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My absolute favorite way to teach is sitting around a camp stove on a bed of pine needles with students eating mac and cheese and laughing about the day’s challenges. If I’m lucky, my favorite wool socks are on my feet and the hat my friend Tess knit for me is on my head. If I’m really lucky, the students have moved from “That canoe carry was so hard!” to “I was thinking this afternoon about the point Belden Lane makes in the chapter on struggle as teaching us attention and indifference…”As much as I enjoy taking students outside for my regular semester classes, taking them through immersion courses—usually a week backpacking, sometimes canoeing—is a whole other level. All the good that happens in an outdoor session on campus is enhanced by being outdoors for a whole week or more. Students forget that they’re in class, become curious, and learn rather than ask me repeatedly if they’re doing the paper “right.” Students are less distracted on these trips, more able to focus on readings, reflections, experiences, each other. We all feel like we’re getting away with something, and we play, which makes us even more curious and open to learning. We are all more alive in the world. My teaching and my students’ learning becomes more attentive, more responsive, more active, more unpredictable in the best ways because that’s the reality of life on the trail: wild, unpredictable, active, requiring attention and response.All of these things happen, but for this post I’ll focus on just one aspect of the immersive experience: how present students become and how much that positively affects their learning and, more significantly, their lives.Two aspects of immersive outdoor trips especially facilitate students’ presence in their own lives. First, the places I backpack with students usually have no cell service, and I take their phones anyway, requiring them to go screen-free for the duration of not just the trip but the Jan-term (three weeks). Many of us make rules about devices in our classrooms and enforce presence for three hours a week, but imagine how the extended absence of their devices, the immersion into the non-virtual world, brings students into a more sustained experience of attention and therefore a deeper experience of presence. Students are not distracted by people who are not physically present. They cannot spend time staring at a video, leaving their reality behind. The things that distract them from their learning must be more interesting than those on a screen. Students tend to be much more engaged in their reading and read with more focus and depth on these trips, too! Without the numbing kinds of distraction available, students find themselves paying attention to their world and their community—each other. Their minds might wander, but they wander in ways our minds were meant to wander, making connections and noticing the world and the people around them, discovering the humanity of others and reaching out to meet needs they wouldn’t otherwise notice. They may even perceive internal movements of their own souls.The other aspect of the immersive trips that makes students so present is the pace of the trail. We are only ever doing one thing at a time. We’re hiking or sleeping or cooking or eating or playing or sitting around a campfire with one another, but never two of those at the same time (well, we can eat and do most of the other things at the same time, but these are undergraduates we’re talking about). Those are also the only things we do each day, every day, day after day. The pace and the rhythm slows us all down. We can focus. There is nothing vying for our attention. We just have to walk awhile, attend to our feet, attend to the person beside us.What happens when students are present, then, is an exponential increase in learning. Imagine conversations that last longer than thirty seconds because students have read deeply and brought questions and thoughts about the text. Imagine real conversation with real listening to one another and building ideas together because they are not wondering in the backs of their minds about who is texting them or what other conversation they are missing out on. Imagine a full day to ponder and digest the ideas of the previous night, a whole week for the course material to sink deep into students’ bones as they engage it with different people in different conversations over and over with nothing else to do but go for a walk and chat about it.Perhaps backpacking with students is not an option for you, but I imagine some kind of immersive experience is. Could you require a weekend retreat without phones and with a manageable amount of reading you do while at the retreat? Could you schedule even a single day immersion with students? Could you take them to a museum, take their phones, and give them a single task they have to do for several hours, slowly? Could you assign them a weekly meal where they have to be present to one another? May you find your immersive classroom and come to know your absolute favorite way to teach, with or without the wool socks.

