Resources

I’ve been doing some nonfiction creative writing recently (you can see my latest piece here, if you’d like). And it’s been an interesting exercise in curation, a term most closely associated with the world of art history, but now used all over the place. When writing about a real life, you have so many precious details, nuances, characters, memories—and you have to carefully select, and then organize, which of those are most important, which will then be preserved in the (perhaps someday published) story you aim to tell. Of course, we curate all the time, not just in art galleries or storytelling. What do we take care of? What do we retain or prioritize or foreground? What do we exclude? What are we missing? When someone asks us how we are doing, so often we simply default to saying, “Great, and you?” regardless of whether this is actually how we feel. We curate what news we consume, what friends we spend time with, what food we put in our bodies. We curate in partnerships and parenting. We curate at work. And we curate in our teaching. Think about which parts of yourself you disclose to your students. Think about what activities and assignments you make space for on the schedule and which you don’t. Think about what concepts or skills you think the students can handle, or need, to learn at any given moment in a course, and which will have to be saved for another time. This is all a form of curation, I would argue. I often say that a syllabus is more about what doesn’t make it in than what does. Especially in introductory religion courses—we have to leave out so much! (And, of course, with the material that does make the cut, like a curator at a museum, we have to think how to structure that material into the “narrative arc” of a course—a concept I, as a writer, love.) We only have so much time and energy. We can’t do it all, folks. There are all sorts of criteria for curation in the classroom—our areas of expertise, our personal interests, the course’s learning objectives, the level of the students, the institutional mission—but those aren’t my focus here. What I want to muse on is the dark side of curation, which I think social media aptly represents. (This is one of the main reasons I stopped using social media over a decade ago.) Curated content can give a false, and unattainable, impression of perfection. (How often do we feel badly about our own lives when we see the seemingly flawless lives depicted on others’ Facebook or Instagram accounts?) Curation can elide or obscure process. (How many photos did it actually take to capture that one where the whole family was smiling?) Curation can seem to emphasize singularity or definitiveness, over nuance, messiness, options, multiplicity. Curation can make matters appear finished or settled or completed. Curation can feel closed. I imagine these impressions can have some negative effects on students. Perhaps, when we cut out debate or history or context—that is, the messiness, the details—students are left with problematic notions about the study of religion (e.g., that there is a singular definition of the term) or specific religions (e.g., that Hinduism is all about karma and dharma). Perhaps students wind up not understanding the extensive, nonlinear, trial-and-error process that’s required to acquire important knowledge or skills in our field. Perhaps they feel ashamed if they don’t understand the reading for the week or if they bomb the only test. Perhaps they look at the example essay and think, “Maybe this whole college thing isn’t for me.” Curation is necessary, common, and often beautiful—but it can carry some risks. How might we dodge these downsides in our teaching? Here are some strategies I’ve tried, to pull back the curtain a bit for students, while accepting that I must inevitably curate the learning environment and experience to some extent. For starters, I sometimes talk about how I went about creating the syllabus and how (and why) I decided what to include and what to leave off. Or I mention what I’ve done in past courses and why I’ve changed my approach. I point out mistakes or typos in the printed works we read. I show students drafts of my own articles and (often quite critical) peer-review comments, as I’ve mentioned in this blog before. When I want to provide a model for a particular assignment, I try to give multiple examples (rather than one, which they may then feel pressured to simply emulate) and/or annotate the example(s) with both strengths as well as areas of improvement. I assign authors or speakers with different, sometimes totally oppositional, viewpoints, so students understand that there isn’t a single correct view to hold on any given topic. I provide examples of the differences between the aspirational, ideal, “authoritative,” or textbook version of a religion and the various ways that real people are going about, living their lives, around the globe and at different times. If we don’t have time to get into the depth or nuance of a particular topic, I still make a point to underscore, repeatedly, the complexity. I admit to some of my own struggles with the readings or tough topics. I tell them about my own undergrad experiences. I say when I don’t know. We talk about what’s happening around campus, in town, or around the world, and how appearances can differ from reality. How do you experience the concept of curation in your own teaching? And what are some ways you can retain the benefits and beauty of curation, while also avoiding its pitfalls?

