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I am an activist educator. What this means is that I strive for justice both in and outside the classroom. I utilize critical or liberatory pedagogies as my theoretical bases. As Brazilian educator Paulo Freire said, liberatory pedagogy involves linking the word with the world. In my thirty-three years of teaching at Agnes Scott College, I have brought the things I care about, both people and policy, into my teaching. In my classes students connect with the community, both on and off campus, through practicums with local organizations and guest speakers and walking tours of the city. I work hard not to “indoctrinate” students—as if that were even possible—and to create bold spaces with my students to engage complex social and political issues. Democratic education is not “sit and git,” a phrase I recently heard an abolitionist teacher repeat to describe his resistance methods in his high school classes. It is embodied, hands-on, messy, moving, imperfect, risky, playful, and shared. The day before classes began this semester, my college announced they were extending the contract with Aramark over food service staff to the entire campus, from not previously outsourced (Facilities) to already outsourced (HVAC, electrical, and landscaping). The announcement was planned to be for Facilities only, but student leaders in our living wage campaign and some key faculty leaders organized a protest by showing up at that meeting. There is a quote from the Aramark head guy that summarizes the neoliberal take over: “Higher education needs to transform itself and get more like business and industry and understand how they can lower costs and improve service levels.” This quote exposes what James Lawson labelled “plantation capitalism” (also known as “plantation politics”), the extension of the legacy of slavery into our current economic labor relationships. My facilities colleagues are reacting with phrases such as: “We’ve been sold.” Many of us students, alumnae, faculty, and staff feel we are experiencing the caving in of whatever moral center our institution had. We are protesting as I type this blog. I have been outspoken in this movement for three decades, so students know I have firm opinions about economic justice on our campus. How do I create a bold space in the classroom for differing opinions? A favorite educator of mine, historian Howard Zinn, put in his course syllabi the following statement: This is not an “objective” course. I will not lie to you, or conceal information from you because it is embarrassing to my beliefs. But I am not a “neutral” teacher. I have a point of view about war, about racial and sexual inequality, about economic injustice—and this point of view will affect my choice of subject, and the way I discuss it. I ask you to listen to my point of view, but I don’t expect you to adopt it. You have a right to argue with me about anything, because, on the truly important issues of human life there are no “experts.” I will express myself strongly, as honestly as I can, and I expect you to do the same. I am not your only source of information, of ideas. Points of view different from mine are all around, in the library, in the press. Read as much as you can. All I ask is that you examine my information, my ideas and make up your own mind. (Failure to Quit: Reflections of an Optimistic Historian. New York: South End Press, 2002, p. 29) Whether acknowledged or not, all pedagogy is a pedagogy of place; the place of our classroom and campus, in concentric circles out, and back. This fall I began my third semester teaching a first-year required Leadership 101 course. My topic is “Religion and Economic Justice.” The beginning point is an “economic autoethnography,” a way for students to tap into their own intersectional social locations to understand economic (in)justices. The class of seventeen students is diverse, with a majority of students of color, with former refugees, international students, first generation students, along with several from single-parent, low income families. Some examples of writing prompts from this autoethnography assignment include: What is your understanding of social class from your own background? Tell a story. What is your own labor history? Your parents? Your grandparents? What institutional manifestations of classism have you seen and/or experienced? (e.g. health care, employment, education, etc.) In what ways has your social location and identity and also experience of social class and labor influenced your definition of “leadership”? What role has religion had (directly or indirectly) in your understanding of social class, classism, economic justice, and leadership? In this course students learn about our campus living wage campaign, work with a homeless shelter across the street from the college, engage leaders in local economic justice movements (the Beacon Hill Black Alliance for Human Rights, the Georgia Poor Peoples Campaign, and the film director of the new documentary No Address: Part 2: On the Criminalization of the Homeless in Atlanta) and national movements (in particular the Poor People’s Campaign: The Call for a Moral Revival). From their own personal stories, students dive into leadership stories—from student leaders in the living wage campaign, to more well-known leaders from the past or present (e.g. James Lawson, Bishop William Barber, Rev. Liz Theoharis, Grace Lee Boggs, M.L. King, Jr., Marian Wright Edelman, Hosea Williams, Dolores Huerta, Bayard Rustin, and others) as a framework for reflecting on their encounters during the semester. As we engage the real time and real world happenings of economic injustice and movements to build a better world in the here and now and for those who come after us, I want my students to wrestle, as I do, with really complex issues for which I do not have “the answer” or solution.  And I invite them, in the words of Myles Horton of the Highlander Research Center, “to make the road by walking” for “the long haul.”

