Who knows and understands the needs of your students better than your own students? In this episode, Mya Brown, an Assistant Professor of Theatre at SUNY-Oswego, joins us to discuss how our students can build open educational resources that take advantage of the unique insights our students have about what novices need to learn to be successful in our courses and disciplines.
- OER Stories with Mya Brown – SUNY OER Services podcast
- Miller, Charles (2014). Theatrical Worlds. Open Textbook Library
- Dell’Arte International School of Physical Theatre
- Straumsheim, Carl (2017). “A Mean Amount of Money.” Inside Higher Ed. April 14 – A discussion of the SUNY/CUNY OER grant.
John: Who knows and understands the needs of your students better than your own students? In this episode, we’ll discuss how our students can build open educational resources that take advantage of the unique insights our students have about what novices need to learn to be successful in our courses and disciplines.
John: Thanks for joining us for tea for teaching, an informal discussion of innovative and effective practices in teaching and learning.
Rebecca: This podcast series is hosted by John Kane, an economist…
John: …and Rebecca Mushtare, a graphic designer.
Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.
Rebecca: Our guest today is Maya Brown, an assistant professor of theater at SUNY Oswego. Welcome, Maya!
Mya: Thanks for having me.
John: We’re glad to have you here. Our teas today are…
Mya: I have a peppermint tea with honey.
Rebecca: That sounds yummy. I have Prince Edward’s tea.
John: What kind?
Rebecca: I think it’s Prince? Prince… The one that’s Prince.The gray one.
John: Prince of Wales?
Rebecca: Yeah, that one, the Prince of Wales tea.
John: And I have black raspberry green tea.
Mya: Sounds good.
John: We invited you here to talk about your use of open educational resources and open pedagogy. For those who may not be familiar with open educational resources, what is an open educational resource?
Mya: The way I understand it is that it is freely accessible materials. They don’t have like a publisher behind them, so they’re typically copyrighted through like Creative Commons and they’re free for the user.
Rebecca: Can you tell us a little bit about the courses in which you use OER?
Mya: Yes, I taught Theater 110 which is Introduction to Theatre; it’s a lecture style course with 49 students. The section was full. In that course, typically when I taught it at West Virginia University prior to coming here to SUNY Oswego, the textbook that we used was an electronic textbook, but it was copyrighted by a publisher and the cost was a little over a hundred dollars. There also was an accessibility fee, the total cost came up to around 125 dollars per student. That just seems a lot to me for a textbook. I really thought it was important to make this information more accessible to the students and also free. As soon as I heard about OER opportunities, I like jumped on it.
Rebecca: How did your students respond the first time you used an OER in your class?
Mya: They loved it. [LAUGHTER] First day of class I introduced the textbook to them that we use. We used a textbook called Theatrical Worlds—it’s a very thorough textbook, I really like it. As soon as I said, we have a free textbook and this is how you access it and I brought it up for them on the overhead, they were super excited about it—they’re like, “Yeah, we don’t have to pay for a textbook…” Because, you know, they spend hundreds and hundreds of dollars per semester on these books just so that they can get access to the information, but lots of them can’t really afford it. They honestly can barely afford their tuition typically and some of them are having to decide whether they’re going to buy textbooks or they’re going to buy food. To take that pressure off of them, relieve them of that responsibility, it seems to really be a good thing.
John: …and many students either postpone buying a text or don’t buy it at all and OER they have it from the very first day of the course so we don’t have to worry about students who are struggling already perhaps with financial issues to also have to struggle by falling behind at the start of the semester. It offers a lot of benefits besides just the cost: it gives everyone equal access.
Mya: Yes, that’s so important. The thing that I found really nice is that instead of having to wait to address readings till like the second week of classes, we could start immediately because they had access immediately to the textbook. I like to send emails out to my students prior to the first day of class and I included a link to the book. I encourage them to look at it prior to coming to that first day of class; not many of them did, but some did and it was really nice that we could just jump right into the content.
Rebecca: Can you talk about some of the other benefits that you found for both you as a faculty member and for students by using the OERs?
Mya: I think that there’s more flexibility with how we are presenting the material; also, because we can remix them depending on the licensing agreement, we can update the materials. A lot of—and theater especially—they’re referring to specific performances, productions, different plays or musicals, and I can insert newer productions that have happened, so we’re using more current information and referring to more current information; that we can’t do with a hardbound textbook that does have copyright associated with it that will not allow you to change anything about it, so I really like this idea of being able to remix the resource and make it more personal for your class.
Rebecca: I know that the same textbook is used in other sections as well with other faculty; have you worked with them and the updates that you’ve done or have you shared that task so that you’re all presenting the same thing, or are you all remixing it so that it’s unique to you?
