327. Attacks on Education

In the last few years, a growing number of state and local governments have attempted to limit diversity, equity, and inclusion initiatives and to place restrictions on what students are allowed to learn. In this episode, Kevin Gannon and Cyndi Kernahan join us to discuss strategies that can be used to resist these attacks on education.

Kevin is a history professor and the Director of the Center for the Advancement of Faculty Excellence at Queen’s University of Charlotte. He is the author of Radical Hope: a Teaching Manifesto, which is available from West Virginia University Press. Kevin also appeared in 13th, the Netflix documentary on the 13th amendment. Cyndi is a Psychology Professor and the Director of the Center for Excellence in Teaching and Learning at the University of Wisconsin at River Falls. She is also the author of Teaching about Race and Racism in the College Classroom: Notes from a White Professor.

Show Notes

Transcript

John: In the last few years, a growing number of state and local governments have attempted to limit diversity, equity, and inclusion initiatives and to place restrictions on what students are allowed to learn. In this episode, we discuss strategies that can be used to resist these attacks on education.

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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: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

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Rebecca: Our guests today are Kevin Gannon and Cyndi Kernahan. Kevin is a history professor and the Director of the Center for the Advancement of Faculty Excellence at Queen’s University of Charlotte. He is the author of Radical Hope: a Teaching Manifesto, which is available from West Virginia University Press. Kevin also appeared in 13th, the Netflix documentary on the 13th amendment. Cyndi is a Psychology Professor and the Director of the Center for Excellence in Teaching and Learning at the University of Wisconsin at River Falls. She is also the author of Teaching about Race and Racism in the College Classroom: Notes from a White Professor. Welcome back, Kevin and Cindy.

Cyndi: Thank you.

Kevin: Thanks. Great to be here.

John: Today’s teas are:… Kevin, are you drinking tea?

Kevin: I am not drinking tea, I have moved on to cold carbonated bubbles. And I’ve got a big vat of Diet Pepsi. [LAUGHTER]

Cyndi: I love the word vat. [LAUGHTER]

John: …and Cyndi?

Cyndi: British Breakfast.

Rebecca: Perfect. I have blue sapphire today.

John: And I have some Christmas tea, left over from a reception we had in the teaching center here about a week or so ago.

Kevin: Isn’t it cold by now? [LAUGHTER]

John: It is freshly made today, but we had a lot of leftover tea from there… with a cinnamon stick sitting in it.

Kevin: Ah, very festive.

Cyndi: Fancy, yeah.

John: We’ve invited you here today to discuss the restrictions that some state legislatures have been imposing, or attempting to impose, recently on what can be discussed in college campuses. Many of these restrictions seem to be focused on imposing alternative versions of history and on banning discussions of diversity, equity, and inclusion issues. Before we discuss these, though, is this something that’s entirely new, or have we seen this at some points in the past as well, with state intervention in academic freedom and issues of what students should be allowed to learn?

Kevin: I think this has some resonances with what we’ve seen in the past. And in particular, I’m thinking of the sort of anti-PC hysteria that emerged from so-called conservative thought circles in the 1990s. And so there’s the big curriculum debate over the National History standards that occurs in the early 90s. But what we’re seeing now with the mobilization of actual state power, I think, is an important difference of degree even if it does resemble some of the same sorts of rhetorical devices and button pushing that we might have seen in the past.

Cyndi: Yeah, the 1990s are what also popped into my mind, and it seems like attacks on higher education and on education generally, they come around in different ways, and for different reasons, it’s always an institution that is under attack.

Rebecca: So critical race theory has been the focus of many attempts to limit academic discussions of this topic. Can we start first by maybe defining what that is?

Kevin: What it is or what it has been made out to be?

Rebecca: How ‘bout both?

Kevin: I’ll actually take the second part of that first. What it’s been made out to be, is the sort of malleable boogeyman concept in the hands of pretty cynical right-wing actors, like Chris Ruffo, from the Manhattan Institute, for example, is probably the most prominent of these, who have basically admitted that this has become a stand-in for all of the things that are, quote unquote, wrong with higher education. It’s a concept that in its true sort of accurate provenance comes out of the critical legal studies movement. Critical race theory starts in law schools, and moves into areas like education, and then other areas of the humanities and social sciences to talk about how what we see as racism and, in particular, racist outcomes are not the product of individual bad actors so much as they are systemic features. It’s a counterpoint to the sort of feel-good narrative of civil rights, where people might say, “Oh, things were bad, and then Martin Luther King came along and segregation ended and then now everything’s great” and critical race theory says: “Not so fast, my friends, we need to talk about structures and systems.” And because it comes out of a discipline, Legal Studies, and is a largely academic conversation in many ways, it becomes easy to paint it with this brush of critical race theory is communism, critical race theory is reverse racism, critical race theory is anti white, because it’s such an unfamiliar concept to the general reading public that it becomes a blank slate for bad actors like Ruffo and others to inscribe whatever they wish on it.