Proponents and practitioners of multisensory learning are experiencing a loss as it becomes clear that the shift to virtual and hi-flex learning has become a norm in many institutions, not the short-term solution it once seemed it would be. How can we learn in an embodied way when all we can see is sea of talking heads? How can we use all of our senses when half, if not all, of the class is on a screen? We experience grief at the loss of favorite lesson plans and the ability to observe the shifts that take place when learners engage with their whole bodies. The initial thrill that we could still at least do small group discussions using breakout rooms has long since worn off. When can we get back to embodied learning? In truth, we never stopped. The bodies have always been there behind the screens. We just have to find new ways to get materials into learners’ hands and trust that our entire bodies are learning even when we can’t share space with one another. I used to have an insuppressible grin on the days that I walked from my office to my classroom laden with Play Doh, markers, construction paper, and any number of materials my students associate more with Sunday School than graduate school. Although I can no longer count on the ability to spontaneously distribute craft materials, I can still make use of them so long as I plan sufficiently ahead. Unique materials can be sent in the mail and a good “care package” can contribute to building community at a distance. If I know (or highly suspect) I will be using easily acquired materials such as crayons in a course, they are now a part of my required “book list.” My first-year students are particularly surprised that they will need six colors of Play Doh for their introductory Bible course! I have discovered that in addition to making sure students can learn with their senses from any location, making sure that everyone has a similar collection of creative implements sets the tone for the learning community we are about to create. A playful tone is present from the outset without the need to wait for a particularly exciting lesson plan. Learners also experience viscerally the usefulness of having such materials at the ready. I used to be the one who always had chenille stems on hand; now we all do. With easy access to a variety of materials, students can create models and symbols to express what they are learning whether the entire class is in one group or doing small-group learning. Even without physical materials, shared control of the virtual whiteboard can allow a learning community to communicate collaboratively using multiple senses. The digital format does not limit us to expressing ourselves with words alone. We can color-code Pentateuchal traditions or create images for our understanding of theological concepts. Once everyone has multisensory materials available to them, the initiative for embodied learning can come from anyone in the community. When learners take the lead in designing course material or creating a learning activity, they can anticipate, like I do, that everyone will have the basic materials at the ready to learn with their senses. This provides the necessary support and encouragement for learners to become leaders in embodied education. They are freed to develop creative lesson plans for class presentations and leadership because they know that when they come up with an idea they can run with it. I have had keener student leaders think far enough ahead to mail supplemental materials to the entire class in their homes, while asynchronous learners video or photograph their results to share with one another for ongoing conversation. It is not just a relief—but a joy—that I haven’t lost the ability to play and use a variety of multisensory materials in the classroom when my classroom became partially or entirely virtual. It surprised me into giving learners more agency in including these necessary learning implements in their repertoire. The learning continues to be embodied, even if our bodies are physically distanced from one another.