From a broader aspect, school closure during the outbreak of the Coronavirus pandemic created a crisis in the global history of education. But, personally, this crisis brought about opportunities, and the pros outweighed the cons. When classes moved online, the unexpected challenges of educational disruption inspired me—more precisely, forced me—to have a critical reflection on what exactly multimodal communication means in higher education. This unique moment also made me rethink how and why physical interactions play a critical role in the process of learning. These in-depth reflections have reshaped my teaching styles and pedagogical skills, especially in my Zen Buddhism course. The lack of physical interactions during the campus closure created more devastating impacts on my Zen Buddhism class than on my other courses. This intermediate-level class guides students to learn thoughts and practices related to mind cultivation in Buddhist meditation traditions in China, Japan, and the United States. I faced a challenging task: students mainly focused on pursuing “good grades” rather than connecting their learning to the real world. Without classroom engagement, students ended up memorizing knowledge rather than developing insights. This issue is worth seriously considering for instructors. I realized that providing students with opportunities for firsthand experience is more significant than teaching them theories described in textbooks or PowerPoint slides. When we returned to the normative classroom-based environment after the pandemic, I redesigned my course syllabus and included a tea ritual to boost students’ engagement. This change aims to stimulate cognitive abilities and develop a sense of self-awareness. Lesson Plan: Students are divided into five groups. Each group selects a “host” to make tea, and other members become the “guests” who experience mindful tea drinking. I explain the procedure of tea making and each student takes turns practicing the etiquette of a “host” who serves tea. Students are required to observe their physical and mental states during the entire process. After the tea ceremony, each group discusses why tea drinking is a type of mind cultivation and whether the ritual can evoke peace and awareness. The questions that students discuss include: How does tea drinking bring about sensory awareness of the whole person (smell, vision, taste, and feeling cold or warm)? Why and how does tea drinking denote a “healing journey” from a personal aspect? How is tea making as the subject of concentration be unique, when compared with mediation? How is tea drinking in the Zen tradition different from other types of drinking culture (for example, coffee)? During the discussion, I reduce my input to eliminate the “authoritative” voice and remind students that it’s their time to share their self-discovery, which is beyond right or wrong answers. Here is what I have learned from students’ feedback. Students rediscover their sense of awareness: While comparing tea drinking with meditation, most students respond that the concentration produced by meditation is too subtle to detect. But drinking a cup of tea can stimulate multiple sensations such as smell, taste, and physical feeling. Because tea is visible, touchable, and noticeable, students feel it is easier to bring their mind and body together. Students said that they are able to perceive the whole body as a learning tool. Through the integration of physical engagement in learning, students acknowledge that bringing body and mind together is the key to producing insights. Limitation of language: When students discuss and share their feelings, they find out that language has certain limitations and their sensations and states of mind are ineffable and beyond language. Some students struggle to find words to express their feelings. A student said that seeing the world through the lens of “ritual” is very distinct from that of “textbook.” All students agree that this activity diversifies their learning resources and supports other modes of learning such as reading or writing papers. Daily activities create opportunities for spiritual cultivation: This activity enables students to extend the tea-drinking experience to reflect on their other daily routines. Students report that a five-minute tea drinking is a doable and manageable daily opportunity for stress reduction. Students also mention that the quiet moment is a time of mental purification, and they hope to create more occasions to do so. A student suggests that the college should consider providing free tea ceremonies at quiet locations around campus to improve student self-awareness and relaxation during break time, especially the midterm and final exam week. This teaching experience is meaningful and rewarding because I see smiles on students’ faces.