Cyndi: I think, too, it’s important to keep in mind that that word system is a word that I think about a lot because I do think that there is a divide and a difference there around the folks who really don’t want to accept the idea that racism, along with other isms, is a systemic problem. And so I do think that, in that way, it’s really interesting to watch. One of the things that really caught my attention… I’m sure you all probably are familiar with the AP African-American Studies controversy in Florida, whether or not Floridian students would be allowed to take AP African-American Studies. As I was sort of watching, and it’s continuing with the evolution of that course, as the AP sort of responded to criticism, one of the things they did… I think they’ve since reversed this… is they took the word systemic out of the course, there was a report in The Washington Post about that and I thought, that’s really interesting, because that really is a divide where you see on the right folks saying, “we don’t want to think about this or talk about this, this is not a systemic problem;” whereas that’s not the scholarly understanding. And so that, to me, has become a really telling default line. I saw it echoed across the executive order in Oklahoma that was just handed down, I think, last week or a couple of days ago. And it was very interesting, the language around, “we want to guarantee access, but not equal outcomes” is an interesting phrasing that, to me, again, signified there’s an unwillingness to think about it as a systemic thing, which is where a lot of the fight of this becomes, and Kevin’s absolutely correct, that it does become this huge catch all. And even Ruffo himself says that in the interviews I’ve read, when they think of anything sort of bad in higher ed or education, it’s going to be critical race theory.

John: One thing that’s really struck me about this is how extensive it is, reaching from the federal level to stage to even local K through 12 school districts. We even saw some board candidates locally, who were part of one of these groups trying to restrict what students are allowed to learn. How extensive is this problem?

Kevin: Very. The Chronicle of Higher Education, for example, has a DEI legislation tracker that I urge anybody listening to this to consult regularly, because it is a fairly quick moving landscape. And I think one of the dangers for those of us in higher ed is, if you live in a state, so called blue states, you can say, “Oh, well, this is a Florida problem or a Texas problem or a North Carolina problem. But it’s not. It’s a national problem. There are states that are further down that path. But this is not something that’s just going to stay over there. And because it is a movement that is national in scope, it’s funded nationally, it is heavily bankrolled, they’re using the same sort of legislative and PR templates. Those measures have been successful quicker in some places. But wherever they’re being used, they have been successful to a degree. And so I think that’s the thing to keep in mind here is that this isn’t just some sort of localized phenomenon. It is a truly nationally oriented thing that we’re wrestling with. And I think that not seeing that is to really put yourself in danger iIf you care about the fundamental values of what we’re supposed to be doing in higher ed.

Cyndi: I want to add another resource too to the Chronicle one that I like, I think, even better. It’s the CRT Forward Project from UCLA. They have a map. I like their map a lot, because you can filter between higher ed and K -12, local versus state level. My read of that most recently is that there are 10 states that have passed legislation and at the higher ed level that is restrictive around what we teach and what we can do. And then there are lots of other states that have things in the works. So it just gives you a sense of what Kevin’s saying of just how extensive this is. And I would argue further, I would add, I think another way I’ve started to really think about this, just based on what I’m reading, what I’m seeing in my own experience, is that this is so connected to the politics of austerity. And I think we don’t think about, that we don’t connect it. But a lot of the reason why these problems are cropping up, it’s also tied to the lack of funding for higher education, which makes it more difficult in multiple ways. But it weakens us politically, it weakens what we can do in the classroom. I won’t go into but there’s a whole bunch of analyses that really connect the adjunctification of our campuses to these attacks on DEI, to the cutting of DEI positions. There really are a lot of connections there that I think you’ll recognize. And that way, it makes it even more extensive, because I would argue it’s not just the laws, it’s also that cutting our funding and not allowing us to do the work that we need to do. I think it’s connected to all of this as well. It feels like a very bought this attack on higher education and education generally.

Kevin: Yerah, yhat’s a crucial point. Look at what’s happened recently in Wisconsin, where the state boards… I don’t need to tell Cyndi about any of this, because that’s her system… but, there’s a surrender in advance to the Republican-controlled state legislature sort of diktats against DEI work. You don’t need to pass laws that abolish DEI if you make funding contingent on presidents and individual institutions doing that for you. And those things work because austerity and the sort of neoliberal approach to higher ed has created an extremely resource scarce environment where those who shepherd institutions are predisposed to sort of comply in advance, as scholars of fascism warned us not to do. And if you look at the history of the austerity movement in higher education, one of the real touch points of this process is when Reagan becomes governor of California, and Reagan and the California Republicans stick it to the University of California system as a sort of revenge for the upheavals, in particular Berkeley in the 1960s. And so a state that offered free tuition for California residents, to this sort of crown jewel university system, Reagan gets rid of it, the Republicans in California get rid of that. And that becomes a blueprint for this process that Cindy’s just talked about. We’ve seen that go national, and it’s only taken a few short decades to accomplish.

Cyndi: Yeah, one last point on that, too, that your comments made me think of, Kevin, there was a paper in economics several years ago that showed that the states that have diversified the most, if they have Republican controlled legislatures, the funding in those states goes down, and it’s connected to the diversity of the institutions. So, that’s another way in which we see this connection between austerity and diversity and politics. That’s really troubling and challenging to work with. I feel like we don’t connect these things enough, but we really do need to.

Kevin: Yeah, it is no coincidence that as the proportion of faculty and students of color have increased in higher education, that funding has decreased in almost direct variation, and that is absolutely intentional.

