Summer swag! (Read on for free stuff from my new issue of RiDE!)

 

THE COVER AS A PICTURE

It’s here!

Many of you know that I’ve been at work for some time on a special issue of Research in Drama Education (RiDE), a performance and pedagogy journal based in the UK. The issue is called “Theatre and Performance vs the ‘Crisis in the Humanities’: Creative Pedagogies, Neoliberal Realities”, and it traces many of the same issues that have long been my concern here (and elsewhere): around academic labour in the neoliberal academy; around the role performance plays in addressing social issues far beyond the traditional remit of ‘theatre’ or even ‘the arts’ more generally; and around potential solutions we may already have at hand to best manage our ongoing imbrication in the now-normative ‘crisis’ in higher education, especially liberal or arts-based education.

The invitation to guest-edit an issue originally came from Colette Conroy, a resident RiDE editor, as a result of my work on the blog – and so it seems especially appropriate, and makes me particularly happy, to announce its publication in this space.

If you or your library have a subscription to the journal, you can access the entire issue online here.

But as a thanks to those of you who read regularly – and especially to those of you reading in the middle of summer! – below I’m including a URL that will give you free access to the issue’s introduction. It can only handle 50 clicks, though – so get in there early.

Thanks to you all for your ongoing support!
Kim

“Theatre and Performance, Crisis and Survival” (an excerpt from my introduction to the issue; the link to the full article follows)

‘Theatre and performance vs the “crisis in the humanities”’ has a very personal origin story.

It was late 2012, and I was working as a Senior Lecturer in Drama at Queen Mary, University of London – pretty much my dream job. My then-husband and I were living in South London, in a neighbourhood that had once been, perhaps, not much to look at (though a happy enough home to immigrants and regular working people) but was now full-on gentrified. We rented a two-bed garden flat that cost more than 75% of my take-home pay. The rest of our finances we cobbled together from J’s tech-entrepreneur income. Some months were way up, and some were way down.

So far, so global city. But life at work was also less manageable than I’d imagined it would be.

I’d been warned by colleagues that the UK academic system was very different from that in Canada, with a lot more faculty-side administration, HR-driven systems that gave the feel of a ‘corporate’ university structure, and of course the dreaded REF exercise: the ‘Research Excellence Framework’ that requires all departments in all UK universities to submit their top research ‘outputs’ for measurement against one another, in a Game of Thrones-style competition for league table status and future funding. When I arrived at QM, I was fully aware of all of these fresh challenges, but not prepared for how all-encompassing they would feel, day in and day out.

So this, I realised about three months into the job, is what it feels like to work in the neoliberal university.

Now, seven years on, I’m back in Canada at Western University, in southern Ontario. While we don’t yet have a REF to dread, our new provincial government is driving hard to implement quality-measurement tools that will be keyed to university funding around the province in the future. Western is finally emerging from a number of years under a dogmatically STEM- and business-forward administration, and our new president (a theatre scholar!) is one bright light at the end of this tunnel. But things are hardly about to change overnight, if they change at all: the aforementioned provincial government has just delivered punishing budget cuts that have seen my faculty’s (Arts & Humanities) part time workforce reduced by over 75%, and morale is the lowest it’s been in years. To try to save ourselves, teams of Deans and other senior administrators from Western fly regularly to China, desperate to attract a life-line’s worth of foreign-student investment. We continue to ‘internationalise’ as much as possible, imagining that is the key to our survival.

Welcome to the neoliberal university-as-normal.

[To read on, click here!]

 

 

 

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What is experiential learning? Part one: an exciting new challenge, and a bunch of new questions

I’ve embarked on another new teaching adventure. This winter term, the students in my Performance Beyond Theatres class (basically, “intro to performance studies,” and one of the classes I’ve been working on renovating in an effort to decolonize my teaching practice) will be participating in a new program that links the City of London (Ontario) with Western University, as well as with Fanshawe College (also located in LonON). Called “City Studio London”, this program allows Western and Fanshawe students to work directly with City staff on new projects designed to improve community life for all Londoners.

City Studio

A gorgeous image from City Studio Abbotsford.

My course has been paired with a class in the Faculty of Social Science taught by Psychology professor Leora Swartzman; together our students will be working on gathering data about, and then generating performance interventions supporting, London’s new diversity and inclusion strategy. Our particular focus will be on the role of the bystander in making our city a safer and happier place for all.

I’m really excited about this project! It means my students will directly encounter the challenging work of collaboration with fellow student-scholars as well as with a civic partner. We will be able to put our thinking and reading about performance as a tool for advancing social justice into practice with the support of a capable and experienced city staffer. My students will be able to work creatively on a meaningful community issue, and they will see their performance actions come to life not just for each other, but publicly, for residents in our city. They will see the impact of their creative labour first-hand.

