Resources

During the past year and a half of the pandemic, the uprisings for racial justice, the continued fight for LGBTQIATS justice, the struggle for the rights of immigrants, and the global impact of climate change, I discovered an urgency in myself to create and to grow things as a way to resist and refuse the death dealing all around us. The realization of so many lives lost, generations cut off, and futures extinguished weighed heavier each day. As a coping mechanism, I feverishly planted things in my garden, from herbs to vegetables, and grew green things in my home. I willed each and every plant to thrive and flourish, even as I felt rage and, at times, despair about the state of the world. I wondered if others felt the same. If colleagues and students felt weary, depleted by the constant weight of white supremacy pressing down on every inch of our lives. I started asking myself if what I was teaching even mattered anymore. Did what I was assigning students to read and write speak back to the now? Did the topics we were discussing speak truth and do the work of witnessing the rage and anguish of the past and present? Did my lectures also speak into the creation and necessary intentionality of embodied joy as an act of refusing oppression in our lives? Did the classes I designed speak into the flourishing futures we were trying to co-create? Here’s the pivot. Once our institution was entirely online and I realized that as educators, we had collectively reached a level of exhaustion and depletion that would continue into the future, I craved bringing the practice of creation and spirituality back into the classroom in a tangible way. I wanted to bring back the spiritual practice that art had been in my life. In sum, not only the act of creating a piece of art, but the process that undergirds that creation. The work and discipline of noticing the big and small things in daily life and in the world as a response to so much death—death meted out by white supremacy, anti-Black racism, anti-Asian violence, heteronormativity, bigotry, and ableism, to name just some of what we were are living through. I was also sick of words. Words can be full, but they can also be rather empty. People asking, “Hi, how are you?” without actually wanting to know. Sometimes there are things you feel, things you know, things that are ancestrally grounded in you that are unspeakable because they are so real and so incredibly meaningful. Sorrows and joys too deep to speak about in any coherent or fulsome way that an outsider could understand. There are things we experience that can’t and won’t be spoken about on demand. The days that we were living in felt heavy in this way: there weren’t enough words to carry the weight of it all. I began to wonder if there was a different way to teach and participate in the expression of community and lived experiences without centering words, to instead allow the unspeakable things within to guide us in a semester-long online class. I invited Rev. Darci Jaret, a local artist and theologian in Atlanta, to teach with me and we started working on creating our dream classroom. A space where students might use visual art to think theologically about art as a spiritual practice and a necessity for doing ministry and pastoral care in today’s world. As part of planning for this course, now dubbed, Spirituality and the Arts, we decided there would be no graded written work and instead we would focus our time on accountability through shared process and artwork. Students would create six pieces of visual art which moved from their personal journey to their theological understanding of the Divine presence, to pieces inspired by artists like Gabriel Garcia Roman’s Queer Icon series and Alvin Ailey’s Revelations. We would paint, sketch, and sculpt. The pieces were connected to one another, spiraling out from self, back to community and the world, and back to the self. The final project would be a gift and blessing for another student in the class, a sending back into the world equipped to mend through a deeper appreciation of how the practice of making and praying through making changes our thinking, our theologies, and how we embody ourselves in the world. A major shift we made for this class was to let go of weekly assignments. We would take space and time for each piece of art. Instead of having pieces due each week, we gave students two full weeks to complete each piece. They were asked to manage the time as they saw fit but to remain accountable to sharing their process with the group. Each week, students were given relevant material to read and watch, ranging from scholarship on spirituality and pastoral care through art to watching documentaries about the decolonization of societies and neighborhoods through art making. We thought of the scholarly material for each week as a place for grounding and growing inspiration, raising significant questions, and challenging bias. Art and creativity do not occur or appear on demand but like any living thing, are nurtured into being through acknowledgement, trying this or that, and deep contemplation of what we encounter in the world, in ourselves, and in others. We encouraged our artists to think about and wrestle with the course material and provide video updates on their process at the end of the first week of each project. We asked them to cheer one another on as some projects were easier or more difficult for people depending on what was being worked out through each piece. We often repeated that is ok to just read and think, and to start and start over. The only thing to submit for a grade was the piece of art at the end of each two-week period. Everything that occurred up to that point was part of the practice of learning to be in community through accountable process.