Rebecca: So, you both talked about many contributing factors to the growth. Can you talk a little bit about why it’s happened so quickly? And maybe, [LAUGHTER] how do we make it slow down? [LAUGHTER]

Kevin: Well, higher ed doesn’t exist in a vacuum. And we’re in the middle of an authoritarian turn, to say the least, in both international and national politics. So you have a globally connected right-wing movement. And if you look at the way that fascist and authoritarian movements have developed with the late 19th, and early 20th century, higher education and the sort of intellectual landscape are fields of play for these movements to establish power. Practitioners and students in higher education have made convenient boogie men for those who aspire to building support for authoritarianism and fascism. And so what we’re seeing, I think, is this process has accelerated so much so intensely in recent years, because we have a fascist movement in this country, and it has accelerated so much and so intently in the past few years.

Cyndi: I think there are phases where we can see effective ways to push back against this. I really do. There’s not enough of them. But there are ways to get to the second part of Rebecca’s question around like, “What do we do?” I think we have no choice but to act collectively and to work to push back together. I mean, that’s why Kevin’s point about this isn’t a Florida and Texas thing. It’s not. like I said, 10 states from my count, when I was at that CRT tracking math, and it’s on a lot of other places, and through lots of actions. So the collective action that’s inspiring to me… I think a lot about the state of Ohio… they had a bill that was quite restrictive, it would have restricted what could be discussed in general education, very similar to Florida. It had a lot of restrictions around what can be taught. And there was a strong movement against it. And what was crucial, in my reading of that, was not that it was just faculty and students pushing back, which they did, there were protests. But, more importantly, there was no compliance in advance, as Kevin mentioned a minute ago. So the regents or the board, I forget what they call it in Ohio, but those presidents of those institutions, they banded together, and they sent a letter pushing back against that. And it was the university leadership, faculty, and staff and students all pushing together against that. And that bill’s effectively dead now. It did pass the Senate, but it did not pass their assembly or else it did not become law. And this year, it has not been taken back up. There was just a word on that recently. That to me is very inspiring. That tells me that you don’t have to do this, we can push back in states that have systems. Those Chancellors, those Presidents can stand together against this. They do not have to comply in advance. They don’t have to argue with folks who don’t believe in what we do. I think that we can do that by getting everybody on board with that challenge.

Kevin: And Cyndi’s point here is essential, that institutional leadership has a really crucial role to play here. And this is where we’re seeing what I would term as a failure in so much of the leadership across higher education. You know, we’ve been told for decades that the increasing salaries of upper level administrators are because we’re bringing in bold, innovative leaders who aren’t afraid to make tough choices and hard decisions. And yet we’re seeing a vast silence from most of them as this last several years has unfolded. It’s not like the leaders of Ohio State institutions are like a Marxist collective. These are university presidents. [LAUGHTER] These are not wild-eyed radicals, but they led and the results were tangible. So if you look at things like Florida or Texas, one legal test case, pushing back against these curricular mandates as a violation of speech rights, for example. What would be the result of that? What message would that said to one’s own faculty, staff, and students? But we haven’t seen that we saw the community colleges in Florida, the presidents of those institutions issue a sort of collective statement, at least most of them, where they basically said, “Okay, fine, we’ll do all these things…” again, get this sort of comply in advance, and what message does that send to the people at your institution, because clearly, what you’ve done is you’ve abandoned your mission. That mission statement on your website needs absolutely nothing if you’re not willing to defend it against strong political headwinds. And so the main obstacle to this collective action is a leadership vacuum brought about by either moral cowardice or by leaders who actually agree with what’s happening and are willing to let these things happen to their institution because they personally sympathize with them. I don’t know which one of those is worse.

Cyndi: I think, too, there’s a little bit of an assumption that while it won’t be that bad, it can’t be that bad. They won’t really do that. And we’ve seen that a lot, too, I think. And that also is a fundamental mystery.

Kevin: It will be that bad. I’m a historian, and I can give you a reasonably expert opinion that it will indeed, if you let it get that bad.

John: Could some of this be caused by perhaps the fact that we tend to see people who have more education tend to be more liberal and perhaps might be less likely to vote for Republican candidates?

Kevin: I think there is that partisan element to it. I think that’s at the root somewhat of why this trope as universities of hotbeds of leftist radicalism is so effective, which again, takes one small slice of the intellectual and political climate at a particular institution of higher education and reads it across the entire sector, as if engineering and economics departments and business schools don’t exist. But I think that partisan element, this perception that well, here are the places where all the people who vote for Democrats live and work, is an effective one. But it’s also again, if you look at who’s wielding power and making decisions at universities, these are not hotbeds of leftism, by any means. And it’s just remarkable how successful that trope has become. It’s also, I think, an effective trope because we, and higher education, ourselves… back to Cyndi’s point about the necessity of solidarity and collective action… we have not been able to tell our story as effectively as we might. I’m not intending to get into blame the victim discourse here, but I do think that there are ways that we can advocate for ourselves and what we’re doing that have been more effective than what has usually been the case.

Cyndi: Yeah, I would agree. I think related to that point, it reminds me actually, of something you talked about in Radical Hope, Kevin, around the idea of sort of accepting this framing of what we do is we’re just only about workforce development, and we’re only about developing these sort of skills. And that’s not all of what we do. And we need to be able to talk more broadly about what we do and why it matters, and why it matters for everyone.

Kevin: Yeah, one example of this disconnect, if you look at all the surveys of prospective employers, and they say, “What are the skills that you’re looking for, for college graduates that you would want to hire into your company or your firm?” They all talk about things like critical thinking, ability to work in diverse teams, understanding people with viewpoints and backgrounds who are different than your own. This is the business community basically saying here are the things that are important. While you have right-wing politicians on the other side of the coin, saying these are the very things that we want to outlaw [LAUGHTER] in higher ed. And so I think it testifies to the power of this narrative that higher education is a hotbed of sedition, when, in actuality, most of what is in the crosshairs of these legislative and political efforts are actually things that are, on the broad face of it, not controversial, and generally agreed upon by almost all of society as good things to have.