At the same time, though, I do have some questions about this work – about how we frame it, and about what we value most within it. These questions emerge for me from the way we’ve been talking about the work ahead as we’ve begun (only begun) prepping this course. They also resonate with anxieties I have about the “experiential learning” turn, and about its cognate, the “experience economy”. (For more on the latter, click here to read foundational research by Pine and Gilmore.)

ELC-2

When you google “Experiential Learning” and hit “images”, you get diagrams. SO MANY DIAGRAMS. I’ve downloaded a few and am scattering them throughout this post. They make a compelling collage…

To be clear, I have every faith that Leora (who is practiced at community-engaged learning, one of many forms of experiential learning), our students, our community partners and I will do excellent work together, and that it will yield a range of valuable discoveries for all stakeholders. Like I said: I am, really, excited!

But as we have begun our planning work, I have become attuned to the way that experiential learning, in the context of this course and of the City Studio project more generally, is deeply, essentially linked to “deliverables” (this is the project’s language) for our City partners. City Studio begins from the premise that our students will work toward generating a measurable product meant to serve and support those partners; this is its primary objective. Positive, growth-oriented student “experiences” will (we assume; we very much hope) be had along the way, but this is an assumption that underlines, rather than supersedes, the measurable outcome as product.

Making a product for community use is of course a very valuable goal and one students are keen to participate in. I’m not opposed to it – in fact, as my dear friend and colleague Natalie Alvarez argues brilliantly in an upcoming interview in Research in Drama Education (24.3, August 2019), if we truly believe that Performance Studies is interdisciplinary in its reach and can mobilize performance as a multidisciplinary tool for teaching, learning, and discovery, then we must recognize that our partners in such discovery will have a range of outcomes in mind on their end. We have to recognize the legitimacy (and value) of those outcomes as part and parcel of our collaborative endeavours.

But still. There’s a real tension here (deliverables/outcomes = learning), and as I’ve noticed it, I’ve thought more about the value systems underlying the way our universities talk about experiential learning today. I’ve particularly noticed that the term is very often linked, or even elided, with things like internships and co-op opportunities. That is: with chances for students to go get “industry experience” as part of their degrees so they will graduate job-market ready.

 

This was not always the case. Among the earliest teachers to think outside the classroom box and imagine the labour of experiencing the world as central to a well rounded education were the American transcendentalists Margaret Fuller, Ralph Waldo Emerson, and Henry David Thoreau, among their many peers. (Click here for my 2016 review of a superb book on the topic by Martin Bickman; click here for a quick, related read in the Washington Post.) Their pedagogical philosophy – characterized by heading for nature, exploring widely and without a particular end-product in mind, and then discussing, writing, thinking, and debating in the service of heartfelt reflection – resonates with the first definition of experiential learning quoted by Ryerson University’s Michelle Schwartz in her “Best Practices in Experiential Learning” (2012) (the quote is from Lewis and Williams, 1994):

In its simplest form, experiential learning means learning from experience or learning by doing. Experiential education first immerses learners in an experience and then encourages reflection about the experience to develop new skills, new attitudes, or new ways of thinking.

The philosophy behind experiential learning, then, does not define “experience” in any particular form; its openness inspires me, but, as Schwartz notes, that same openness “means that it can often be difficult to define what is and is not an experiential activity” (1). In building an “expanded definition” for the term (1-2), she cites numerous “working principles” for experiential learning from Chapman, McPhee and Proudman (1995); these include “an absence of excessive judgement” (perhaps in the form of constant quizzes and grading); “the role of reflection” both during and after activities; “creating emotional investment” for students, and shared investments between students and teachers; and “the re-examination of values” alongside “learning outside one’s perceived comfort zones” – coming to terms with difference in action.

These principles are meant to align with a range of active pedagogies, and of course they are highly socially and culturally transferable. So how did we get from learning to question our ingrained value systems and encountering difficulty productively, to internships with industry partners meant to lead to paid work? Schwartz ends her introductory comments with some sense of an answer:

From the point of view of the university, experiential learning can help institutions stay relevant to students by providing them with the necessary skills to transition into the workforce. Cantor also sees experiential learning as helping the university fulfill the need for “higher education to more closely interface with business to promote community economic development” (1995, p. 79). For institutions concerned with issues of inclusion, experiential learning can promote “the value of diversity… and bring together people of different social, ethnic, and economic classes,” preparing students for entry into the world at large (1995, p.81).

Experiential learning can also be a boon to departments with few resources, and “the literature highlights the benefits of using experiential learning to embellish lean instructional and budgetary resources” or to “bolster your available resources” (Cantor, 1995, p. 84).

What’s wrong with this picture? It comes straight from the neoliberal university playbook. This is the model that argues universities should be in the business of training students for the work force, first and foremost. In the process this model implies (or sometimes outright states!) that a social-democratic, liberal-arts education is at best an elective and at worst a waste of time to be defunded (because hey, the unlucky departments can always hunt for industry partners to “bolster [their] available resources”!).