Mya: I think we all are remixing it so that it’s unique unto us. We all have different areas that are our areas of specialty or passion and where Toby is really heavy on the Shakespeare, I am as well ‘cause I love Shakespeare. Maybe Henry is…
John: That’s so uncommon in theater.
Mya: Right. [LAUGHTER] Henry Shikongo might more focus on things like physical theater, Comedia—I know he studied directly with Dell’A rte, so that’s more his emphasis. I think that is another strength of using an OER, that we can make it more personal and we can highlight our passions, because when we’re talking about our passions in the classroom, that energy that we have for that subject it… just transfers to the students—I think that they absorb more of it and they engage more when we are so passionate about it.
John: Is the class mostly for majors or is it non-majors or a mix?
Mya: It’s a mix because it does satisfy the general education so it’s considered a GEC. We will get actually lots of non-majors in there, but it is required in the core for the major program as well, which is really helpful because the majors and their passion for it also bleeds out to the rest of the classroom; all of those people who are maybe zoologists or engineers and they’re like, “Eh, I just took it for an easy ‘A,’ I don’t really care about theater.” [LAUGHTER] But when they have their colleagues care about it as much as they do it really, I think, helps to inspire them
Rebecca: Were you the first faculty member in your area to adopt in an OER as part of your classes?
Mya: Toby Malone and I did it together. It was interesting because I was communicating with him via email over the summer prior to his coming to the university because we both were teaching a section of 110 and I told him about the opportunity for this grant that I was applying for to incorporate OER in the classroom and I thought for theater 110 I thought that would be a perfect classroom to experiment with OER. Toby Malone was also teaching a section of that course—I told him that I was interested in the grant that they were offering here at SUNY—I think it was a SUNY wide grant, actually. I was looking into that grant and I really wanted to adopt a textbook for that purpose. We went back and forth on a couple different options; Theatrical Worlds is actually an option that he brought to me. I really just loved it and he said, “I like it too, so let’s use it.” So we both ended up using it at the same time and now Henry has gotten on board now that he’s teaching 110 and hopefully every instructor that teaches that section will use that book because it’s a really great book.
Rebecca: Sometimes it’s better together, right? [LAUGHTER]
Mya: Yeah, definitely. We really try to maintain the integrity of the course and make sure that we are all teaching the same subject matter and it’s just easy if we’re all teaching from the same book. There will be variations, obviously, but majority of the content it’s all the same information that we’re delivering. I think that’s important because we’re setting a foundation for the next level for these students. For some of them, like non-majors, we’re introducing them to this whole new world. A lot of times that 110 course is kind of gateway course and we get to pull in minors or maybe some even change to the major. It’s important, I think, that we’re all on the same page.
John: …and a nice thing is with those who do go on they still have access to the book…
John: …because with traditional textbooks, even if they buy the book, students will often sell them back at the end and then when they go to upper-level classes they no longer have access… …
John: …since the books are out there and publicly available they get to keep them and that’s a really nice feature for classes that build on earlier ones.
Rebecca: Yeah, when you buy a book and it’s the difference between cashing it in to get more cash for another book that you might need at a higher level versus hanging on to it that’s always a decision that students have to make that I know that we experience in my department sometimes as well.
John: When I teach upper-level classes students will often say, “What can I do? I’m having trouble with this material; where can I find more information on this?” And I say, “Well, this builds on our earlier intro class; you can go back and review your textbook,” and the response is almost always, “I don’t have that anymore.”
Rebecca: Powell says OER is spreading in your department.
Mya: It’s not spread too much; it’s mostly just being used in the 110 course, but maybe that’s a good segue into the other course that I’m using it in, which is Acting Shakespeare. We’re actually creating an OER in that class; it’s called The Shakespearean Monologue Database. It’s still in construction right now. It’s a resource for acting students and we really want to open it up nationwide; anybody can have access to it, where they can find monologues and all of the information necessary in order to understand the text fully so that they can then perform it to the best of their ability.
Rebecca: So context.
Mya: Yes. [LAUGHTER]
John: And the students are actually creating some of that, right?
Mya: Yes, they create actually all of the content; all I do is tailor it a little bit, you know, sculpt it a little bit, mold it a little bit. All of the monologue choices on there were our choices that the students made. Any of the words that they thought they needed to look up so that they could get full meaning, so we have like a glossary associated with each monologue; those are all terms that they wanted to investigate. I like it to come from them because I feel like it might be more relatable to other students when they look at it if it’s coming more from a student perspective versus the professor’s perspective, but I do give a little note about what I think about this monologue choice as well, whether it would be a good one for auditions or a good one for just exploring a new character type or for a classroom assignment.