Rebecca: I think to make collective action work effectively, folks need to be somewhat on the same page. And so if people are supporters of diversity, equity, and inclusion, but aren’t aware of counter arguments against that, it might be hard to take action. Can you talk a little bit about why folks are so opposed to these efforts?

Cyndi: My read of part of it goes back to that idea of racism as a systematic problem. There’s a lot of research on K-12 education around race that shows that, particularly for white Americans, but really across races as well, you see it as sort of a fundamental misunderstanding of what racism is, how it operates, how systemic it actually is. Part of that is because we’re in the United States, which is a very individualistic place and so we tend to think in terms of those problems, even the way often that DEI is framed, it’s very individualistic. And so we don’t think of it as a broader systemic thing. And that keeps us from acting collectively as well, because we’re not really thinking about it in that terms. I see that a lot. That is my main teaching and learning goal, when I teach about racism or other systems of oppression, is just to make that shift, sort of the individual acts of meanness over to this more systemic understanding, and understanding that really the most important things like, I constantly get the question from a lot of my students: “Well, okay, so what do I do about these problems? What should I learn more about?” and then like, “If you can learn more, that’s great. Like, I want you individually to learn as much as you want. But if you really care about this, you have to think about policies and voting, and what broader policies are being enacted.” And I try to give them examples just to help them start to think more broadly about these things. And I think that disconnect is part of it. Because if you believe that it’s just individualistic, it’s just about being a good, colorblind person, which is also often tied into one’s morality, like “I’m a good person, so that’s all I need to do. I don’t necessarily need to think beyond that.” And so then it makes sense if you are told over and over again, that there are these DEIi administrators trying to force you to have particular thoughts. It kind of makes sense from that perspective that you would want those thoughts, and that you would think they were going too far on the college campuses. But if you understand instead, that it’s not about color blindness, and it is this broader systemic thing and there are broader problems of not just access but opportunity and outcome, then that changes. But until people start to understand those broader things, I think it’s always going to be a struggle.

Kevin: Yeah, I think Cyndi’s point about us living in this overwhelmingly individualist sort of society and culture is a key foundation, a key part of the answer here, because one of the things that surprises me a little bit is that arguments like the one that Heather McGee makes in her book, The Sum of Us, that those haven’t gotten more traction, where she talks about the famous anecdote she uses is during desegregation, states in the South would close their swimming pools rather than integrate them. And what happens is, all these communities now don’t have a swimming pool at all. And so part of that is to the white folks of that community, rather than the swimming pool complexes racially integrated they went without. Is that really a good outcome? Taking the moral element out of it, it’s like, here’s a public good that is no longer available for the public. And so what racism does, McGee argues, is it hurts everybody to varying degrees and in different ways, but it’s actually something that is poisonous to the very roots of any sort of people that would claim to live in community or society with one another. And I remain discouraged that that argument has not gotten more traction, because I think we need to appeal beyond this sort of sense of individualism. Like Cyndi said, like, “Well, I’m a good person, so racism doesn’t exist. These other racists are bad, but we can quote unquote, educate our way out of it, or a magical black person like Martin Luther King, Jr. will come and absolve everyone from their sins,” right? And of course, that’s not how it works. But this tide of individualism, this conditioning that we have, is so powerful that it makes systemic critiques into a sort of existential threat for folks who are not ready to make that journey, because it becomes a threat to an individual to say, if you live in a system that is fundamentally racist and inequitable, for example, if you subscribe to this sort of inherent individualism as the core of your identity, that a systemic critique says, “You live in this system, and it’s your fault, at least partially that the system is like this.” And if you can’t separate those two out, and if you can’t make those distinctions, you’re not going to have a very useful conversation about what we would term as DEI. And instead, what you get is you get anecdotes of, let’s say, unskillful students making an argument in some inelegant way that is an easy thing to lift out of context and present as here’s what DEI is, these lefty kids running amok protesting food in the dining hall at Oberlin, for example, and turning it into a kind of theater of the absurd. And so we’re swimming against such a powerful cultural tide when we try to do this work because it is asking people at least to set aside this fundamentally individual centered ethos. And that is a really heavy lift for all of us, I think.

Cyndi: Although I have some good news, if you guys want to hear it.

Rebecca: I’ll take it, I’ll take it. [LAUGHTER]

Kevin: I would love to hear good news.

