is part of why I think many professors shy away from explicitly naming their own journey in antiracist teaching – it requires you to feel embarrassed about the way you used to do things and then using that embarrassment to fuel something better. But the glorious thing is that it does produce something better!The first thing to do with your syllabus is to take stock of the racial representation of your authors. If you use one or a few textbooks, this will likely be easy. If you rely on a variety of resources, it’ll take longer, and often require a bit more research. When you tally up who students are primarily hearing from, what voices are most prominent? Do white men win the day? Or is there substantive authorship from people with other racial identities?In my department, we calculate these totals every semester based on course days. Basically, what days are students only hearing from white people, and what days are they hearing from people of color? (It could be advantageous to do this in a more granular way too – examining how Black authors compare to Latinx authors, etc., but unless your percentage of authors of color is fairly high, you may not have enough data to draw meaningful conclusions). We submit our percentages every term, and part of our annual assessment is examining if we’ve met our minimums and if we’ve increased racial representation or lost ground overall. The fact that we can work in hard numbers here also tends to encourage something of a gamification of our syllabi – seeing if we can beat our last “high score” is motivation to make our authorship more racially diverse each semester. A single replaced reading feels like a victory in this context – and it is!Once that work is completed for the term, the next step is to ensure that it’s visible to students and that they understand why it’s significant. I do this in two ways: including relevant expertise and identity markers, including race, along with the link to the course readings, and telling my students directly about what I’m doing with authorship in the course. The first involves setting up Canvas (or whatever LMS) with more than just links to required text. I include the link, and then provide context after it about the writer. For example, “______ is a Black woman and a seminary-level professor of Theology,” or “______ is a white male journalist who primarily writes on religious topics.” This is part of an overarching lesson that people’s context is always relevant, and that nobody writes without bias. It’s also a practice I royally screwed up the first time I tried it – I only included the racial identities of authors who weren’t white and didn’t mention race for white authors. You know, because white is… normal? White default bias for the fail. Thankfully I caught that one halfway though the semester and worked feverishly to remedy it on the day that awful realization struck me.Finally, I like being transparent with my students about the “why” of my teaching – it makes them feel trusted and included, and it helps hold me accountable for doing what I say I will. On the first day of class, I show the students our hard numbers for the course and explain that the field is historically and currently white-dominated, but that our program values students learning from a variety of perspectives and voices, so we’ve made a particular effort to use and highlight authors of color. For whatever reason, this is the moment on day one when students will actually take their eyes off their syllabus and look at me directly. I find that there’s power in critiquing your own field, and doing it right away – it helps students feel more able to offer critique and criticism when they feel it necessary.So, there you have it – if you want to be a more antiracist teacher and aren’t sure where to begin, start with your course authorship and make your choices explicit to your students. It’s far from perfection, but it’s a starting point for the journey.