What do artificial intelligence, machine learning, robotics, and other new media arts have to teach us about the teaching and learning of religious worldviews, imagination, and symbols? To find this out, a small group of scholars in religion and theology, funded by a Wabash Center Grant, visited the Massachusetts Institute of Technology’s Media Lab in the spring of 2022. They met with Professor Rosalind W. Picard, the founder and director of the Affective Computing research group at MIT’s Media Lab to learn about her latest work. The design and organization of the Media Lab offers insights into the habitus of learning and innovation. The glass building is futuristic looking, spacious, airy, and full of light. It contrasts with the nineteenth-century and more traditional architectural designs of some theological schools. On the first floor is a display of the history of landmark scientific discoveries and advances relevant to the work of the Media Lab. Throughout the building, there are posters providing information and celebrating the research done in the various labs. Researchers are welcome to join a tradition of discovery, innovation, and exploring the future. The Media Lab facilitates the cross-fertilization of ideas by housing in one building labs that conduct research of different kinds: bioengineering, machine learning, sensors, cognition, environment, space, and computer science, etc. With glass partitions, researchers can see what is going on in other labs. They can visit other labs to consult their colleagues and learn about the latest developments in other fields.   To recruit the brightest and most talented students, MIT raises funds to provide scholarships for its graduate students. We saw students and researchers of different nationalities and ethnic backgrounds working at the Media Lab. The physical environment and habitus are important for teaching and learning. In Educational Imagination, Elliot W. Eisner differentiates between the explicit and implicit curriculum. The explicit curriculum is the actual contents taught in the classrooms and labs. The implicit curriculum is the environment and ethos that includes the ways the teachers teach and interact with the students.  It is obvious that the building and design of the MIT Media Lab, i.e. its implicit curriculum, tangibly embodies its educational commitment to collaboration and transparency. It generates curiosity and new imaginations that lead to collaborative possibilities. It also encourages members to embrace a culture of transparency and communal thriving rather than competency and secrecy. When the explicit and implicit curricula of an institution and its teachers are in sync, it is easier to generate a positive learning atmosphere that benefits the students. Dr. Picard’s work on affective computing trains computers to recognize various human emotions. Picard’s team worked extensively with diverse people, including people with disabilities, to categorize human emotions in detailed and nuanced ways. Through this process, they have discovered how critical emotion is in the learning process. Positive affect such as awe, satisfaction, and curiosity contribute to constructive learning, while negative affect such as frustration, disappointment, and misconception lead to un-learning. Theological educators have much to consider about the affect we create in students. In After Whiteness, Willie James Jennings criticizes the plantation style of educational institutions. The plantation style is hierarchical and is run by the racial paterfamilias. It requires teachers and students to enter into the affective reality of white, Western institutional life. The educational space is a space of thinking, but not feeling. Students learn different disciplines but are not given the opportunities to build with the institutions. Racial minorities and people with marginalized identities often find it hard to inhabit such learning spaces. In a traditional classroom, the tables and chairs are arranged for students to listen to the professor’s lectures. Today, many professors incorporate the use of PowerPoint in their teaching. But students are still treated as passive spectators. Some professors rearrange the furniture of the room to facilitate small group discussions and interactions. What more can we do to encourage creative collaboration and co-learning? Education is about the whole person. Thomas Groome, a prominent Christian religious education scholar, calls this an ontological activity as it involves people’s ontos, their very being. Christian education includes knowing Jesus in a personal relationship through faith, but it accentuates this relationship with the pursuit of justice; that is, how one practices justice, mercy, and love. Through informative, formative, and transformative activities, education seeks to complement people’s whole way of being in the world, including questions about who they are and how they live. If we take this aspect of education seriously, our understanding of the curriculum, including its scope and context, will need to be broadened. MIT’s Media Lab stimulates us to think about an embodied model of learning in theology and religion.