Cyndi: This just comes from my own individual teaching experience, because what Kevin’s talking about is a powerful argument, the sort of Heather McGee’s and there are others too. And what I’ve started doing, and I’ve found that post-2020 It’s become a little bit easier for this to get purchase in terms of teaching. I really do think that there is a lot of hope in our teaching. One of the ways that I’ve started to help my students cross that bridge, that divide from the individualistic to systemic is to have think in terms of their own lives. And one of the most clear examples to go all the way back to like sort of where we started, it’s like they pay more for college tuition as a result, I would argue, of racism, and sometimes some forms classism, too. And there are several ways to get at this. Heather McGee, in that great book, The Sum of Us, that Kevin mentioned a minute ago, she has a whole chapter on college funding and how it’s gone down. I mentioned the economics research that shows that. So these austerity policies that are related to diversity and racism and fear, frankly, cost a lot of white students, particularly students that I work with, tend to be first generation, a little bit lower income, and I know you all do too, as well, at your institutions. Public regional institutions, and not private, we serve a lot of students who are directly affected by these austerity policies, they’re directly connected to race. So again, I mentioned Heatherr McGee. I also have another great resource that I’ve been reading, it was written by a couple of sociologists about the racial consequences of underfunding public universities, they look at two schools in the California system. You don’t have to give all of these to students. But it turns out that it’s very easy when you work with students to sort of talk about, let’s think about what systemic racism means. Here’s a way it impacts you directly. My classes are overwhelmingly white, but speaking with white students about that, and helping them connect those dots, they can do it. And part of what I think has helped us, that’s a strange way to say it, but post-2020, is that after 2020, people started using the word systemic racism a lot more like in social media. So I have more students that will come into my courses, saying that word, I don’t think they fully appreciate what it means. But it’s more of an opening. And so then we can start to think about all those ways in which it is harmful to everyone. Racism is harmful to everyone, it costs all of us more than it should in lots of ways. And not just in terms of like sort of the moralistic framing that we often use, but real material differences. So that’s one way that I found hope, I guess, it’s to go back and to think about how to teach about these issues in a way that feels good. And I think there’s a lot of things instructors can do, no matter what they teach, to sort of start to get out these issues and help students to think about it.

John: I’ve seen some similar things. And one thing I’ve noticed is that as our classrooms become more diversified, as we have more first-gen students, as we have more students from historically minoritized groups, we’re seeing people in general becoming much more aware of some of these issues. But one of the challenges, as you both have mentioned, is the issue of austerity that colleges have moved to a more contingent labor force, there’s a larger proportion of adjuncts. And while it’s important to be able to push back, many of the people doing the labor of classroom instruction are in a position where their jobs are very much at risk. And if their administration is not going to be supportive of DEI efforts, they face losing their very limited incomes that they’re receiving from these positions. Is there anything we can do to address that challenge?

Kevin: Again, I think part of the answer to this goes back to the idea of leadership of institutions. What is the mission of your university or college? What are you saying that you’re going to be doing? Why are you there? Our mission statements as institutions are promises that we make to all of the stakeholders of that community, whether they currently are part of the community or external groups in the town in which we’re situated in the area, for example, potential students and their families, we don’t put Terms and Conditions on our mission statements, we say that X University will provide a powerful educational transformative experience to all of our students. We don’t say all of our students who meet a certain income level or all of our students who come from certain demographic groups. We mean all of our students. And so if we’re going to do this mission driven work, and we’ve got study after study after study that talks about having a diverse student body and a diverse faculty and staff, not just racially and ethnically, but diversity and all of the ways that matter lead to better learning outcomes. In other words, we do this education thing better when we do it in diverse places with diverse people. And if that’s what you want, which I would argue we do, then that’s what we need to lean into. And so if you’ve got folks who are doing that work, who are not supportive, who are contingent and precarious faculty and feel that they cannot do what is, I would argue, inherently mission aligned work, that as an institution, that is a problem. And you need to do something about that. And so if you’re a department chair, how are you supporting your part-time colleagues? If you’re a professor with tenure, how are you supporting your part-time colleagues or your junior colleagues who aren’t tenured yet? How are you providing cover? How are you modeling things as a secure person in a secure position? How are you advocating in governance? How are you advocating in Provost’s Council or a senior leadership’s cabinet? How are you looking at getting rid of just semester-based contracts and moving towards annual- or several-year contracts? You can’t wipe out precarity at a single swoop. But what you can do is fix some of the sharpest edges of it, to blunt those. That’s the work in front of us in the short term. And if you’re not supporting your colleagues doing that, that none of this works… Again back to Cyndi’s central point, we either do this collectively or we don’t do it at all.

Cyndi: Yeah, I think anybody with any power in any sort of safety, and I use safety in quotes, but like anybody who can has to push back, and this pops up in really small places that you might not recognize. I was reading too about the southern accreditor, I forget what their official thing is. But you know, they’re talking about changing the accreditation, that is absolutely compliance in advance. That is the wrong way to go. Our accreditors, that’s part of what worked in Ohio, where the arguments about it were going to be out of compliance with accreditation. If the accreditors are complying in advance, and watering all this stuff down and not sticking to the mission, that’s a problem. So there are a lot of people who have a lot of power and the ability to push against this, but you have to push against it. All of us do, in all those spaces that Kevin just mentioned, because reducing the harm and softening those edges as much as we can, it’s our responsibility to do that, particularly for people who are adjuncts and semester-to-semester contracts, because that precarity is real, and it is a problem. And I’m sure you’ve all seen it, I have seen it too. And we can work with our students, because our students will work with us. They believe in these things. The ideas we have about students are so often wrong in terms of that. So working with our students and not believing in caricatures about students.