Recently I attended the Wabash Center’s Curiosity Roundtable, where we heard from Dr. Iva Carruthers in one session. Her presentation was titled “AI and Ubuntu in the Age of Metanomics.” She had us thinking about what it means to be human and how we talk about humanity in this new age of AI—in all its forms—and what theology has to offer and how different sources of knowledge, different intelligences, all contribute to our being. Is being human about knowledge or about wisdom? About thinking or about relationship? It was a rich conversation that didn’t once bring up how we deal with issues of students using ChatGPT in class.As I thought about our prompt—what do I do with this conversation when I return to my institution?—my initial response was: resist the AI! And then I thought more deeply. The question is really how to ground ourselves more deeply in what it means to be human. The short answer is that we engage more in the world and with each other, but how do I do that? How do I help my students to do that?Unsurprisingly, my answer is to spend more time outdoors together. So now I have another reason in my backpack to use evangelizing for outdoor teaching. Hear me out.The best teaching happens outdoors because it’s a broader sense of teaching than mere lecture content. It’s the things I’ve been talking about in this blog. Students are more likely to play outdoors because they feel a freedom in the wind and the sun and “getting away with” not being “in class” as they’ve always understood classrooms. Play is a deeply important part of learning to be human. Children play at being adults long before they are adults, and the play, which is about imitation and experimentation in spaces of controlled risk, develops the skills of adulthood in the child. It’s similar for students. They play with ideas—imitate and experiment in a low-risk space—and so, grow into their understandings.In addition to content, they play with, students play with each other more readily outdoors. The freedom of movement makes getting into groups easier as well as interaction with group members. They sit closer together and find themselves more present to one another when they only have to focus on each other and the space—with its greens and blues, its warmth and wind—is calmer and less distracting than any video screen. Longer immersive classes do this even more (see my previous posts on the way immersive classes facilitate presence and community), but even shorter classes outside the normal environment will help students see one another as humans and create bonds.Play is also, as I understand it, an important part of learning to be an animal (see this chapter by Kay Redfield Jamison: “Playing Fields of the Mind” in her Exuberance: The Passion for Life [New York: Alfred A. Knopf, 2004]). So, we learn to be more human and at the same time become more connected to other animals who also play, being reminded that we are part of creation. Along with this, when they are outside students are more immersed in the material world, and their phones are less attached to them. They are distracted by more interesting and more real things than whatever is on their screens. When people have a greater immersion in the real world, they gain more ability to discern the fake aspects of AI because they know the real thing.When students have to work together, especially in an immersive trip where they depend on each other physically (like on a wilderness trip), they learn what real friendship and connectedness look like and perhaps can distinguish the real from the fake in virtual worlds. In a good outdoor class—or a good indoor class that requires students to work together to create something—they learn what humanity looks like in all kinds of forms beyond what AI with its implicit biases is telling them. They learn empathy and compassion and relationship, the stuff that makes human beings human and which AI can only “know” about, or at best imitate. These are the things teaching outdoors and prioritizing interactions with the material world and with real people unmediated by screens does. My version is outdoor teaching, and I won’t stop evangelizing for it, but we can just as easily think of this as out-of-the-classroom teaching. Any place where we can encourage (or require) students to engage their worlds and the people in them is a place we are saying that our AI world is not the final word. Requiring some community engagement as part of the class or a museum visit or a technology fast or a group project that must be done only in person—all of these encourage play and presence and learning to distinguish reality from virtual reality. And if our clergy and theologians were trained this way, what a real world we might have. May it be so.