My daughter looks forward to her trip to Disneyland, which is scheduled for her twelfth birthday. She listens to the stories about the park from her friends, reads the descriptions on the website and magazines, and watches numerous ads on YouTube. One day I asked her (trying to save some money), “Honey, since you already know so much about Disneyland, do you really think we should go?” You can easily imagine her screaming reply: “No way! I should definitely go! It is totally different!”  Teaching world religions for several years, one question that I try to better answer each time is: “How can I make each religion real and alive, so that students don’t see it as a concept to be memorized or something that exists in textbooks or histories, but as something that they can feel, touch, apply, and appreciate, in other words, something that they can ‘embody’?” I find this question especially important since many students have been trained to see religion as a series of beliefs and doctrines, rather than daily practices, bodily movements, and practical ways of dealing with specific challenges in life. There are several pedagogical methods I have been developing to enhance the embodied understanding of religions. There is much room for further refinement. One is providing opportunities for having sensory experiences of a religion. For example, during our sessions on Hinduism, as students come into the classroom, they will hear ancient Vedic hymns recited by Hindu priests. In another session, they would smell the fragrance from burning herbs and ghee commonly used in daily Hindu rituals. Yet in another session, they listen to George Harrison singing “My Sweet Lord,” which embodies Hindu piety and religious inclusivity with a beautiful melody and guitar sound. It is okay if students keep chatting with their friends, browse the internet, or review previous materials experiencing these things. The casual setting is intentional because I think there’s a significant value in building up familiarity with an unfamiliar religion in a relaxed setting without the pressure to comprehend or memorize information. I find these small exposures make it easier for students to open their minds and engage more intently in class discussions and lectures.  During the class hour, I utilize multiple videos to help students observe the religious practices. In particular, I ask them to focus on the sounds, movements, facial expressions, and variegated bodies of practitioners whose voices are often muted in scriptures. For example, before discussing the concepts of the Hindu sacrificial ritual, I ask students to describe whatever they see in the video of an ordinary sacrifice, paying attention to every detail they’ve noticed. Students are often surprised to learn that their simple remarks are tied to important concepts such as puja, darshan(a), symbols and characteristics of gods, murti, and rituals.  Another method that helps students experience a religion more intimately comes from hearing the voices and watching the movements of practitioners in person. For each religion, I reach out to students and colleagues who practice that religion or are coming from that background to talk about their religion. They share their personal stories, show us photos and objects, and tell us what they value most about their religion. These demonstrations add a visceral component for the students that deepens their understanding beyond the stock images we find in textbooks and the internet. Sometimes the guests also share thoughtful questions and criticisms, which adds nuance to our understanding of a religion and intensity to the class discussion. External observation of sensate practices, however, is not enough. If embodied empathy is the goal, beliefs should be experienced, too, so students can tap into the value that practitioners find in a particular religion. At the beginning of the course, I introduce the concept called “Religious Scholar’s Magic Hat.” It is a rather light form of practicing epochē and getting snippets of insiders’ appreciation of the religion. I ask students to wear this imaginary hat while we practice applying a religion’s core ideas to our daily lives. For example, after presenting an array of Buddhist teachings on suffering and freedom from it, I leave some time for a reflective task. First, students think about the things that create stress in their lives, including some of their most painful experiences. Then after writing down their answers, I ask them to think carefully about the potential causes of those sufferings, looking carefully into the deep desires that they have. After this, with the help of Thích Nhất Hạnh’s short guided meditation, we practice focusing on a single desire or emotion that rises in our minds, aiming to see its illusiveness. Throughout this mock Buddhist meditation, students can try embodying central Buddhist teachings, seeing the potential applicability of Buddhism to some of their problems.  I believe that the conscious practice of embodying religion in class, despite its incompleteness and sometimes awkwardness, helps students extend their understanding of religions. Hopefully this training enables students, when they encounter a religion of others, can practice trained empathy rather than immediately distancing themselves based on doctrinal differences. 