Kevin: Yeah, that’s an essential point, Cyndi, and thank you for raising that, because I think one of the things that we haven’t touched on here, but is a vital thing to bear in mind, is that these legislative efforts are profoundly anti-student. They’re not just anti-higher education, they are profoundly anti-student, anti-young person. They make the assumption that learning only happens through indoctrination. They are based on the premise that students will learn only what is sort of rammed down their throat, basically, pedagogically. They make the assumption that students cannot handle certain truths. They make the assumption that some things just aren’t worth knowing, and they take that decision process out of the students’ hands. They are profoundly anti-student. Among all of the other things they are, this is the essential truth at its core, that these laws, this legislative effort, this broader cultural political campaign is based on a profound contempt for students, for young people, and by extension their families. And so we need to understand that our students want the same thing for them that we want for our institutions. And if we’re able to see our students as allies in this and get our students to see themselves as allies in this, nobody wants a crap education. Nobody wants an indoctrination, force-fed prefabricated chunks of content. We know that doesn’t work. And so to engage the student voice in this in a systematic and supportive way, I think, is a really important part of the equation and a great untapped opportunity across our institutions. But that needs to be, I think, one of the ways in which we push back against these efforts is to really call the fact out that y’all just hate kids. Y’all hate learners, you don’t just hate schools and instructors, you hate the people that these institutions are ostensibly trying to serve. You may say that these are pro-children and pro-family, but they’re not. They hold children and students in profound contempt. And we need to hammer and hammer and hammer on that point, because that’s the reality.

Rebecca: Change is only likely to happen when the whole community’s engaged. So you’ve outlined today: administrators, faculty, staff, students, the whole community working together,

Cyndi: We have a lot more power than we do.

Kevin: Yeah. Scholars of fascism and authoritarianism will point out the fact that the one thing that successful movements of this stripe do is they get you to give up your agency and oftentimes without a fight. So that’s why complying in advance, the phrase that we’ve used several times, it’s so dangerous, because we give up our agency, we forget that we have it, and then it becomes much easier for these movements, which are not representative of the majority, not representative of our community or it’s aspirational values, but it allows them to be successful because the great majority of folks have given up agency. And so as long as we not just recognize the agency we have, but deploy it effectively, then, and only then, can we push back successfully.

John: We always end with the question: What’s next?

Cyndi: What’s next is I have a final tomorrow. So that’s probably like what’s most salient in my mind. So, you know, wrapping up this semester, but definitely more seriously, I want to think more about these questions and how to get people collectively to think about these larger points, about just what Kevin was saying about the real paternalism and contempt for students that is evident in the laws, helping students to understand what this is and why it matters for them, figuring out how to write and speak and work with people more to get people to see the power that they have. We don’t have to do this. We don’t. We can keep our education systems and classes free from this interference, and we should.

Kevin: And I think, for me, as someone who works in Educational Development at a private institution. I think that those of us who have a little more latitude, we’re not immune from any of this, but we do have some affordances that public institutions don’t. And so it’s part of my job to help my colleagues and to build a model of what this looks like to do well. What does it look like to do this work in solidarity and community? What does it look like to do meaningful, as opposed to just performative, work along equity and justice oriented teaching and learning, because it’s so much easier to advocate for these things if we could point to concrete examples of what they look like, how they can sustain themselves, and what the benefits are. And so I think as an educational developer, that’s kind of my responsibility, what I feel bound to continue. And I’m fortunate to be in an institution that values those things. And so I need to take advantage of the climate I’m in to advance that work.

Rebecca: Well, thank you so much for joining us and giving us plenty to think about and ways that we can perhaps act by modeling and coaching and working to have collective action.

John: It’s always great talking to you. Thank you again for joining us, and we’re looking forward to more conversations in the future.

Kevin: Thank you for having us.

Cyndi: Yeah, thank you.

[MUSIC]

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.

[MUSIC]

279. First-Year Blues

First-year seminar classes can help ease students’ transition from high school to college. In this episode, Tim Nekritz joins us to discuss his first-year seminar class on the history of American Blues in which students explore racial and gender discrimination through the lens of music while also learning to navigate the college environment.

Tim is the Director of News and Media at SUNY Oswego, an Adjunct Professor in the Department of Communication Studies, and the developer of a first-year seminar course in American Blues.

Show Notes

Transcript

John: First-year seminar classes can help ease students’ transition from high school to college. In this episode, we discuss a first-year seminar class on the history of American Blues in which students explore racial and gender discrimination through the lens of music while also learning to navigate the college environment.

>[MUSIC]

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: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

>[MUSIC]

Rebecca: Our guest today is Tim Nekritz. Tim is the Director of News and Media at SUNY Oswego, an Adjunct Professor in the Department of Communication Studies, and the developer of a first-year seminar course in American Blues. Welcome, Tim.

Tim: Great to be here.

John: Our teas today are: …Tim, are you drinking tea?

Tim: Yes. And I am drinking Tea Forte blackcurrant. It’s excellent, and if John recommends a tea, you’ve got to go with it,

Rebecca: I’m drinking chai today, John.

John: Very good. There’s no jig or anything. [LAUGHTER]

Rebecca: No, there’s no Jig, nothing crazy. I was at an event and there’s limited choices on our campus event tea selection. Chai is what I chose.

John: And I have ginger peach black tea today.

Rebecca: Back to an old favorite, John.

John: We’ve invited you here today to discuss your first-year seminar course in American blues. Since it’s been a while since we discussed one of the first-year seminar courses here at SUNY Oswego, could you tell us a little bit about the objectives of the course?