Trio-User-Graphic-with-Value-Props-v2

Notice in particular the language at the end of the longer paragraph just above: if institutions are “concerned with issues of inclusion,” experiential learning can help them promote diversity as a value. Of course this is a good thing, in itself; what’s not so good, though, is that experiential learning, in this configuration, functions as a handmaiden to support neoliberal university policy: diversify or lose student bodies, and the dollars now attached to them.

I get cranky a lot about the neoliberal university. And there’s no question that modelling experiential learning on its principles is a risky bargain. But this isn’t where I want to dwell, here or in my next post. 

Rather, what I want to emphasize is this: the “industry-partnership” version of experiential learning risks ignoring (in fact, risks making invisible) the many other, incredibly beneficial, ways in which learning is already, and always should be, “experiential” in nature and scope.

Forget “experiential learning” for a minute. What is it to experience learning? What would it mean really to “do” experience – to treat experience as a verb, “a doing” (Lewis and Williams) and not a thing, an activity we undertake in (co)motion rather than an object to possess?

Notice how, in much of what I’ve quoted above, and in the language of experiential learning that circulates around us today, “experience” always functions as a noun or an adverb. It modifies “learning”; it is a thing to be grasped and made monetizable.

Students should have stimulating experiences out in “the real world” in order to build “work experience.” In the “experience economy” we purchase cool coffee shop vibes, not lattes made for drinking.

If experience is understood, in our economy and thus our workaday world, as a thing to be purchased and coveted, how can it also be used as a tool to bring us together, to build community, to drive political change?

fixedw_large_4x

Don’t get me wrong. I love a nice latte.

I find this conundrum fascinating. Is experiential learning, in a neoliberal economy, fundamentally at odds with itself? What kinds of experiences might we highlight, as students and teachers, in order to bring different, less immediately commodifiable modes of experiencing back into the field of representation?

That’s the topic for my next post, where I’ll share several short snapshots of “experiencing learning” from my recent trip to the annual CATR (Canadian Association for Theatre Research) conference in Vancouver, BC. I’ll try in that post to model an alternative praxis of learning-as-experience; I hope to take it with me into this fall’s exciting new labour with City Studio.

Meanwhile, stay cool!

Kim

 

Grading Participation

By Signy Lynch

When I checked my inbox early this December and saw a notification for the latest Activist Classroom blog post, entitled ‘OMG CAN SOMEONE PLEASE TELL ME HOW TO GRADE PARTICIPATION???,’ it felt like a sign. As I came across this post, I was just finalizing the syllabus for the first course I would ever teach, Perspectives on Contemporary Theatre, a fourth-year seminar at York University.

I had great fun designing the syllabus, but had been hesitating over the participation section—I, like Kim, had been preoccupied with how best to grade my students on participation, and how to do so in a way that might motivate and elicit meaningful engagement from them. There were a number of factors to consider. While a seminar class, the course I was teaching was quite large, with 37 students. In order to fairly evaluate participation, I felt I needed some way to increase my engagement with them on a individual level. I also knew I wanted students to be given credit for and incentive to engage with the readings, as an important focus for class discussion.

Participate.jpg

Image: Some people raising their hands. Participation?

After deliberation, and inspired by some of the resources that Kim posted, (particularly the first point in this post, on grading participation through written assignments) I settled on a participation grade made up of the following three components:

  1. In-class participation and attendance (the “typical” way)
  2. Commenting at least once per week on another student’s Instagram response post
  3. Written reflections on participation, conducted in class three times throughout the semester.

To emphasize the importance of engagement, particularly in a seminar course, I made participation worth 20% of students’ final grade; though I didn’t assign a strict proportion of that 20% to each section to allow myself (and the students) some flexibility.

One key theoretical influence on this formula for participation was the principle of universal design. Universal design provides students multiple ways to engage in the course, shows them multiple representations of material, and allows them multiple avenues through which to express their learning (here’s a great primer on universal design in higher education, for those unfamiliar). Incorporating universal design into course design is a more inclusive way to teach that respects students’ differences as learners, both in ability and interest.

art artistic bright color

Image: a variety of coloured pencils. Universal design design appeals to a variety of learners. Photo by Pixabay on Pexels.com

Since the first component of my participation grade breakdown—in-class participation—is fairly traditional, I’ll spend a little more time elaborating on components two and three.

Component Two – Instagram Comments

Component two asked students to leave at least one comment per week on a classmate’s Instagram post, in connection to an existing Instagram response journal assignment. For a total of 30% of the final grade, I asked students to post weekly short (200-250 words) responses on Instagram to a passage of their selection from one of that week’s readings.

The posts were due the Friday before each Monday class, and the comments due right before class, ensuring that students had ample time to review each other’s posts and select one to which to respond.