During our close reading of The Letter from Birmingham Jail, he defiantly asked in front of the whole class, “If you can force people into complacency, then segregation works, right? Society still functions.” I froze for a second, absorbing the gravity of the moment. My mind immediately calculated the multiple layers of that remark made within the complicated sociopolitical climate of the 2016 election season. This young white man was not just challenging Martin Luther King Jr.; his tone was intentionally challenging me as an Indian-American woman. Why? What was informing his challenge? The tension in the room was palpable, particularly as the students of color waited with bated breath for their professor’s response. This spontaneous internal calculation produced an answer that still feels like a moment of grace. After an initial pause, I responded, It’s not a question of whether society can still function, but the principles by which it functions. King is arguing that the only way a society can subjugate an entire population into complacency is by stripping them of their sense of worth; transforming them from a somebody into a nobody. This subjugation cannot be the basis of a just society. How might his claims relate to our earlier discussions of imago dei? What makes this letter prophetic in a manner similar to what we said about Moses? I could sense a collective sigh of relief in the room as the student’s initial defiance melted into greater openness. Another student immediately jumped in to offer her perspective. The discussion continued. Occurring within the first three weeks of my first year of teaching, this moment taught me to recognize that how I handle such tension either builds or destroys my credibility for the rest of the semester. While I intuitively prevented an escalation of violence by avoiding any kind of us versus them binary on the basis of race and turning all the students back to the text and shared content of the course, I sought resources that could aid me in understanding the role of embodiment and visceral responses in the classroom. In his book My Grandmother’s Hands: Racialized Trauma and the Pathway to Mending our Hearts and Bodies,[1] Resmaa Menakem argues that racism and white supremacy cannot simply be addressed through intellectual conversation. Rather, the discomfort we feel about these themes reveals how they live and breathe in our bodies. If we are born in the US, our bodies reflect trauma responses surrounding the myth of race. In the classroom in particular, racialized trauma can show up in heightened hypervigilance connected to a fight, flight, or freeze response that interrupts normal cognitive pathways. For example, the students of color in the classroom example above expressed this alarm when they waited with bated breath for my response. They were only able to relax once the questions were answered honestly without further harm being committed either against them or their peer. Menakem also proposes the idea of metabolizing trauma, which is especially helpful in preparing for these visceral moments when they occur in the classroom. First, as educators, we must recognize the intersection of our own social locations with those of the various students who make up our classes. Not only will each student relate to the content of the course from different social locations, but such social locations will involve different visceral entry points when the topic of racism is involved. Second, we must discern if our pedagogy is engaging in dirty pain or clean pain. Dirty pain is the pain of avoidance, blame, and denial. The classic example of dirty pain, Menakem argues, is “white fragility.” When talking about racism and white supremacy, white fragility is often viscerally expressed as a reflexive, protective response by which a white body avoids the pain or experience of racial trauma. Clean pain, on the other hand, is pain that can build a capacity for growth. Such pain helps us to engage our body’s integrity and tap into our embodied resilience by moving through painful realities with honesty, step by step. Accepting clean pain has two different effects. For white bodies, it allows them to confront their collective dissociation and silence. For bodies of color caught between white supremacy and anti-blackness in this country, clean pain allows for honesty regarding how these ideologies shape identities and forms of belonging in false ways. The wisdom of this approach, however, is that while all pain hurts, clean pain promises to heal generations so that we do not pass this visceral trauma on to our students. After being exposed to these fundamental concepts of racial trauma theory, I no longer fear these tense moments or see them as aberrations that distract from the lesson plan of the day. Rather, by skillfully attending to them with an awareness that the classroom asks us to be engaged in mind, body, and spirit, such moments have the capacity to heal by showing how we may better engage the hard conversations.   [1] Las Vegas, NV: Central Recovery Press, 2017.