Rebecca: Is it clear to the reader who made what comments that accompany the monologue?
Mya: That’s actually something I think we’re continuing to work on because it’s not clear right now. There is information on the home page stating that all content was created by the students, but if you’re just going right to the monologue and you’re skipping that or—you know how it is when people search; they don’t necessarily read everything, right? So, we’re trying to figure out is there a way that we can make it obvious that this stuff came from the students versus what came from me, and we would really love in the future for it to be a resource that can be remixed as well by other universities and other professors and other students. We want to keep that licensing open so that they can contribute monologues on their own, they can create their own glossaries, synopsis, and character breakdowns and add those to the website as well, so how then do we identify those and give credit to those authors of that content versus ours, something we’re still working on.
Rebecca: Sounds like your role has largely been editing and curating…
Rebecca: …the process.
Mya: Yes, definitely. Laura Harris, she’s been helping me a lot with that.
Rebecca: She’s one of our librarians.
Mya: Yes, we’re actually using LibGuides.
John: What led to that choice?
Mya: Laura Harris, who’s our online learning librarian, she has a connection at SpringShare from her having experience with LibGuides she thought that it would be a great platform for this kind of site, this database. She reached out to some people that she knows and they were like, “Yes, let’s do it.” They created a page for us and then she walked me through how to add all of the content and she’s helping me to edit it some more and make it look all fancy and nice. Laura is the one who brought up the idea of using LibGuides as a resource.
John: And are the students inputting it directly into that or is she…
John: …doing that or are you doing that?
Mya: I’m doing that. Yeah, the students, they turn in all of their work to me and then I’m curating it and adding it to the pages.
Rebecca: How do those students responded as being authors and putting their work out into the public?
Mya: It actually is really great. They are doing exactly what I thought they would do, which is taking ownership of the resource because they’re contributing to it because their names are attached to it; they have this greater sense of responsibility to complete the work, complete it accurately and to make fun and exciting choices in their monologue choices, like the characters that they’re selecting. It actually has really been helpful in the classroom because it has increased their level of engagement on these assignments because they know that it’s going out there on this resource.
Rebecca: Are you finding that they’re reading more Shakespeare on their own as a result so that they can find the perfect thing?
Mya: I don’t know about that… [LAUGHTER]
John: But they’re more enthused about what they do.
Rebecca: Wishful thinking.
Mya: Yeah, I think that is wishful thinking, but they definitely are more enthusiastic and they are more engaged in the classroom. Whenever I’ve taught Shakespeare before it feels like I’m pulling teeth the majority of the time. And a lot of students said, this is not what I expected it to be; I thought we would just read a bunch of Shakespeare and was going to be boring and I wasn’t going to understand that I wouldn’t relate to any of these characters, but because of the amount of in-depth textual work that we’re doing they actually are relating on a very deep level and they’re finding similarities to these characters and they’re relating to these characters in a way that I have not seen before, which is really exciting
Rebecca: Were you doing similar assignments before, but it was the audience of Mya?
Mya: Yes, yes, exactly. I kind of amped up the amount of work that they’re doing so that we could have enough content to create the website but it is a similar assignment. However, as you so eloquently point out, there’s a much larger audience now.
John: If you continue this will they be editing the existing work or will they be adding new monologues to it?
Mya: Yes, they will be adding new content. I actually am teaching Acting Shakespeare in the spring of 2019—I definitely will keep this assignment and we will continue to add to the database. I think it’s important that we are constantly adding new material to it; there’s so many unique perspectives and points of view that it’s essential to continue creating and contributing to the database.
Rebecca: Will the students in this spring be using the content the students this fall have created as part of reading and being a user of the resource before being a creator of the resource?
Mya: Yes, it will definitely be a part of their prep work for their contributions. My last class they were a bit of guinea pigs and now I think we have the right formula for the assignment in order to get the content that we want. Yeah, I will definitely use it as an example so that they’re aware of what exactly they should be looking for and how to complete the assignment.
Rebecca: Sounds really exciting.
John: It does.
Rebecca: Are students working together on the things that they’re creating or are they individually creating sections or the information around individual monologues?
Mya: It is more of an individual assignment; however, they do share their work when they present the monologue, so they have to act it out in class and we do feedback from the entire class—they are getting feedback from their classmates on the performances of the monologues, but they’re not on the actual content that they’re contributing to the database. That might be a good idea, though. You might have made me think about changing the way I approach that and maybe we could add that element, especially when it comes to the glossary and the character descriptions, that could be helpful because there are some things that might stand out to one student that didn’t even occur to another. If they’re assisting each other that might be a useful component to add to this assignment. Thank you for that, Rebecca. [LAUGHTER]
Rebecca: One of the things that I was thinking when you were describing it is if students who are going to add to the database had to use one of the resources and do a performance with it then they would know what content was missing?