Like so many others during the pandemic I picked up a new hobby. Breadmaking was already claimed by two others in my family, so I decided to turn to houseplants. Gardening has always been therapeutic for me, so I sensed I would like getting my hands dirty indoors as well, and I had always found beauty and a sense of peace in homes filled with a variety of plants.I began pretty haphazardly, just buying plants I found on sale and watering them when they looked bad. I soon learned that water isn’t always the best solution for a dying plant. There is such a thing as overwatering, and I learned that lesson the hard way—by killing a lot of plants.It probably took me a year or so to learn the needs of different plants; for example, how much sun, humidity, and water they require. Now almost four years into my new craft, I rarely kill a plant. My eight-year-old daughter even recently declared: “Mommy, it’s starting to look like a jungle in here!” That’s when I knew I was getting good and that I had achieved the aesthetic I was going for.I’ve learned a lot of good lessons in becoming a plant person. In fact, I was reminded of my deleterious overwatering the other day, when I was making plans for my sabbatical this coming fall.This sabbatical will be the first one I’ve ever had the luxury to take, and to say that I’m looking forward to it would be an understatement. I’ve been teaching for fourteen years, and for the last two years I have been increasingly involved in administration.My fairly new administrative work has not left me much time for research. And when I think of that area of my academic life, I think of a wilted, dried out plant. I’ve pulled as much life out of my previous research as possible, and it’s parched.Always an overachiever, I know my tendency will be to over-plan for and overschedule my sabbatical time. I intend to write a new book. I want to read, research, and write; and I want to travel in Europe for my research. I also want to take pictures and videos during my travels for my classes.When I was charting this all out the other day, I was overwhelmed. My (too-high) expectations left me feeling panicky. I also started feeling the pressure of thoughts like: “Given the landscape of higher education, this might be your first and last sabbatical.” In short, I was setting myself up for burnout!Of course, this defeats the point of sabbatical. Isn’t it supposed to be a magical time in which one can finally achieve the sweet balance of rest and productivity?But how does one achieve this? I suppose the answer is different for everyone. It’s like caring for the different needs of different plants.Taking a tip again from my plants, I reflected on the following questions:1) What do I really need right now?What I need is some time to slow down and rest. I need some time to breathe, to re-center myself. I need to establish a new workplace (away from my institutional office), where I can be free from distractions. I need an easy routine with the time to be creative and to explore new ideas.2) What do I really want?What I want is to have some new life breathed into my intellectual project. I want to use the privilege of this precious time wisely. A semester free of classes and meetings provides me with the opportunity to travel for my research. I’ve always wanted to visit the monastic sites and places in Germany of the medieval writers who I study, and to talk and pray with the contemporary nuns that currently live there. Now I can!I also want to get several chapters of a new book written. This “want” competes with the other. Of course, planning for a trip and taking it will hinder my writing productivity, at least in the short term. I’ve had to come to grips with that fact, and remind myself that I can write anywhere and anytime. I can get some writing done on sabbatical, and continue the rest later.3) What will sustain me?What I need for my scholarly labor to be sustained, during this sabbatical and going forward from it, is for it to engage my intellectual passions. My last book was published four years ago. The world has changed since then, and so have I. One of the first things I need to do before starting in on a new research project is to give myself some time to reflect on some perennial questions. I have bookmarked Dr. Nancy Lynne Westfield’s blog “Articulating Your Intellectual Project,” which contains questions like:     What is the intersection of your gifts/talents with the mighty needs of the world?     At the end of your life, when you look back over your long and illustrative career, to what did you say yes?I plan to use the questions she provides therein to help encourage and bring about clarity for the focus of my project and its intent.And then I plan to get to work (at a restful pace)!

(And audio recording of this blog may be found here.)Creative teachers are sometimes labelled as people who run wild --- meaning we are people whose boundaries are too wide, whose disciplinary habits and practices are too flimsy, whose appetites look beyond what is safely seen, commonly known, or conventionally acceptable. I am a creative who has, for many years, made a practice of fostering wildness in my classrooms.I believe that the invitation of teaching is for students to join-in with running wild, i.e. create new worlds, grapple with unsolvable problems, cross boundaries as a gesture of connection and justice seeking, build stairways as we climb to uncharted heights. I have met many colleagues who concur with the aspiration of running wild! - but who are too afraid, too anxious, too self-conscious, too hobbled to risk shaping classrooms from this vision. Teachers fear that if they move from a content driven classroom to a classroom which is learner centered that then the students will run wild over the teachers! The fear is that the wildness will make a shambles of the intellectual endeavor, embarrass the teacher, and shame the institution. This fear can be tamed.Before joining a seminary faculty, I worked for many years as the minister of Christian Education at a NYC church. I revamped their large Sunday School. In this seven year process, I learned about teachers’ eagerness to teach freely, with creativity and openness and the ways that that eagerness can be snuffed out by fear of losing control of the classroom.Before the start of our fall classes, the church school teachers participated in three weekends