We’re in the middle of a pandemic with no clear end in sight. At the same time, many of us are taking a crash course in teaching online that we didn’t sign up for, and we’re handling it with varying degrees of success. Given all that, what should we focus on during the remaining weeks of our classes? Start by taking your students into account. How are they doing? I’m at a small, Catholic college, and I’m teaching required, first-year general education classes this semester. My students were OK for the first two weeks of online classes, but they seem worn out now. They tell me that their professors were understanding at first, but then they returned to business as normal, creating a pileup of papers and exams just as the students were getting more tired and discouraged. I didn’t like hearing that. For this semester, please, don’t worry about covering content and let’s lower our academic standards whenever it seems appropriate. Let’s focus on what our students need. So, what do our students need right now? Most important, they need our compassion and patience, and they need simple explanations of critical information. Even my stronger students are struggling to retain information because they are anxious, unfocused, and tired. Many of them worry needlessly and endlessly. One girl has asked me five times whether I’ll punish her for her intermittent Internet connectivity problems. I’ve reassured her repeatedly, but I suspect she’s still worried. And all that worrying is making her even more tired and less able to learn. I now spend the first few minutes of each class checking in, reassuring them, and reviewing basic information like course registration dates. With some trepidation, I promise that their other professors are reasonable people, and I coach them on how to talk to them. I use anonymous surveys to surface their concerns about their classes and the college. We discuss stress management and try to calm down. I’ve ordered all of them to take at least one full day off over Easter. I reassure, and explain again and again. I’ve lowered my academic expectations. When my students struggle with understanding basic instructions, it’s counterproductive to assign them long and difficult readings. So, I shorten the readings, and I use videos or pictures instead whenever possible. Comparing Michelangelo’s “Creation of Adam” to Harmonia Rosales’ reinterpretation, which presents God as a black woman, allowed us to discuss many of the same issues as the feminist reading I had on my syllabus. And dropping the reading made my students just grateful enough to engage with the images when I asked. I’m also revising the content of the last part of my course. As instructors in philosophy, theology, and religious studies, we are well positioned to have existential conversations with our students. After all, such questions are at the core of our disciplines! I’m focusing on questions at the intersection of my background and the current moment: Is happiness a choice, or do our circumstances determine whether we can be happy? What can we know and what should we do in the absence of certainty? Who do we trust? Why does God allow suffering? Does suffering make us better and stronger? How can religion be a source of strength? What about people who don’t believe in God? I’m inviting my students to draw on their experiences in their papers. They are crafting arguments about why God might allow the COVID-19 crisis and about how their experiences are making them stronger (or not). They are considering ways in which the burdens, yet again, fall disproportionally on some groups and asking how that might complicate the picture. They reflect upon how the crisis is affecting their own faith and on the possibility of staying happy and resilient in a crisis. I’m drawing on texts I’ve already read and questions I’ve thought about before. I’m too tired right now to invent anything new! Your version will be different, focusing on your questions rather than mine, using texts you’ve read, movies you’ve seen, and art that has moved you. Experiment. Invite the students into a conversation that uses your discipline to help make sense of their experiences right now. But don’t drive yourself crazy. If nothing comes to mind, stick to a gentler version of your original plan. Be kind to your students, but also to yourself.