Reclined on my large, red, comfy, couch, I was reading, The Book of Delights by Ross Gay. I was enjoying the read, and then I got to #14, entitled “Joy Is Such a Human Madness.” In this section, Ross wrote about a student in his class, Among the most beautiful things I’ve ever heard anyone say came from my student Bethany, talking about her pedagogical aspirations or ethos, how she wanted to be a teacher, and what she wanted her classroom to be: “What if we joined our wildernesses together?” Sit with that for a minute. That the body, the life, might carry a wilderness, an unexplored territory, and that yours and mine might somewhere, somehow, meet. Might, even, join… And what if the wilderness – perhaps the densest wild in there – thickets, bogs, swamps, uncrossable ravines and rivers … is our sorrow?... What if we joined our sorrows … What if that is joy? I was so taken with this idea of teaching, as espoused by Gay’s student, that I sat up, closed the book, tossed it on my coffee table and said out loud, in vernacular speak, “Ross! What you done done?” His poetic prose crystallized for me the plight of teaching as recently described by distressed colleagues. In the last several months, colleagues have reported a kind of lingering malaise among students and colleagues. The reports say that teachers and students are making efforts to continue in the routine while at the same time there is a palpable sense of forlornness, sadness, even, dread. Most of this, they say, is unspoken and oftentimes unacknowledged. One colleague said, “Students are just acting weird.” Another colleague said, “I feel like no one is able to hear anyone else.” Still another said, “I suspect this is a kind of depression, but none like I have seen before.” The conversations also told of an exacerbation. There is, colleagues have said, no singular trouble, no discrete problem, no focused event that can be blamed, fixed, nor done away with, to adjust or that would return us to “normal.” We have intuitive knowledge that “things don’t feel right,” and a confusion, reticence, unclarity about what to do and how to do. The intangible which we cannot identify, and for which our semester is so heavily ladened, is – if Ross Gay and his student are accurate - sorrow. We are burdened by collective sorrow, and we possess few institutional coping skills for this corporate onus. Our classrooms are situated in brittle times. We do not know how to navigate the depth of sorrow which enters our classrooms – either brought by our students or by ourselves. I suspect we have underestimated the collective consequences of having lived as a society on lockdown for more than a year. Having lived in mandatory isolation, and now emerging from that strange lifestyle, we are coming to know that our collective minds, bodies, and spirits are irrevocably changed – for better or for worse. We enter our classrooms as changed people tasked with discovering those changes by trial and error, by first-hand experience, or by pretending they are not there. We are ill-prepared to navigate these changes. In addition to the effects of the quarantine, like so many others, I have been staggered by the myriad of events which are contributing to our individual and collective sorrow, our inner terrains of wilderness. We know the list of recent events that have us on edge, that are strangling us: grief for the millions worldwide who have died from Covid, the violent attack on the U.S. Capital to overturn the 2020 presidential election, the ongoing triple-threat health crisis of Covid/RSV/the flu, new outbreaks of polio, the uptick of police violence caught on camera, recent hurricanes, wild fires, war in Europe, the annihilation of Haiti, the British Prime Minister debacle, mass shootings across the country, rises in domestic violence, swells of suicide in all age groups, and on… and on… We wonder if we are living through a foreclosure of democracy, and if we are, upon what can we depend for survival? Our sorrow is deep. Our inner bogs, swamps, and uncrossable ravines are expanding. We bring our expanding wildernesses into our classrooms. Ross Gay asks, “What if we joined our sorrows… What if that is joy?” Ross Gay is pointing us toward delight and joy, even amid profound sorrow. The crux is that our sorrow, our wilderness, might be better handled, survived, coped with, if classrooms, rather than ignore or pretend our sorrows away, are joined together – allow us to come together and acknowledge one another’s humanity. It is then through community that we will grapple through these new troubles – come what may. I know that for some teachers the call for classrooms to become places of community is as arresting as the current plight of our sorrow. We must redesign, rethink, recommit or continue to falter and come up short. Classrooms that allow our wilderness to meet and join might be thought to be invitations to a shared onslaught of tears, gnashing of teeth, ringing of hands, heightening distress for already anxious people; a kind of therapeutic approach to teaching for which few of us are prepared, and even fewer are interested. That is not how I hear this profound vision of teaching toward communities of care. Joy is not the antidote for sorrow.  Joy emerges when a community of persons are present one to another in times of distress, grief, uncertainty, and doubt. Classroom spaces which encourage that our wildernesses meet, and possibly join are spaces for which the communal values of listening, compassion, tenderness, and accountability are a shared priority. Ross Gay is suggesting that our classrooms, if they are going to be balm for this strange moment, are best when they are spaces of caring community. In this peculiar moment, when we do not recognize ourselves, our teaching task is to pivot away from climates of isolation, individualism, and those assignments that insist upon gratuitous stress or hollow competitions. This is a moment to call one another together in care and compassion. The joy will be in the discovery that none of us are alone as we navigate these unfamiliar, uncertain, and death dealing times.