During my first year of teaching, I participated in a Faculty Learning Community that was designed especially for first year faculty. At one point during our bi-weekly gatherings, one of the facilitators made the comment, almost in passing, “We teach humans, not subjects.” My brain shifted gears. His statement helped me place the student in center view instead of the subject and content of my teaching. He was from the education department, so it made sense to me that he was bringing us back to pedagogy. His admonition was that we must first and foremost attend to the humans before us. The moment has stayed with me as an ongoing question—what does it mean to consider and teach the human before me, first, and my course subject, second? There are a couple workshops I have participated in that have helped me fill this in further—one on culturally-responsive teaching that builds on research in neuroscience and cognition, and another on what’s called small teaching. In themselves, these are full and rich frameworks with corresponding research and publications. Still, there are a couple key, practical, contributions they have made to my teaching that have stuck with me and help me keep the human brain in mind—and where my understanding of embodied teaching begins. The first key learning about the brain is that it cannot learn when its amygdala is activated (often referred to as the reptilian brain). The amygdala is activated by stress, anxiety, anger, hunger, fear. It is instinctive, unconscious, and controls our basic body functions, increasing our heart rate and blood flow, for example, when it senses danger. If/when our amygdala is triggered enough, it can keep us in a guarded state that makes it hard to stay open enough to learn. My students’ ability to trust me, then, at least to trust me enough so they can stay relaxed enough to learn becomes my first order of business as I attend to them as whole human beings. Attending to their amygdala is important for them to be ready for the actual task of building on their knowledge and stretching their brains as I invite them to reflect critically upon religion—which is an often-fraught subject that raises people’s defenses. This is where my learning about “small teaching” comes in—specifically the beginning and end of class. The first and last five minutes are key for easing students in and out of the learning space. I am very intentional about how I start and end the class. At the start of the class, especially at the beginning of the semester, I make sure to cover a few bases: (1) give them something to do so that they have a productive way to channel any anxious energy; (2) humanize myself to them so that they can begin to trust me a little; and (3) let them know they are allowed and encouraged to take care of themselves in our classroom so they know I respect them as autonomous beings. I have a variety of ways to communicate these things to them, but I will paint a picture here of a common scene from day one in my typical classroom. As students enter the classroom (whether physical or virtual), a slide is already posted for them to reflect on relating to the topic of the day that includes an image and two questions: What do you notice? What do you wonder? This gives them something to do while also bringing them to the present moment. Then as I call us together to start the class, I welcome them and ask if anyone has a story to share about some recent good news or something new or fun they have done recently—there are usually one or two brave souls who are willing to share about their new pet or job or recent trip. This helps us all get a glimpse of one another as who we are outside of the classroom space. It lightens the mood a little. Finally, right before we start our discussion, I let them know that they are free to move around, stretch, do what they need to do to be comfortable in the class—they can even walk out if needed. I want them to know that I respect their autonomy and support them doing whatever they need to do to be well and to stay present in as much as it is possible. Those are the first five minutes, where I try to help us arrive to the present moment and also try to build their trust so they are willing to hang in there when ideas get challenging. Then the last five minutes are crucial for helping students integrate the day’s learning and give their brain a chance to wrap things up. I never end my class with announcements or reminders—those come earlier—instead I end with a reflection exercise that gives them an opportunity to review, synthesize, or make note of any lingering questions they can bring to the next class. The point is to not send them out with an activated amygdala or hurl instructions at them at the last minute. And having the class end on a calm note is a way of setting the tone of “We got this, we are good for today, and we will continue next time.” As they walk out of class is when they most often reach for the snack box. In my in-person classes, I always bring a box of snacks that has at least three kinds of bars in it (cereal bars, protein bars, granola bars). From day one I let them know that our brain does not learn when it’s hungry and I want them to be able to learn, so they can always count on the box of snacks. In a way, my approach to teaching the human starts with attending to both the brain and the stomach —because it really is all connected anyway… right?