I finally went to my primary care doctor the other day and proceeded to unload about three years’ worth of pent-up ailments upon her. I'm losing my hearing! Do I have early-onset dementia? My right knee hurts! Can you test my thyroid? I think I have diabetes! What is this weird bump? My pinky is numb! Is my heart rate normal? Am I a hypochondriac?! This poor woman.I’m pretty sure she diagnosed me with a very serious condition called… “aging.”I’m turning forty this year and suddenly, it seems, I find myself routinely waking up at four a.m., taking a handful of vitamins with breakfast, and grumbling about “kids these days.” The skin on the back of my hands has turned to crepe paper. The other weekend I didn’t go watch a friend’s band play because the show started WAY too late. Readers, it started at nine p.m. I fear it can no longer be denied: I’m getting older.It’s not that I don’t spend time thinking about bodies, including my own. I’ve read books such as Minding Bodies: How Physical Space, Sensation, and Movement Affect Learning (Hrach, 2021). I teach courses on disability and race—two classes in which the body comes up a lot. I emphasize to students that religion isn’t just about beliefs; it’s enacted and embodied amidst a material world too. I know I need a snack in the middle of my Mon/Wed 9:35-10:50 a.m. class or my stomach will let out a series of plaintive whale songs. I’ve dealt with decades-long injuries. I’ve suffered from long COVID. People I love have died. But, oddly, I haven’t thought all that much about aging, or its relationship to my work, until more recently.Part of this odd oversight may be that aging is pretty embarrassing sometimes. Kids can literally fall out of a tree, get up, and walk away just fine; I can pull my back, and need to take it easy for a week, because I reached too far trying to plug in a lamp. This isn’t exactly the kind of story I want to broadcast at the monthly department meeting. Part of it may be that it’s hard to admit, perhaps even to fathom, just how much our lives are affected by this “meat suit” (as my yoga teacher calls it) that is only ours temporarily. Part of it may be that professors tend to work late into life—and so aging doesn’t seem all that relevant to my professional world. Part of it may also be that, because faculty are constantly encountering a turnstile of younger people in our classes, it may be easy to forget we ourselves aren’t forever young. I still feel only a few years older than my students (especially whenever I can sense the presence of free pizza nearby). Part of it too may be that we fancy ourselves living “the life of the mind”—even if it’s a big lie or hell, for a lot of us—and the mind can seem ageless (though the other day I stood in front of my bathroom sink and couldn’t remember which handle was for hot, so….). Part of it is denial, I’m sure.Aging brings up a bunch of considerations—and not just about the indignities and rebellions of a body I can no longer (could not ever?) control. How do I continue to do this work well when my mind is no longer as sharp as it once was? (And what does “well” even mean? Perhaps such notions change over time….) What do I have to offer to my colleagues and students, now that I am no longer fresh out of school? How do I make my own meaning, when the milestones and achievements of the earlier years (e.g., get a degree, get a job) have passed? How can I stay relevant in a rapidly changing world, around those same youths I mentioned above? How can I remember where I put my glasses?!? What are my new goals, what am I aiming toward, where is the forward momentum coming from now? How do I tap into the wisdom of mentors and others who have been through this time and these transitions before me? How do I learn to live with the losses, both personal and professional, that accumulate? How do I stay excited about doing the same thing, for semesters on end? Are there really ways to beat or stave off mid-career malaise or the midlife blues? How do I do *gestures around* all of this for another several decades? These are tough questions to contemplate and I don’t have the answers yet. I’m not sure I ever will.Some of you are probably chuckling to yourselves. What I wouldn’t give to be 40 again, you might be thinking. Yet difficult wonderings can come for us at any age or stage in our career. I’m remembering a quotation my mom, who has since passed away, sent to me once: “Sometimes when you’re in a dark place, you think you have been buried. But you’ve actually been planted.” Now, maybe, is a time to grow.