Instagram Post Assignment.png

Screenshot of a post from the course Instagram account, describing the journal assignment

In the past (despite teaching theatre!) I’ve heard from many students that speaking up in class is a real barrier to their participation. Thus in asking students to contribute through written comments I offered them alternate mode of communication (inclusive design!), while at the same time generating content that could be drawn on to round-out in-class discussion. Unlike the Instagram journal posts themselves, these comments were graded for completion rather than substance, to further reduce barriers to participation.

This component turned out fairly well overall. One student wrote to me in their response that posting on Instagram, “feels less formal than posts on Moodle, and I’ve noticed myself and my peers feel more comfortable responding to each other.” Through this component some great conversations happened on Instagram; however, I do wish there had been a bit more consistency in students’ comments and a slightly higher level of involvement—for some students the exercise often felt quite cursory.

Component Three – Writing Exercises

The third part of my students’ participation mark was derived from short written reflections (taking around ten minutes each) conducted at three different times during the term. I had students respond to some questions on a piece of paper, which was then placed in in an unsealed envelope. The idea was that students would review their own writing as the semester went on and base their subsequent responses on their earlier goals and thoughts.

A central goal of this component of participation was to give individual students a chance to reflect on and define what meaningful participation meant to them. In so doing, I hoped to activate students’ intrinsic motivation by asking them to find meaning in the work they were doing for the course.

Importantly, these writing exercises were framed as reflective exercises. I told students that for this component they would be evaluated primarily on their reflection on participation and not on the participation itself, encouraging honesty.

high angle view of paper against white background

Image: a stack of envelopes as used in this exercise. Photo by Pixabay on Pexels.com

Another key part of this was that students shouldn’t be concerned about writing answers they thought would please me, but should examine their own feelings and preferences. Perspectives on Contemporary Theatre was not a required course. Despite this, I discovered from the first participation exercise I conducted that while many students were interested in the course content, some were primarily taking it because they needed a fourth-year credit that fit their schedule. I wanted to recognize and honour the fact that students were taking the course for many different reasons and may have had different priorities or assigned value differently than me. Thus through this component, I could give students points for effort, while also recognizing different types of effort and rewarding students for thinking on their own terms.

The questions I asked in each exercise are below:

Participation Exercise #1 – (near beginning of term)

  1. Why are you taking this course?
  2. What are your expectations from the course/what do you hope to get from it?
  3. Has this course aligned with your expectations/diverged from them so far? In what way(s)?
  4. What does meaningful participation in this course mean to you? (This response should consider your above answers. One example could be: ‘I don’t like to talk in class, but I want to really engage with the readings by taking detailed notes’)
  5. What two specific goals will you set for yourself regarding your participation in this course?

Participation Exercise #2 – (at midterm)

  1. How have you done with your goals so far? (Remember, I’m not evaluating you on whether you meet them but on your ability to reflect on them, so please answer honestly.)
  2. What factors have affected your participation?
  3. Review your goals. Are they specific and measurable? Are they still useful/in line with what you consider to be meaningful participation? If necessary, rewrite them and say what you’ve changed and why.
  4. What steps will you take going forwards to ensure you meet these goals?

Finally, as an optional part 5, you can weigh in with me and let me know how the course is going for you. This is your chance to give me feedback about your experience so far–whether it’s, ‘I wish we would watch more videos,’ or ‘I’m confused!’ etc.

Participation Exercise #3 – (end of term)

  1. How have you done with both general participation and your specific goals in this course?
  2. What factors have affected your participation?
  3. Are you okay with your level of participation? Why/why not?
  4. What would you change about your participation in this course if you could?
  5. If you were grading yourself on participation in this course, what grade would you give yourself and why?

In addition to the prompts for self-reflection, these exercises offered students some opportunities to provide feedback to me. Specifically questions 2 and 3 in exercise one and the optional number 5 in exercise two serve this goal. (For the final reflection I asked students to provide feedback through the course evaluations.) Collecting this feedback allowed me to address student concerns, and adjust in-class activities to student preferences, which I hope made students feel they had some some say in the course and that I valued their opinions and and experiences. At the same time my asking for feedback demonstrated to students that I was trying to be reflexive about my teaching practice in the same way I was asking them to reflect on their participation.

