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Museums were a significant aspect of my childhood education. Living in Philadelphia, we were a family who regularly visited museums and historic sites. Saturday family activities, summertime daytrips, and adventures when out-of-town relatives visited, would typically involve museum excursions. The spring field trips by George Washington Carver Elementary School, funded in-part by monies raised by the parents’ organization, were, joyfully, to the museums. In the 5th and 6th grades, respectively, my parents enrolled me and my brother in Saturday enrichment classes at the Franklin Institute. By high school, we had regularly visited the: Philadelphia Art Museum, Franklin Institute, Please Touch Museum, Pennsylvania Academy of the Fine Arts, Betsy Ross House, Academy of Natural Sciences, Carpenter’s Hall, the African American Museum, and several neighborhood museums. All this is to say, museums were an integral part of how I learned as a child. Then, in college, graduate school, while serving local churches and while on the faculty of a theological school, I only sparingly incorporated museums into my teaching or research. Yes, I planned the occasional field trip, but museums were not vital to my teaching. Museums were not part of my pedagogical repertoire.  With delight! - museums have returned to my awareness.   I have had the good fortune to visit the National Museum of African American History and Culture, Washington, DC, twice within the past six weeks. These two visits have given me a renewed appreciation for museums and the ways they can and do nurture our curiosity. While visiting the museum, I experienced the power of exhibits to interpret the stories of people. On both visits, we were hosted by Eric Lewis Williams, Ph.D., Curator of Religion at Smithsonian National Museum of African American History & Culture. Dr. Williams curated the exhibit, “Spirit in the Dark: Religion in Black Music, Activism, and Popular Culture.” The exhibit brilliantly and provocatively suggests the myriad of ways in which religion is a part of the cultural fabric of African American experience. As Dr. Williams designed, the viewer’s imagination is captured through photographs, objects, and depictions which makes the exhibit a marvel.  With Dr. Williams’ help, I experienced a kind of magic and majesty in the stories told by the artifacts.  I viewed, and sometimes handled, objects, relics, remnants, and fragments. Being able to discuss the exhibit, and its design, with the curator - was riveting. The exhibit prompted new perspectives for even the most familiar cultural story. It was fun. It was intriguing. I was wowed and was led to epiphanies! How, rather than planning courses, might we design learning experiences for our adult learners? Since returning to my desk, I have continued to dialogue with Dr. Williams. I am curious about the ways religion and theological classrooms might be strengthened through partnering with museum educators, curators, and administrators. I want to know more about curating, archiving, conservation, and material culture so I can improve my own teaching. I want to better understand collecting, and the ways storytelling through artifacts might be added to adult classrooms. Dr. Williams and I are thinking together about ways the Wabash Center might engage these kinds of questions: What would it mean for the Wabash Center to support faculties to explore ways of incorporating museums into their undergraduate and graduate level curriculum? What could be the role of museums in theological education for the preparation of congregational leadership; for teaching religion in the public; for more interactive educational experiences? In what ways could religion scholars assist museums in their interpretation and presentation of exhibits? What does it mean that, increasingly, critical interpretation of religion and theology is encountered by the public in museums? What if the work of critical interpretation employed in our classrooms is enhanced and enriched through the storytelling approaches of museums? In what ways can we learn to incorporate archiving, curating, conservating and exhibiting into our course design? What can be learned from museum pedagogies to strengthen religious and theological education? Given the prospects of enhancing teaching through museum education practices and visits, and since many professors spend their summers involved in course planning, I encourage you to consider spending part of your summer in museums and historic sites to: get to know museum educators get acquainted with museum curators and administrators enquire about exhibits scheduled for display in the fall and spring semesters plan for certain artifacts to be brought to your classroom during the semester enroll in a workshop offered by the museum learn the ways museums educate the public on your scholarly interests take notice of the many ways that museums make use of digital interaction in order to tell stories rethink and redesign an upcoming course imagine learning activities, student assignments, and excursions that invite students to become curators, archivers, and create exhibits Find the museums on your campus, in your town or city – and have fun!