Selecting reading and viewing material for any course can be challenging. Institutional policies may limit instructor’s options to titles adopted by a department or to a program’s contracted curricular materials. Some schools require use of a rental system and/or impose cost parameters. For the online instructor, additional complications arise. The obstacles might be logistical. When students live at a distance from a campus, they may not have the foresight to order books or course-paks in a timely manner or may lack access to library reserves. If a class requires video content, a student might not subscribe to a particular streaming service. But more common concerns relate to format and learning purpose. I want to consider these items and explore the relationship between what we opt to assign and our pedagogical practice. In courses taught fully online, the instructor must decide whether to make all of the class materials available electronically. I find that my students increasingly prefer reading on their devices and appreciate the opportunity to click directly through to an assignment. That reality is getting easier to make happen. Appropriate translations of religious texts are readily available. The ability to download articles and chapters in a pdf from library holdings also offers options. When requiring movies or documentaries, an institutional subscription to a streaming service like Swank permits a single-click viewing experience. Additionally, some publishers, like Point of View ) specialize in 1500-word pieces on specific topics that can be purchased inexpensively in Kindle-ready form. And scholars in the field are producing free content such as The Religious Studies Project’s podcasts  (https://www.religiousstudiesproject.com/podcast/), Andrew Henry’s Religion for Breakfast videos (https://www.youtube.com/user/ReligionForBreakfast/featured), Bible Odyssey (the Society of Biblical Literature’s site for short articles, videos, and other materials focused on critical examination of various subjects related to the Bible and its study; https://www.bibleodyssey.org/) that are usable in a classroom setting But research has demonstrated that students resist clicking on too many different assignment links and frequently lose energy before working through them all. They know that a significant number of short readings or videos can be just as time consuming, and feel just as burdensome, as one longer assignment. Thus, strategizing about what resources to employ and how to get students reading or viewing must always be grounded in what information we want mastered in a class. For example, many of us–online or not–no longer emphasize testing on dates, names, places, and similar specifics once typical of lecture and textbook-based learning, even if the study of a subject may demand familiarity with such details. When one can access factual information with a few, swift keystrokes, asking students to devote significant out-of-class time to reading or viewing, taking notes, assessing what is valuable, memorizing, and then reproducing it all on a quiz feels antiquated. We instead seek to reduce the onerous qualities of learning foundational material and target, in brief, acquiring knowledge of key topics or concepts. In the online environment, how to achieve this requires going beyond simply providing links to assignments. For example, we can construct reading and viewing with embedded “check-ins” that ensure student contact with basic terminology and concepts. Indeed, this practice can be formulated to provide immediate feedback and personalized suggestions of linked resources for a term or an idea a student does not grasp. This practice thereby expands learning (while reading or viewing) by teaching both content and how to identify and seek further clarifications regarding important material. Good design can also move beyond students answering simple feedback questions and toward demonstrating understanding, interpretation, and application. This approach is particularly important with longer readings or viewings (such as novels or movies), as well as with assignments that may be difficult going (reading theory, for instance). Again, technology permits querying students as they work, thus promoting not only completion of reading and viewing assignments in full, but also comprehension via critical immersion in the material that can then be integrated into class discussions, paper writing, or research activities. Without doubt, building these resources requires additional time for the instructor (and can involve the need for some technical expertise depending on the learning management system utilized). Links for more in-depth study also require regular updating. The investment at the front-end, however, can formulate assignments that are a better fit for the online environment given students often work asynchronously in diverse locations and may benefit from guidance not available through regular contact with other students or the instructor in the classroom or on campus. Moving away from familiar learning practices might feel strange to instructors who come to the online world from face-to-face classrooms and may not be digital natives. But there are two important points to ponder. First, we are more and more teaching students who have grown up attached to devices that have shaped their learning habits. We want to capitalize on the potential of what is already in their hands. In fact, figuring out how to maximize the strengths of the available technologies in service of our goals is what every generation of instructors does, even if not quite at the same rapid pace required of us today. Second, we need to be more intentional about cultivating our own pedagogical awareness. Graduate schools focus on producing scholars rather than classroom teachers. As new instructors, we thus often replicate teaching that worked for us until we figure out our own styles along the way. But in navigating today’s changing landscape of higher education, we should seek deliberate matching between where we want to see our students end up and how we develop assignments (reading, viewing, and assessment activities) that get us there. That work starts with the pedagogical choices we make about the content for a course, how students access it, and what we do to help them navigate it.