These written reflections also gave me some useful insight into students’ attitudes and feelings about participation in the course, so that I could then try to better it. When I heard from a number that the fear of being wrong was a major factor in their hesitance to contribute to in-class discussions, I was able to bring up this point in seminar, and talk it through with my students, and also to critically examine my own behaviour to see how it might be contributing to those feelings. I think one influencing factor was the difficulty of some of the readings, so I made sure to re-articulate that the material was meant to be challenging, that I was in no way expecting them to understand it all, and that they shouldn’t feel stupid if they were struggling with it.

person uses pen on book

Image: Hand holding a pen and writing in a journal. Creating opportunities for students to engage in reflection was important to me. Photo by rawpixel.com on Pexels.com

Another student wrote, “I’m a little confused on how else to participate other than agreeing or disagreeing on the subjects at hand,” which served as a launching point for a productive group discussion on what forms participation could take. Some of students’ suggestions on this subject, both in class and in their journals, really impressed me. One student who admitted they avoided class discussions for fear of being wrong suggested that a way to get around this could be asking questions rather than trying to answer them. In an ideal world, they would feel comfortable with both actions, but here came up with a productive middle ground.

Finally, students’ discussion of meaningful participation not only guided their self-reflection, but also aided in my evaluation of them. Students’ observations on what meaningful participation meant to them, played a large factor in my assessment of the first participation component, their in-class participation. For example, if a student expressed difficulty with speaking up in class and didn’t include it in their definition of participation, I paid more attention to what their stated goals were, their in-class attentiveness and group work, and weighted their Instagram comments a little more heavily in determining their grade.

Final Thoughts

Overall, I found this three-part system very useful. It helped me to connect with my students and to understand them a lot better as individuals. Through the third component in particular, I learned a lot about their individual goals and the struggles they were facing, which put me in a much better position to evaluate their participation.

This experiment confirmed to me that relying solely on my own perceptions of students to grade participation is not enough, and I will continue to experiment with this model going forwards. While this iteration of it worked out fairly well for this particular course, variations or other approaches entirely might be better suited for courses with different formats.

Thanks to Kim for inviting me to reflect through this blog post. I hope this reflection is of use to some of you, and feel free to share your thoughts or own experiences with me in the comments!

thank you text on black and brown board

Image: a chalkboard reading ‘thank you’. Photo by rawpixel.com on Pexels.com

signy-lynch-profile

Signy Lynch is a SSHRC-funded PhD Candidate in Theatre and Performance Studies at York University. Her research interests include political performance, diversity in theatre, spectatorship, affect, and theatre criticism. Her dissertation investigates how direct audience address in contemporary performance in Canada can help audience members and performers to negotiate the complexities of twenty-first century life. She has published work in Canadian Theatre Review, alt.theatre, and CdnTimes and is a member of the board of directors of Cahoots Theatre.

 

Decolonizing the classroom, end of term edition (Pt 2)

In my last post, I wrote about my History of Performance Theory gang, the amazing term we had together, and the incredible achievement they walked away with: a bunch of As. I talked in particular about how low-stakes, grade-free tasks, and fulsome engagement and participation, were key to their success – not just in “earning” A-level grades, but in demonstrating A-level learning and growth.

A big part of their capacity to learn and grow in this way can be attributed to the amazing classroom space we moved into at mid-term – something I first wrote about here.

I clocked immediately, upon seeing that new classroom space in February and getting incredibly excited about its potential, that in it we would be able to work in fresh ways as a team, and use technology much more to our benefit than we had in our old, quite unloved, traditional quasi-seminar/quasi-lecture space.

Our old room, our new room. A huge difference.

What I had not realized right away was that this new space would also allow the students to get to know one another better, trust one another more, and collaborate more effectively together. This new, active-learning-oriented space was not just able to decenter me as the ‘expert’ in the room, and to re-orient our learning around student engagement and response; it actually had the capacity to shape classroom community in new ways, and in ways that opened students’ eyes to the power of each other’s knowledge and ability in ways traditional classroom environments simply do not do.

How did I learn this thing about my students, this thing that should perhaps be obvious?

I asked them.

Participation in this class was keyed not just to in-class or online engagement; it was also dependent upon students stepping up to really think critically about their own strengths and weaknesses as learners in our class, in two short participation-reflection papers (one at mid-term and one at the end of the year). When I realized late in the term that the students were genuinely exhausted (so far so normal), and thus probably would not give their final participation reflections enough time and effort to properly reflect on their participation in our class, I had a radical idea. I scrapped my plan to review and sum up our course readings in our last session together, and decided, instead, that we’d spend that session working together to reflect on our participation.

To shape that final lesson, I created four prompts for students to write around. These were:

  1. Think about your participation in class since reading week. What went really well? What went as well, or perhaps even better, than in the first half of the term?
  2. Now, think about what didn’t go so well. Where did you want to improve, but it didn’t quite work out as planned? What slipped, though it was going well before?
  3. Now, think about your experience as a learner. What’s your most significant take-away from our class? What piece of knowledge, or what experience, do you think will stay with you?
  4. One last question – for Kim’s benefit! Did our new WALS space affect how you engaged in our class? If so, how exactly? If not, what is still missing?

I gave students five minutes per prompt to write about the first two prompts, then two minutes for the third – plus a chunk of time to pair and share with the other students at their pods/tables – and finally five minutes for the last.