Playin’ Mas’ – Intertextual Oz As a person of Caribbean heritage and a scholar of Caribbean and African Diasporic studies, I see elements of Trinidad and Tobago’s carnival in accounts of Geoffrey Holder’s approach to envisioning The Wiz. It was Holder’s costuming, first iterated in sketches, which led to the choreography and storytelling of the The Wiz. As in the tradition of “playin’ mas’” (playing masquerade), movement, music, and costuming are intimately connected. The look and construction of the costuming plays a large part in determining the movement. The cyclone which whisked Dorothy away could be conceptualized as Oya, the Yoruban orisha of the whirlwind and guardian of the cemetery. This reading brings a sensibility to the Oz myth which opens it to other possible readings of text in context. Here, I am thinking about the tragic real-life history of1 expansionist national policies towards “western” landscapes in the late nineteenth century which saw the displacement of Indigenous people. While Baum’s narrative does not overtly touch on this aspect, Oz is peopled by different sorts of beings vying for sustainability given the tyranny of the wicked witches.This musical theatrical production was adapted as a film in 1978 with the same name, The Wiz. Plot elements were adjusted to accommodate an older Dorothy, now a teacher, played by Diana Ross. Set in an urban landscape, Dorothy’s snow cyclone travel to Oz lands her in a dystopian New York City. The Scarecrow, played by Michael Jackson, delivers a powerful lament about injustice in a new song introduced in the film called “You Can’t Win.” The song “Home,” like its parallel “Over the Rainbow,” is the movie’s emotional heart and center followed by Lena Horne’s Glinda the Good’s impassioned anthem for self-awareness, “If You Believe in Yourself.”The Wiz reboot of 2024 features a younger cast in which Dorothy’s companions on the Yellow Brick Road are her peers in age. In media interviews director Schele Williams noted that Dorothy, played by Nichelle Lewis, finding community with similarly-aged companions is relevant for a twenty-first-century social context. Williams sees the finding of one’s group of affirming and encouraging peers as a central task of contemporary life.What does it mean to teach the mythos of Oz twenty-five years after I first contemplated doing so while designing a course which I introduced in 2000? Twenty-five years ago, I focused on how Oz represented changing geographical and cultural landscapes at the turn of another century. The movement from a mostly rural population to more people living in cities was a salient feature of the late-nineteenth and early-twentieth century in the US. Oz, a prison drama television series of the same name was also popular during its six-season broadcast from 1997 to 2003. Where was “home” for incarcerated persons?As a class, we discussed the hero’s journey with reference to the work of Joseph Campbell and its relevance for science fiction and fantasy narratives including Star Wars (1977) and The Matrix (1999). The course contrasted this search for home with diaspora identities and religious traditions where the search for home complicates Dorothy’s assertion that “there’s no place like home.” Other retellings include Geoffrey Maguire’s 1995 Wicked: The Life and Times of the Wicked Witch of the West, which is based on both Baum’s 1900 novel as well as the 1939 MGM musical. A Broadway musical called Wicked based on Maguire’s book premiered in 2003. Here the Oz mythos is retold from the point of view of a character who is usually positioned as Dorothy’s arch nemesis.The Oz mythos remains a rich field for exploration in religious studies classes. It is still eminently teachable today. The text’s multiple and continued readings and reinterpretations, across a variety of genres, make it especially suitable for study. Students are exposed to the concept and practice of intertextual reading, and to the subfields of film and religion and visual cultural studies. These in turn allow for the study of shifting cultural signifiers and the enduring legacy of powerful stories. Teaching Oz in the twenty-first century allows for continued exploration of the meaning of home, community, and individual and collective journeys in an ever changing and shifting geographical and cultural landscape.There are many metaphorical yellow brick roads. I would want students to explore North American S/F (speculative fact and fiction) and fantasy literatures and their intersection with religious studies. Situating Oz as an important (although certainly not the only) origin point for fantasy literature in a North American landscape including its tensions, contradictions, and continued troubling legacies would be a richly rewarding teaching and learning experience. Oz should be put into dialogue with the texts of Octavia Butler, for instance. In my past teaching, I taught Oz alongside the imagined worlds of Star Wars and the emancipatory visions of Rastafari. Teaching Oz opens possibilities for journeying through visual and textual studies and exploring their meanings in comparative contexts.