When asked, “What was Muhammad’s moral character like?” Aisha replied: “His moral character was the Quran.” Students encounter this hadith at two moments in the introductory course to the study of Islam. The first is when students meet the Prophet Muhammad through hadith literature, the written record of sayings and actions of the Prophet. We return to the hadith the following week when students begin to explore the Quran. In our second pass of this famous narration, we begin to contemplate what it means to say that the Prophet’s character was the Quran. The idea that the Prophet was a walking Quran is at once simple and simultaneously beyond the immediate reach of the class. Students explain that to say the Prophet’s character was the Quran means he exhibited ideal virtues. This exegesis grasps at an accessible meaning of the hadith, but does not yet appreciate the concept of embodied knowledge that is so important in classical Islamic education, especially Quran education. In some respects, the notion of embodied knowledge runs counter to the kind of education students embark upon in their college years (and the whole of their education leading up to college). Most students describe the purpose of their liberal arts education as a training in a particular way of thinking—honing the skills of critical reading and analysis. But perhaps the idea of embodied knowledge is not so foreign to them. The university where I teach emphasizes “hands-on” and “experiential” learning, the power of doing to facilitate learning. Students are encouraged to study abroad, take on internships, and generally roll up their sleeves and immerse themselves—physically—in their education. So, there are some comparisons to make with students as we discuss the idea of what it might mean to embody the Quran. In this way, the institution’s learning philosophy translates to our classroom in my effort to create for students an embodied experience of the Quran. One of my goals when I teach the Quran is to develop in students an appreciation for the Quran beyond its written text (the Quran as mushaf). I emphasize the significance of the recited Quran and the place of recitation in Muslim life. As I introduce them to the art of Quran recitation, I try to create an auditory experience for the class. In doing this, I aim to cultivate an aesthetic appreciation of the recited Quran. This is an ambitious goal, one that deserves some probing. What kinds of possibilities and limitations might there be in cultivating an aesthetic appreciation for the recited Quran in the (secular) liberal arts classroom? To introduce the Quran to the uninitiated through its recitation is, first, to invite the audience to listen. Listening is itself an act to be honed. To prepare students for the auditory experience, they learn about the significant place of memorization (ḥifẓ) and the art of enunciation and elocution (tajwīd) with patterns of melody (maqāmat). Even with this preparation, the listening we try to practice in our class is complex. Just as much as opening the Quran and reading a page of text cannot convey its meanings, neither can listening to the most beautiful of recitations. In my effort to cultivate for the uninitiated an appreciation of the aural experience of the Quran, I try to create an opportunity for them to recognize its beauty. But this beauty may not be accessible to everyone. My hearing-impaired students have urged me to consider more deeply what an aural attunement to the Quran means for the deaf. For hearing students, the question of what it means to listen to the Quran can be overwhelming. In their preparation to listen, I share various sources with them (readings by Michael Sells and Kristina Nelson, as well as videos of Quran recitations where audiences physically and vocally respond to the performance). So, when students are not moved by a Quran recitation, they describe a sense of feeling left out. For them it is like standing in front of the Mona Lisa and grasping to understand its power. The Quran itself situates ways of listening in relation to the recognition of its truth. While the Quran describes hearing as a physical perception of sound, hearing is typically associated with spiritual understanding. Indeed, the Quran insists that listening requires the heart. Hearing is sutured to learning and understanding, whereas those who reject its message are described as those who “do not hear,” and those who are “deaf,” among other sensory descriptions. In one passage, those who reject God’s message are described as putting their “fingers in their ears” (2:19). At other moments, God interferes with hearing, such as when God placed “heaviness in their ears” (18:57), and “a seal upon their hearts so that they do not hear” (7:100). To listen, then, is not limited to creating an auditory experience for hearing students, but one that involves the heart. Or to put it in less anatomical terms, hearing in the Quran requires a recognition of it as revelation. In this way, the goal of cultivating in students an aesthetic appreciation of the Quran may be at best naïve and at worst problematic. Listening to the Quran for delight, pleasure, or entertainment may be an invitation to over-aestheticize the Quran—to dissolve its message into mere beauty. Listening to the Quran does not allow for a distanced observation. It immerses the listener, all listeners, in an embodied experience. While Quran recitation offers an opening into the Quran in ways that might awaken students’ interest (since it offers a break from the written word and involves their senses that are so often neglected in liberal arts classes), it is through recitation that those who hear and those who do not are distinguished by their bodies and beliefs. To expose students to the significance of the embodied Quran may be to invite them to the edge of its beauty.