In response to the last prompt, in particular, the students told me things about their experience in their learning ‘pods’ that I could not have understood from outside those micro-environments.

They commented on how the pods’ orientation (everyone around a shared table – no choice but to sit with and look at others!) generated an atmosphere that was not just group-work oriented, but ‘relaxed’ – it helped lower the stakes, so learning could feel more comfortable, and it created an environment where there was no expectation that they would simply hear and write down knowledge spoken from a front-central area. One student noted – contrary to my expectations! – that because students were always sat at the same pods, they not only became closer with one another, but could also extend their discussions over time, picking up on earlier comments or ideas and moving them forward, even when I did not explicitly invite them to do this.

Students also wrote about how a room in which they were expected to sit together, facing each other – and were not forced, as we had been in our old room, to try to engineer seminar tables out of furniture that we typically (despite the hopeful photo above) found to be forward-facing – made the group learning components of our class feel more ‘organic’ and even ‘easy’. Note-taking gave way to complex group discussion; learning toggled between the shared white boards, where students visualized one another’s ideas, and the chat around their tables, making a learning impression deeper than notes alone might be able to create.

They talked, too, about the pleasures of the tech – the electronic white boards at each pod were a huge hit (making question-exploration and note-taking so much more fun), and the projectors and internet connectivity at each were celebrated for the roles they played in the students’ incredible final presentations, in particular. A couple of students suggested that, in my next class in the space, we spend a lesson or two early in the term just orienting ourselves, simply playing around with the technology, in order to discover its capabilities and what they might do for us as we work through the term. I love this idea!

One student, Katie Flannery, really captured the spirit of the group’s replies to prompt #4; I’ve asked for her permission to reproduce her comments here:

The WALS (Wide or Wonderful Amiable Learning Space):

My very random decoding of this acronym sums up how I feel about this room. I loved the space it gave us. We no longer had to take 15 minutes to move around furniture. The room was ready for us to engage with it right when we got there which is wonderful. “Amiable” because I felt comfortable right away. The placement of the tables and where you (Dr.Solga) are able to stand and teach/interact is ideal. It allowed an easy-flowing discussion as you can see every face in the class. “Learning” because I do believe the interactive technology advanced my learning. I liked how we could engage with the whiteboards separately in our own groups while simultaneously displaying it for the entire class. It made the transition from little groups to the whole group seamless. Another class I have had in one of these rooms also got us to do lots of movement activities. We would kind of rotate through whiteboards. A group would write one response down and have to then contribute next time to the following groups white board. This kind of activity allowed groups to really rely on each other. These rooms allow all the movement!

Katie celebrates another terrific white-board achievement.

So this is my take-away from the students’ take-aways from our wonderful, amiable learning space: the room gives students permission to recognize, respect, and learn from each other in ways that are not hierarchical and that authorize multiple voices and perspectives at once as critical questions come under our scrutiny.

When students sit in rows facing forward, or even in a traditional seminar-table setting, there’s always a ‘main’ voice – usually the teacher’s – and there are usually, too, the usual suspects: the clever kids who always seem to have the ‘right’ answer. In those spatial circumstances, it’s so easy for ‘regular’ students to distrust their own voices, or resent those of their louder peers. But when a learning space is comprised of multiple tables, and the prof is forced to become a roving participant and regular listener, the opposite obtains. Students learn more, full stop, get more interested, and do better.

A number of students, in response to my third prompt, commented on the meta-pedagogical qualities of our class; they talked about ‘learning how to learn,’ discovering what was possible in a classroom, and making connections between the work we were reading and the world around them in ways they had not ever done before. I’m convinced that, because the WALS space radically re-orients their (and my!) usual expectations of what a classroom should look like, it also encourages them to think about their physical and emotional classroom experience much more, and much more critically, than normal. This can only be a good thing.

Stay tuned for more WALS adventures as I have them!

Kim

 

 

Decolonizing the classroom: end of term edition (Pt 1)

(Or: What if they all get As?)

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Back in January, I wrote about my particular winter term in-class challenge: to begin the process of transforming my History of Performance Theory undergraduate class into something less knee-jerk colonial, and more respectful and supportive of students’ diverse needs. As I noted then, this process necessarily had to be a process; despite my best intentions, the in-the-way-getting of life had meant I’d not spent anywhere near enough time in the fall term planning course renovations. Thus, we’d make a beginning, and see how it goes.

It’s now April, finally the trees are budding, and all over campus the billboards are telling me it’s end of term.

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And me? I’m already missing my performance theory students – what an incredible, talented, thoughtful bunch. And I’m questioning whether or not we’d have had half as much fun, or learned half as much about the politics of theatrical representation, if I’d managed to spend all fall term fussing over the syllabus.

These 15 humans didn’t just make the term fun, compelling, surprising, a learning experience for one another and for me; they also all earned As. Yup, that’s right.