When utilizing embodied pedagogy, I am constantly aware that my own experience and positionality is limiting. I am a white woman from the southern part of the United States who is currently living in Denver. I have traveled some and have lived in several cities around the United States, but I have never lived abroad. I teach seminar-style classes where dialogue is prioritized and my students speak often. When creating my syllabi, I assign readings that represent a diversity of scholars, and which are mostly academic in focus. But even though I prioritize these things, it is impossible to represent all voices and perspectives in one course. I want to bring in stories and experiences of people from around the world, though, and I want these voices to enter the classroom, to be part of our dialogue. One way that I attempt to do this is to assign novels. Through these readings, fictionalized bodies enter the space of the classroom and allow us to broaden our view of various topics. Last quarter, I taught an introductory level course called World Christianities. One of the course objectives was to outline how Christianity grew from a small group of Jesus followers in a specific region of the world into a global religion with devotees around the world. A second objective was to acknowledge how this transition happened through violence, missionary work, colonialization, enslavement, and various forms of manipulation. To cover a topic like this in a 10-week quarter felt overwhelming at first, and I began to think of authors that I could include who could speak to the distinctiveness of Christianity in a part of the world that is distinct from my own teaching context. The novel I chose was A Grain of Wheat by Ngũgĩ wa Thiong’o. The story is set in Kenya in the 1950s and 60s, during the Mau Mau rebellion and the fight for Kenya’s independence from Britain. The main character, Mugo, spends time in a detention camp run by British colonizers, and he struggles inwardly with his interactions with colonizers, even though his village views him as a hero. Through this fictionalized story that is based on historical events, Ngũgĩ reveals the complexity of his own experiences living in a colonized place like Kenya. As Ngũgĩ discusses in this piece, choosing to write in English, the language of the colonizer, is itself a political decision. Ten years after writing A Grain of Wheat, Ngũgĩ decided to only write in Gikuyu, his mother tongue and the language of his community. I encouraged students to read this novel throughout the course, and we discussed it together during two of the final classes. During one session, we focused solely on the experiences of the characters in this novel. We used the narrative to imagine their experiences and also the ways that Christianity impacted their lives. On the one hand, many characters in A Grain of Wheat were impacted negatively by the impact of Christianity, especially as it was entangled with colonialization. On the other hand, some characters embraced aspects of Christianity and were empowered by certain biblical stories. For example, Kihika (who becomes a martyr after his death) carried a Bible with him and underlined passages of importance to him. After his death, the Bible is passed along to his family and friends who reread the passages he underlined. The text becomes a source of hope to the community. I assign novels in other classes as well. In a course I teach called Women, Gender, and the Bible, I give a list of possible novels that the students can chose from in order to follow their interests. For this class, I include novels such as The Handmaid’s Tale, Parable of the Sower, and The Color Purple. When we discuss the novels, I put the students into discussion groups according to which novel they chose. I then dedicate a class session for the groups to introduce their novel to the rest of the class. The goal of their presentation is to “convince” the other students to read this novel. At the end of the class we have a vote as to which presentation was the most convincing. Similarly, when I taught a course on Jesus in Text and Traditions, I assigned The Book of Longings to provide an imaginative view of the ways in which women could have been involved in Jesus’s life and ministry. Assignments like these have been beneficial additions to my syllabi, and they illustrate my pedagogical goal of creating classroom spaces that include a variety of perspectives as a way of encouraging dialogue. Fictional characters are embodied characters. The experiences they bring into the classroom enhance the content of the class in a number of ways. Returning to the example of Grain of Wheat, the students in World Christianities brought this novel up in their final presentations/projects and also in the course evaluations. They appreciated the inclusion of a story from another part of the world. This one novel provided them with multiple viewpoints of how Christianity impacts a community. In the space of the classroom, these fictionalized bodies came to life and spoke to us about their experiences. In a way, characters like Mugo and the novelist Ngũgĩ joined our classroom and dialogued with us, sharing their experiences and listening to ours.

Scholarship through Performance – Part Two When I started to think about a play, I never imagined how hard it would be. To write/perform a play to bring my clown--a new entity--into existence, is a lot of work. I have a theater director working with me and he tells me to think from my body. We talk so much about bodies but we are so often consumed by our brains and mind. My Brazilian teacher, Luis Louis, tells me repeatedly: “Cláudio, you think too much! Do something first, then you can think.” Oh, this process is literally painful. I asked my teacher to be patient with me as I will struggle through this process of learning. I am learning with my teacher that I have to feel what is within me gaining form and shape, life and spirit! I have my clown living within me, but I must give birth to it! In order to do that I have to play with the movements of the body, with images, and with objects, clothes, hats, etc. And my teacher asks me many questions: How does this clown act alive on stage? Does he speak, and if so, in what language? Does he have repetitive body movements? Does your clown have large or small gestures? What is the heart of the clown composed of and what makes the clown alive? My teacher said: You bringing your clown to life is like your clown throwing a bucket of water into a world on fire, believing that you will be successful. Everybody knows that this is impossible, even ridiculous, but your clown does not know that. He wholeheartedly believes he can do it and will do it, no matter what! That is his gift to the world. The portion below shows my thinking process in engaging different forms of knowing, doing, teaching, and performing. This is how the play started to get a form and shape.   Main Theme A clown called Pachamama discovers that the Gaia, the earth, is hurting, and goes around the world feeling its pain and struggling with climate disasters. He then discovers that he is Gaia and a part of it. The show is made of several skits that compose a story and a trajectory (still undefined). Everything is yet to be fully developed and needs to go through the test of practice. In each scene I want the clown moving with death and life, disaster and possibilities, sadness and joy, responding to everything with its usual clumsiness, stupidity, awkwardness, sincerity, naiveté, joy, beauty, etc. With this show, I want to help people find courage to go deep into climate disasters and find agency, hope, and faith in the midst of it all, rather than running away from it. In the end I will honor Prof. James Cone and Union Seminary, who shaped me in so many ways.   Major Influences My father, Charles Chaplin, Laurel and Hardy, Emmet Kelly, and Slava’s Snow Show A Metaphor Emmet Kelly carrying a bucket of water in a circus on fire. “Seventy-two years ago today, in Hartford, Connecticut, someone photographed a clown carrying a bucket of water toward a fire. It’s a surreal image, haunting in the old black-and-white way. The clown is stepping through an arid landscape littered with what appear to be wooden crates, a lone railroad car, and the suggestion of bleachers. As clowns go, he’s the sad tramp kind, a pained grimace on his face. In front of him, to the left, someone is exiting the frame—a portion of a leg is visible—and the clown follows, gripping his bucket, exuding dread. He’s heading toward something unseen and tragic, something almost ghostly.” - William Browning This show is precisely this: the show is about a clown carrying a bucket of water to help the earth that is already on fire.   Place This is a theater play to be performed at Union Theological Seminary in NYC. The chapel has no fixed seating so I hope to have people sitting on two sides of the chapel (or in a U shape) with the play happening in the middle. The space has some lightning that I can use. Here is a picture of the space. How is this all going to be and happen? I have no idea. One thing, and one thing only, I know: this is much bigger than me. It scares me so much! I hope that with practice anxiety will turn into a certain trust and that as my clown starts to move, I will feel more confident. I will let you know how it goes.