of teacher-training using a laboratory method. During this training, we rehearsed the curriculum through practice sessions. This allowed us to get acquainted with one another, do lesson planning, develop new skills, and have fun. We learned to teach by teaching.At the first teacher meeting of the fall, I gathered the teachers to discuss their work and to reflect on the first three Sundays of teaching. After having observed their teaching for the first three Sundays, I had an overall negative criticism of their teaching. I was nervous about giving this feedback. I was anxious about their reaction. I decided to be straightforward. The eighteen of us were seated together at the table. I spoke in a warm but firm tone. I said,When I walk the halls listening to your classes, I mostly hear your voices. This means that, primarily, you are learning the materials you are teaching by rehearsing the lesson – out loud to the students. Remember our teacher training  sessions? We do not want classrooms filled with your voice. We practiced activities that invite the students into energetic lessons.(I paused in hopes they would remember the training and practice)I want to hear the voices of the students. I want to hear the children’s voices engaging the lesson with their questions, concerns, laughter, reading aloud, talking to you and one another. When the children are the primary speakers and doers in the classroom, they are more likely to learn, retain, and be engaged with the lesson.I felt the nervousness in the group rise. Two teachers pushed their chairs back from the table. One teacher folded his arms across his chest. The 5th grade teacher spoke up,Lynne, I need to be honest. You give us creative activities to do with the children, but I am afraid of losing control of the classroom if I let the children do too much talking or move around the room too much. If I do the talking, I am in control. I’m afraid they will run wild!I threw up my arms like someone had made a touchdown and shouted,YESSS! Thank you! You are exactly right! Thank you for your honesty and good observations. Thank you for disclosing your fear.This playfulness lowered some of the tension in the room. The 10th grade teacher still sat with his arms folded across his chest, and now a scowl on his face.I continued,You are right. We do not want chaos in the classrooms with children running amuck. Nobody learns when students are out of control. But we know that students learn best when they are the ones engaged in activity. The various learning activities allow them to take hold of the stories and learn by participating. Sitting quietly teaches them to sit quietly, and that Sunday School is an uninteresting and voiceless place. We want children to learn by doing, interacting, questioning, exploring, investigating, wondering, and playing. And I need you to teach in these ways.I paused for pushback. But no pushback came. I continued,Please, try some of the more creative activity options in the curriculum. I assure you that chaos will not ensue. The children will have fun and so will you.The fears articulated by the Sunday School teachers are the same kinds of fears I hear from colleagues about their adult students in college, university and seminary settings. That is, teachers fear that if they loosen their grip on a session that the students will say or do something Wild! - something unanticipated, unwanted, unhelpful, unplanned that will embarrass the teacher or show the lack of a teacher. Teachers fear that loosening control will put them in danger of being exposed as frauds or imposters. These fears are real. Sometimes these fears are paralyzing or debilitating. These fears can be calmed and overcome.Teaching, with practice, can be improved if you are willing to give up control. For many professors, this teaching tactic feels counter-intuitive and too risky, but my experience knows it to be true.If we surrender content driven approaches – then what will happen?I am pleased to report that none of the Sunday School teachers stormed out of the meeting that day. Each teacher, in their own way, slowly over the years of their commitment, learned to select the learning activities that involved arts, crafts, a wide assortment of storytelling methods, and even trips to other parts of the building. I noticed that the primary motivation for their risk taking was the feedback they received from their students.When the learners were invited to become the story tellers replete with costumes, paints, and instruments their glee was palpable. Enthusiasm grew when the students knew the lessons could include map making, puppet designing, interviews with pastors or baking the communion bread. Excited children began arriving at Sunday School before the start time and asking to stay after the end time. Teachers moved from being reticent to feeling confident when they discovered learners were not there to judge their efforts but were there to benefit from their teaching.Over the seven years, we moved away from being a place of instruction and toward becoming a community of learning – the teachers were the agents of that wild move!Consider these reflection questions:What are your creative or artistic interests and how might you bring those interests into your classroom’s learning activities?What amount of time do you need for course preparation when planning for learning activities that are multidimensional and creative?What funding is available for supplies, resources, excursions, and exhibits?Who can you partner with to create a more vibrant experience for your students?