They. All. Got. As.

I realized this last Tuesday, when I hit the “course grade” button in our online learning system, and saw that the lowest mark in the class was 82%. The highest mark was 97%.

I had a brief minute of panic. I imagined my Undergraduate Chair rolling his eyes at the average. I heard my Dean’s voice reminding faculty to “always use the whole range” of marks available to us in the 0-100% system.

And then I thought about the work that the students and I had accomplished together, and about their powerful feedback on the experience of the class (one of the subjects of my next post – watch this space).

And I thought,

Why, exactly, shouldn’t they all get As?

I have a number of thoughts about this. I’ll get to them in a minute. But first, let’s back up a few weeks.

Back in my January post, I listed four things that I had decided I wanted the class to do as I/we attempted to craft a decolonized version of the “History of Performance Theory”:

  1. Empower the students;
  2. Not hierarchize the readings (White/Other);
  3. Not follow a normative temporal chronology;
  4. Be above all about learning to read theory, and to use it in fun and relevant ways.

I then wrote about three ways I’d developed for us to attempt to do these things. The class selected readings together, including a significant number from our fairly standard textbook, and opted for a pretty diverse range of voices; we worked through three central research questions, framed around the primary who or what is allowed to be represented, and why?; and I expanded my “Explain/Apply/Extend” framework from previous years to organize each week’s lessons and to prioritize, in the “apply” portion of weekly events, student responses to the theory, and in particular creative responses.

I’m very pleased to report that the momentum of the early weeks, which fuelled my optimism in that January post, held strongly throughout the term – even in those weeks when midterms were nigh and assignments were due and I had the stomach flu.

In fact, possibly my favourite class of the term coincided with the latter, though I admit it’s possible I was hallucinating slightly from dehydration at that point. We were set to talk about Brandi Wilkins Catanese’s introduction to her phenomenal The Problem of the Color(blind), a book about race and representation in the mythical land that styles itself as “post-race America”. Lots of students hadn’t read the full chapter, because March/assignments/fatigue/long and challenging stuff. So we read chunks together and peer-taught key ideas to each other, using the tools our fabulous new active-learning classroom put at our disposal. (More about the role that space played in the term, for me and the students, in my next post as well.)

By the end of that class, as we looked through some of the videos students had linked to online in response to the weekly, low-stakes “apply” task, we shared comments about race, history, and representation with a nuance I very rarely hear from undergraduates.

(Two of the “applies” students posted in response to Catanese’s work. Note that the first is a satire remarking on Barack Obama’s handling of the trope of black rage, while the second is a montage of historical images of blackface from the end of Spike Lee’s incredible 2000 film Bamboozled. The latter needs some context for naive viewers, although as an example of Brechtian montage it is unparalleled.)

That week on Catanese is representative of our term together for a number of reasons.

It was late March; it was a cold day; students were buried in assignments; many of them hadn’t done the reading, or done that much of it.

Yet fully half of them had read enough of the chapter to be able to apply at least one issue raised by it to a strong example online.

And all of them – every single one of them – showed up to class.

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HOLY COW!!!

By that point, we’d become a committed class community, and the students (who were already working toward their final group performances at this point) felt strong obligations to one another. Many students also reported in their final participation reflections that finding ways to make *some* time for the readings ahead of class had become a priority for them, because the weekly apply tasks held them to account, and dangled the important carrot of “free” marks. (More on this in a moment.)

Further, once a student had an “apply” up on the website, they clearly felt a certain ownership over the reading and/or a commitment to the emerging discussion about it, making coming to class and participating in the discussion actively that much more important. In only one instance did a student miss class on a day when they had also written an apply post for that day’s reading.

Which brings me, finally, back to the problem of all the As.

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The arse-kicking Siobhan McSweeney in Derry Girls. Another “bad teacher” who is by no means actually a bad teacher.

There are a number of reasons that this batch of students all received A-level grades. (And I should stress here that I have never had this happen before, in nearly 20 years of teaching. I always aim to use, if not the whole range of grades, then at least a good, broad range. I am an excellent subject of power.)

First of all, I’m a fairly generous marker. This is because I’m getting older, and see potential more than I see error. (I’m guessing here, but I think this is a common trajectory. My grad student assistants tend on average to mark harder than me, for example, and I know I marked hard as a TA. Over time you loosen up, and feel more empathy for the struggling ones. For another educated guess about this trajectory, click here.)

Secondly, this class featured a good range of assignments that tried as much as possible to set students up for success. For example, “Explain,” “Apply,” and “Extend” were each their own essay task for proper marks, as well as a framework I used consistently each week to organize lessons, so students had ample time to work out what good iterations of the task could look like.