Rebecca: So that they would know what to do in their own next time, so it’s like they could add to someone else’s or augment it and then try their own?
Mya: I love that idea. Thank you.
John: In creating these are they embedding other open content, recordings, or performances, or some other things?
Mya: Yeah, no recordings yet—I have been considering that, especially because with us using Shakespeare and it’s already open source…
Mya: We wouldn’t have to worry about copyright infringement or anything. I have been considering that but we don’t have the capabilities right now to do that; I’m just one person and I can only do so much, but I have been considering that, definitely. We do, though, refer to the glossaries; there’s a link for each of the words that takes them to Perseus—that’s an OER as well—that has text as well as dictionaries. It’s a good way for them to be able to get that information out there in a free way and link up to another OER. I’ve always used the OED—the Oxford—in my classes prior to because it has the truest definition when we’re referring back to Elizabethan text or, however…
John: …or practically anything. [LAUGHTER]
Mya: Right, but especially Elizabethan; I mean, you know, they’ll look up some of these words on places like dictionary.com and the definition that they’re getting in no way relates to how the text was being used at the time, so it’s not helpful at all. So, I always would insist that they use the OED, but it is not a free resource, so we can’t actually link to it on the website. So, we had to find something that was free but also maintained that integrity of those glossary terms so that people are getting the correct information and the most useful information there. Right, that’s the thing—I’m continuing to look because there are so many definitions that we found that are not there and so there’s a couple holes, but it’s been the best resource that we’ve found that’s free.
John: Where can people find this?
Mya: So, it actually is not published yet because it’s still under construction, but it will have a title something like, Shakespearean Monologue Database and again it’s a LibGuide—the platform is SpringShare —so once it is published we’ll get it out there as much as we can.
John: …and we’ll put a link in the show notes which will update once the link is publicly available.
Rebecca: So we always wrap up Mya by asking, “what’s next?”
Mya: Yes, what is next? Well I think what’s next is figuring out how to get these videos incorporated because I think that that would be a really great thing. I did some interviews with the students from our previous semester and just asked them a couple questions: How did you feel about Shakespeare prior to coming to this class? And the unanimous comment that came up was, “I didn’t understand it,” and then I asked, how do you feel about Shakespeare now and unanimously everyone’s like, “I love it. I can understand it now,” and I think this database is going to be a useful tool for other people to be able to understand it as well, so I think the more people can actually see these students and see their reactions and hear their reactions versus just seeing the content that they’ve created, the better they might feel about the actual resource and how it’s reaching students.
Rebecca: Sounds like you have the basis of a nice scholarship of teaching and learning research paper.
Mya: Oh, yeah. [LAUGHTER]
John: …and one other thing that you are doing this semester, which ties into an earlier podcast, is you’re one of the people teaching those first-year courses…
John: …and what is that like? We’ll probably have you back on to talk about that.
Mya: Oh, okay.
John: …in the future.
Mya: Yeah, so the course is called Blackish Mirror; it’s a study of black characters on television and we started with Ethel Waters and her performance as one of the first African Americans with a lead role on television in 1939. Her show’s called the Ethel Waters Show and we started there and we’re moving all forward to the current time. It’s really great; I love the class, the students are really engaged, they’re loving the subject matter and they’re articulating and finding their own personal perspectives on these social issues of oppression and representation and stereotypes and the dangers of the images that we see and how they can perpetuate negative stereotypes and they can kind of feed into social thinking about a specific type of person and the importance then and the responsibility of people who create this content in the media to be careful about how they are representing people and make sure that they try their best to not perpetuate the stereotype or feed into mass hysteria. It’s really exciting that these students are standing up in the classroom and saying, this is not right and what do we do about it. So, their final project—I’m actually really excited for—they’re going to create a PSA based off of one of the social issues that we’ve identified in class and I’m just really excited to see what they latch on to and how they try to address that thing and, you know, they really are inspired to make society better and that gives me hope for the future.
Rebecca: It sounds like a really nice note to end on. [LAUGHTER]
John: And a nice note in these times in general; other people are not always as positive about the future.
Rebecca: It also makes me want to go to all your classes.
Mya: Yeah, it’s fun; come drop in. [LAUGHTER]
Rebecca: Sign up quick and make sure I get a seat.
John: Thank you, this has been wonderful.
Mya: Thank you.
Rebecca: Yeah, thank you so much.
John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.
Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer.
John: Editing assistance provided by Kim Fischer, Brittany Jones, Gabriella Perez, Joseph Santarelli-Hansen and Dante Perez.