An audio version of this blog post may be found here.It was the first morning of my vacation. The restaurant at the resort had a waiting list for breakfast patrons. The hostess took my phone number and said I would be called when a table opened. I thanked her and walked to find a comfortable spot in which to wait. Not far from the dining room, guests could choose to linger in any of three adjoining rooms--the bar, lobby, or library.I chose to wait in the library. The room was ringed with mahogany shelves carefully adorned with books and creative objects.  Statues, framed paintings, and board games were on display. The room reminded me of magazine covers from Architectural Digest or Good House Keeping. The many chairs and couches were positioned to invite guests to linger in small groups, or to simply sit and read. I picked a chair facing the wall of windows. The windows provided a view of the sprawling pasture setting. I noticed a scrabble board was set on a table near the windows and a chess game was set at another table near the entry door. I, indeed, felt as if I was visiting a friend or relative’s home.As I waited, not because they were loud or intrusive, I overheard a grandfather teaching his grandson to play chess. The boy was about six or seven years old. With the grandfather seated on one side of the board and the boy, kneeling in the chair on the other side, the granddad invited the boy to make the first move. As they played, the grandfather patiently explained the way the boy might move varying pieces. Several times, he encouraged the boy to consider a strategy. At the end of the game, the grandfather showed the boy how to reset the board for the next people who might want to play. I overheard the grandfather say he had taught his daughter, the grandson’s mother, how to play chess when she was about the same age as the boy.Even when I am on vacation, I am thinking about and identifying teaching moments. This tender teaching moment between grandfather and grandson was poignant, delicate, and beautiful. It was not extraordinary. Its beauty was in the ordinary occasion of a grandfather taking time, one-on-one, to play with his grandson.Some of the best, most tender, teaching occurs one-on-one.Classrooms can be marvelous arenas for superb teaching. Classrooms can be sites where the relationship between instructors and learners transforms. Equally ripe with possibility and beauty are the one-on-one relationships between faculty and students which happen beyond the classroom. Teaching students in one-on-one modes has the potential to assist students in ways that the classroom encounter cannot. The opportunity of a sustained conversation with one student can sometimes lead to a long-lasting, life-changing connection.While I was on a faculty, with intention, as part of my teaching agenda, each year I chose to work with a student teaching assistant (TA) and a student research assistant (RA). I considered these relationships with students as key to my teaching responsibility as the courses I taught in classrooms.My practice was to meet weekly with each of the two students to facilitate our prescribed tasks. Then, once a month, if the students were interested, I would convene them for a meal to discuss larger theological issues, hear how they were managing in the day-to-day reality of graduate school life, and encourage conversation about their occupational aspirations and dreams. My aim for these one-on-one relationships was to aid their health and success.I honed my listening skills by teaching one-on-one. Spending time in one-on-one conversations allowed my primary focus to be on the questions, curiosities, abilities, and perspectives of the student. These one-on-one relationships allowed me to make stronger recommendations for further graduate study, employment options, or give my opinion about life’s unexpected twists and turns.  A regular dimension of this kind of teaching was when I was able to write very considerate, in-depth, letters of recommendation for my students because I knew the student as a person and not just as a student who had done well in my class. Occasionally, if there was trouble, my relationship with the TA or RA allowed for convincing intervention or advocacy.My practice of intentionally constructing ways of working one-on-one with students comes from my own experiences in graduate school. When I was in graduate school, the professors for whom I was their TA and RA became my career-long mentors and friends. The three-faculty people who I worked closest with in graduate school have been influential in guiding my entire academic career.Recently, I referred one of my current mentees to my mentor for guidance on an issue for which he had expertise. I told my mentee that I was putting them in touch with their “grand-mentor.”Through these connections I know I am a better teacher and colleague. Last week, a mentee who serves on a university faculty and just received tenure, called me and asked me to talk with one of their doctoral students. I was delighted to assist. Just like grandfather was so glad to teach grandson, I am overjoyed to reach out and support a student of my student.