Tim: Absolutely. The idea is for it to be a small class, because you really want to build a sense of cohesion there. And I saw that a lot, because students would become best friends right away, despite anything I did or not because of anything I did sometimes, but so it’s building connections with other students and instruction in the institution. It’s very much a gateway course to them being college students, to a degree. We don’t overdo that, but we try to make sure that we can work that into the curriculum wherever we can. There’s a certain amount of college preparatory experience for that, obviously, it’s not orientation, clearly it’s not orientation. For example, I brought in Tina from Excel to talk about career preparation and internships and that type of thing, brought in someone from Counseling Services Center, which I’ll talk more about later, but just try to connect them with some helpful faces and offices on campus. There’s also intercultural competence, which was a big part of this course, which I know we’re gonna discuss more later, …critical thinking skills (so introduction to what that is on the college level), and communication skills and very basic level, whether it might be their first research paper, might be their first oral presentation in college and trying to get them prepared in whatever ways we can.

John: We introduced these classes several years ago, and we had a number of people teaching in the first round of this on our podcast, but that was sometime in the before times.

Tim: Yes.

John: …so we thought it would be useful to review this just a little bit. But it’s also something that the college is expanding. The goal is within the next two years to offer one of these courses to every freshman student.

Tim: Yeah, and we work with Mallory Bower, as well as Kristin Croyle, who are excellent to work with, as far as trying to get people almost over their fears. So it’s like, put in an idea. And as opposed to just like yes/no, they might help you workshop it and there’s pr- preparations where seasoned professors like me, I’m not in the old category, apparently. And so like, “How do you develop your course? What stumbling blocks did you have? What were things that worked?” and that type of thing, which obviously varies from course to course, as we all know. But it’s good, because in a way, we’re building communities here, but we’re building communities among the people who are interested in teaching that class.

Rebecca: One of the things that’s interesting about the first-year courses that are at our school is that they’re intentionally not in the discipline and they’re often interdisciplinary. So can you talk a little bit about your course and how that fits into the bigger picture at Oswego.

Tim: Certainly, I came about designing it in a backward way, which is how I do most things, it seems like, but essentially, I really got an interest in blues and blues history fairly recently. And we got an email from someone named Roger House, Roger went to SUNY Oswego for a couple of years before transferring to another institution. And he’s now an American Studies professor at Emerson College and does a lot of stuff on blues history, cultural history, and that type of thing. And he emailed us a column that he wrote that references his time at SUNY Oswego. And then at the bottom, it said, Roger House is the author of Blue Smoke, which is a biography of Big Bill Broonzy. And at the time, I was reading anything on the blues I could get my hands on. And I read it, and I realize,d everything that he went through, he went away to World War One, and was treated great in Europe… well, relatively great for a servicemen… for someone who’s toward the bottom of the rank, but at least was treated like a human being which he wasn’t used to back home… comes back, the man he worked for, picks him up and immediately degrades him and tells him “You don’t deserve to be in that uniform.” This is a person who sat home and did nothing and he’s telling Bill who served his country, for very obvious and racist reasons, to take off his uniform and put his overalls back on. And that was a big pivotal moment. But it’s also something that resonated with a lot of people. A lot of people who went away to World War One, and then had to come back home and face the indignities of racism. And so then he was part of the great migration to Chicago and the blues scene that arose there and then he was rediscovered because he did some social commentary during the folk revival in the 1960s. I’m looking at this and it’s not dissimilar to Forrest Gump, although not as fabricated, but you’re looking at, okay, all these different parts of 20th century history, and this could be something that’s taught. So I sent an email to Mallory and said, “This is a crazy idea and I know we’re friends, but you can tell me it’s stupid if you want.” But she didn’t. She thought it was great. But part of it is you can really teach cultural history, black history, entertainment history, pop culture history, there’s so much that can be developed here. And then it seemed like the first black women to reach a mass audience were the blues queens of the 1920s, when that became big. Because they could not be heard or paid attention to elsewhere, but then suddenly, out of nowhere, Mamie Smith has a huge hit that sells all these records and record executives are like, “Oh, wait, there’s actually a market for black music” because Mamie Smith was really like the Jackie Robinson, she broke the barrier. It was in part because she had a lyricist, Perry Bradford, who sold his compositions, but because people would buy it, but nobody wanted at that point to record a black artist. And so he got Mamie Smith recorded, and then Crazy Blues became this huge hit and suddenly people realized, “Oh, well maybe this is not a bad thing.” But that being said, what happened immediately is that they started recording white women who tried to sound like black women, which of course is even worse, really. And so they were very hesitant. I was reading things that said, “Oh, and then suddenly, opportunities opened up” …and they didn’t. It wasn’t until Bessie Smith came along with Downhearted Blues in 1923. That just sold unbelievable numbers to all audiences, black, white, anybody. And the record company said, “Okay, well, I guess this is something that we can do.” But there’s so many lessons behind that, and the fact again, that the record companies held off on actually trying to make sure that black woman can be heard, which was amazing, disappointing at the same time. So that’s just one example. And then being able to teach the great migration through the Chicago blues scene. The fact that Big Bill Broonzy and Muddy Waters and all these people came from the south and collected in Chicago, or Detroit, or any city where the jobs were, but then in Chicago, all the conditions were perfect for them to start up an amazing blues scene and just to transform everything, like when Muddy Waters plugged in an electric guitar, and everyone was like blown away by that. But he had to do it, because he was playing in these loud clubs and people were just talking. So he had to electrify what he was doing. But so anyway what I started doing is looking at some of the themes and some of these decades, these eras, and that type of thing, because there’s also just such a long pre-history of African music, African inspired music. And then at one point that drums were banned on plantations because people thought they could send messages to each other, but also the way that the field hollers and the religious music, music that they did just were work songs and how that influenced what came later. The problem is, you could almost do a whole course on that. That’s really way back. That would be earlier American history, but I’d have to inform that and then talk about the fact that you had like the Ma Rainey’s of the world who were already spreading the blues before it was known as the blues. And so laying a lot of foundations with the vaudeville and tent shows, or W C. Handy, and his first blues recordings, but even some interesting things because blues was folk music for the longest time. And then W. C Handy decided to publish it, and suddenly it is no longer folk, it is now commercial. And so how that changed everything. So there’s so many interesting lessons that happen along the way.