As a toddler, the Grammy-winning musician esperanza spalding heard Yo-Yo Ma play cello on Mister Roger’s Neighborhood and decided she wanted to play music like that. In an interview, she said it was Ma’s “total body activism during the music” that captivated her. A jazz-bassist, vocalist, and composer, esperanza moves with her music, which defies genres, and hopes to create a physical experience of resonance in her audience. As a professor of practice at Harvard, she hosts jam sessions at the studio at Harvard’s ArtLab so that participants can improvise and make music together. In her heart, she wants to be someone in “deep co-learning” with her students. How can our classrooms be spaces of co-learning that welcome creativity, collaboration, and even improvisation? How can we recognize the body as a valuable site of learning, so that the knowledge we gain would not be over our heads, but would speak to and touch our innermost yearning and desires? If this is difficult to do in an in-person classroom, is there any hope for online teaching via Zoom? Last spring, I taught an online course on Spirituality for the Contemporary World for Master students and community learners. I have learned so much about embodied teaching and learning: guided meditation, listening to music and poetry, art appreciation, rituals, Tai Chi, cross-cultural discussion, and much more. I want to reflect on a few memorable moments from the class. I invited Professor Cláudio Carvalhaes to speak on “The Pandemic and the Re-imagination of Rituals” because I knew him to be a creative teacher, preacher, and liturgist. Carvalhaes discussed the relation of ritual to our body and earth. He shared his experiences of leading workshops on liturgies on four continents of the world, which led to the book Liturgies from Below. At a time of crisis, he said, it is important to draw from the experiences of the community to craft liturgies and prayers that respond to the people’s needs. At the end of the presentation, he invited students to offer prayers with the movements of their bodies. He explained what he was going to do and invited students to warm up by standing, shaking loose, moving from side to side, and turning around. He demonstrated how to do these to ease the students. Then he picked up his guitar and sang four stanzas of a song. As he sang the first stanza on happiness and thanksgiving, he invited students to move to embody memories of happiness and joy. Similarly, he sang the second stanza on sadness and the third one on anxiety and invited students to imagine movements to express them. In the final stanza, he closed by asking God to hear our prayers, which were all in our bodies. During the pandemic, feelings of grief, helplessness, and uncertainty are stored in our bodies, as the book The Body Keeps the Score says. Acknowledging these feelings through movements of prayers helped us to connect with these emotions. Doing this together made us feel less alone. Students appreciated the time with Carvalhaes as they were given the freedom to experience the power of ritualizing through their embodied selves in their own ways.  I also invited Episcopal priest and artist the Rev. Susan Taylor to lead a class on spirituality and art. Some years ago, I invited her to speak in my class in person and she brought a lot of art supplies with her. She wanted us to try out and create a collective art project at the end and the process was inspiring. This time, I told her, the class was online and I would appreciate it if she could include doing art in the class. She told me to ask students to have their art supplies, such as painting and drawing mediums, brushes, pieces of paper, color, palette knives, etc., on hand. She made a presentation on how arts help individuals and churches during a time of pandemic and strengthen our relationship with God. She shared photos of her art and included a detailed explanation of the process of working through a 7’x 6’ painting entitled “Skyflowers.” Introducing the process of how we would make art together, she offered a lot of encouragement for us to explore and tune out the self-judgmental voice. On Zoom, we could see her painting in her studio, adding shades and layers of colors to her work. We spent some time creating our own art and afterward we shared our experience of making art and what this meant to us. We also discussed how to include art in our own spiritual life and ministries. The brief moment of creating art transformed us from spectators to participants. It was wonderful to see students trying to express themselves in new ways and hear what art evoked in them. Since the class met for an hour and a half in the evening, I decided to teach Tai Chi movements for several minutes in the middle of each class. I began by teaching simple Tai Chi exercises so students could understand the principle of balancing Yin and Yang in the movements. I also posted a video from YouTube so that they could follow the exercises if they wanted to practice more. After we practiced these exercises in several classes, I was able to teach them several Tai Chi movements by breaking down the steps. Even though we practiced only a few minutes in class, a student was motivated to learn further about the practice of Tai Chi. We easily succumb to Zoom fatigue in online classes when teaching is didactic, usually with a PowerPoint presentation, and students become passive onlookers. But there are many ways to expand the possibilities of sensory experiences, even in a Zoom meeting. esperanza spalding invites us to think about teaching as embodied adventures. I have been stretched and learned so much from my co-learners.