The final group performance project was worth a lot, but the rubric I used to grade it we developed together in class, agreeing on which aspects of the work we wanted to emphasize (thought work, connections between play text and chosen theoretical model, creative ingenuity), and which we wanted to downplay (professional polish, exceptional acting, things less likely to emerge from a non-studio scene study). The students had a full month to work in groups on their projects; they self-selected into those groups based on their chosen play texts, and they benefited from an early workshop week that was designed to get them going at a time when ideas weren’t yet fixed and plans were still emergent.

Ultimately, the students excelled in their tripartite essays, and knocked it out of the park with their performances – which featured one of the genuinely best scene studies I have ever seen in the classroom, including those I’ve witnessed in studio-based practicum classes.

Thirdly – and I think this is the kicker – the low-stakes, online, weekly “apply” tasks were a not-complicated way for students to earn 100% on a task worth 10% of the term’s work. All students needed to do was read the week’s work in advance of our Thursday class, post a link to a video or article or other piece of robust interweb chatter that might constitute an application of the theory in question, and include a short paragraph about why they made their particular choice.

By the end of the term, 11 students had completed all five posts; two had completed four of five. (Two students, with health challenges, had accommodation for the task.) Most of them didn’t just post a video and write a short para, either; several crafted detailed, essay-like responses to their applications, which I then permitted them to hone and expand for the formal “apply” essay task. Students’ investment in the readings was visible in their thoughtful engagement with the theory-in-application online, and in the willingness many showed to take a stab, even if they might be wrong.

(The point of this task, as I reinforced at mid-term when I made some changes to the format to coax more participation, was just to give it a fair try; total failure was unlikely, but more importantly total failure could not preclude the reward for giving it a shot. What’s to lose?)

In the past, when I’ve used low-stakes prompts-for-points tools, I’ve folded the online cookie into the grade for participation: do so many online posts, earn 100% for participation, so long as you don’t miss more than three classes without accommodation for medical or compassionate reasons. This time around, the apply responses online constituted a separate grade point – but students still had the capacity to do really well in participation alongside, especially because, in our student-centred space-and-learning format, participation is the course’s bread and butter, and this crew really stepped up. (Their thoughtful and honest participation reflection papers were also key to many doing well on this separate grade point.)

As I pondered my sea of As Tuesday last, I thought hard about my decision to separate “online applies” from “participation”, giving each their own shot at perfection. Had it been a mistake to hand that much of the term’s grade over to, essentially, effort? Did I need to fold these markers of success back together, in order to prevent another tsunami of high-fives next year?

I thought maybe yes. Probably yes.

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Of course, Homer is rarely correct.

And then I remembered that I’m in the middle of the decolonization process with this class. How are the grading rubrics we use now a marker of the colonial scaffolds organizing our classroom practices? How do we shift these, decolonize our grading in a holistic way?

Of course, there are plenty of examples of pass/fail classes designed to level the field and remove grades entirely from the picture, though research continues to accumulate on the risks and benefits of this strategy. (Two of the major benefits emergent from this research are a) a focus on transparency alongside rigour in the classroom; b) a fresh or renewed focus by faculty on thinking carefully about criteria, assessment practices, and feedback – something we do not do nearly enough, in my experience. Read more here, and here.)

But most of us work inside a fairly rigid, large-ship university structure; we could try to drive systemic change around grading, but that sounds like a lot of work to me, and work that will take a lot of time and many hands.

In the meantime, perhaps we could learn from that strong second benefit of the pass/fail system: clear-eyed, focused, group and individual reflection on assessment practices, and on how the marks we give map onto student learning, instead of just student achievement.

When I think carefully about my students in HPT this past term, I remember that what they marked, time and again – with their in-class practice, their online practice, and their reflection practice (in the papers they produced for their participation grades) – was fulsome, strong, broad engagement. Across the board.

They told me on our last day together that they had learned “how to learn”; that they had found themselves surprised and excited to apply old, seemingly stuffy theories to contemporary, real-world situations and examples; that they had discovered the power of learning in teams, and of committing to each other as a team of learners; and that they had discovered the power that space (in our case, literal classroom space) holds to shape interaction and engagement among students and teachers on a learning journey.

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I know the donuts I brought as a last-class treat were not the only reason the gang turned up to reflect on our term together. I know because they voted 14-1 in favour of holding class when I gave them the option to cancel. Also, #donutmonster #hamont

They honoured me with these words, truly they did. And they honoured me over and over again with their excellent in-term work, for real, proper marks.

So why should they not all get As, then?

Did they not do – did we not do, as a team – exactly what undergraduates are supposed to do in a third-year class: advance their learning practice with concrete take-aways for the future? Build strong collaborative skills? Investigate, and invest in, some truly complex theoretical ideas?

Maybe it seems intimidating, to some, to think that all the students could hit the top achievement marker. Maybe it seems dishonest, to others.

To me, though, it seems like the exact right way to end a really remarkable term.

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See you next week! (…For more, on what space has to do with participation),

Kim