Rebecca: So what I’m hearing, Tim, is that you’re using music to sneakily teach history.

Tim: I’m a sneak.

Rebecca: You’re so dangerous.

Tim: I know, it’s horrible.

John: There have been a number of economic articles written on the role that rural free delivery and the Sears catalog provided in the blues because it brought low cost musical instruments to places where there were just no music stores.

Tim: That’s great. I do touch on that a little bit, because, in the rural south, you can’t drive to a music store. But then suddenly, Sears made guitars and other instruments, very inexpensive. So little things I just love because I’m a big fan of James Burke. I know he spoke here a few years ago, in his Connection series and the day the universe changed, about how all these small things come together. And so that’s exactly what I like talking about. That’s a perfect example.

Rebecca: How did you get students engaged in the subject matter? What are some of the kinds of activities that you did with students?

Tim: One of the things that I did because I can’t convey the Blues as well as blues artists can, I would give them a Spotify playlist of like 15 to 20 songs and have them listen to it. The first time I taught it I couldn’t find a book and it’s like, this is easier than reading a book. And then finally, some people talked to me about “You probably should at least get a basic book.” So I have a really inexpensive one. Elijah Wald’s, Blues History, which is I think like $12. I try to be friendly on the budget. And so I would have one on Blues Queen, for example, or then in the mid-1920s, what happened is Blind Lemon Jefferson had a hit song called Black Snake Moan and Blind Lemon does not get the credit. He totally changed the industry with that. And part of that is sexism, unfortunately, because when the record companies were getting the Mamie Smith’s of the world, the Bessie Smiths, was like, “Okay, well, we need to put an orchestra behind them.” And then suddenly Blind Lemon Jefferson has a huge hit. He’s one person, that’s so much easier to pay. And if you have the Bessie Smith’s and Mamie Smith, and the Ida Cox’s, the people who were getting well established, they command more money, economics again, but you find some blind guitarists somewhere, you can pay him less than that, because unfortunately, exploitation is a big part of labor market functions or malfunctions, I guess you would say. Women really dominated the scene for the first five years and then they started going to solo male singer guitarists, or pianists, or fiddler’s, or whatever. And so then I did one about some of the early male artists, then all the Blind Willie McTell and Blind Willie Johnson, Blind Blake. But then I also talked about why that happened, because again with economics, if you’ve got nine kids, and one of them’s blind… basically, there was a sharecropper system, which was again rigged, almost indentured servitude, unfortunately… and so your kids, if you’re in the system, they all had to help you produce. So if you’ve got a child who’s blind, they can’t necessarily do that. But then, especially when Blind Lemon Jefferson started hitting some other people, it’s like a lot of them might have already had them working as buskers and that type of thing, but then the record companies of course, there’s nothing original to a record company, thought “Oh, we’re gonna assign more blind bluesman including the fact there were some who were signed who were said they were blind but weren’t.” And like all these really crazy things. So like I did that. I did one Chicago blues, and then folk blues and social blues and then the British blues boom, which was led by The Rolling Stones, among others. But there’s also a great quote from George Harrison, my favorite Beatle… everyone has a different favorite Beatle perhaps… but he has said “No Lead Belly, no Beatles,” because, again, it’s one of those weird, circuitous things, because Lead Belly, among other things, did a song called Rock Island Line, which was covered by someone named Lonnie Donegan, who actually took the Lonnie from Lonnie Johnson, who’s another great unsung hero. Rock Island Line became a huge hit in Britain and formed something called skiffle. Skiffle was like a combination of blues and folk and a couple other things. And then all these skiffle bands started forming including one called Quarrymen, which was John Lennon, Paul McCartney, and later, George Harrison. And so George Harrison nails it. And the main thing, I think, that the students notice, because I am willing to trade off extra credit for market research. So I have a five point question on the final, which is a bonus question, which is, “What’s one thing you wouldn’t have known if you took this class” and a large part it’s like they had no idea that the blues is the foundation for rock and roll, and inspired jazz, and soul, r&b, funk. And then a really cool thing is Marquel Jeffries from the Institute, who’s also a rapper. I had him come in and talk about the connections between blues and hip hop. And he did a fantastic job with that, because just as the blues has informed so many 20th century art forms, I’m glad that I can introduce that to people because, again, that is cultural appreciation. It is also cultural appropriation too, that is part of this as well.

John: And certainly there was a lot of that in the history of rock and roll.

Tim: Oh, yes, Elvis being a big one. But at the same time, that wasn’t cool, necessarily, but Elvis himself was a big fan of R&B. This is what he wanted to perform. And at one point, they tried a bunch of things, and then he started playing some really crazy R&B tune. And Sam Phillips came in the studio and said, “What the heck are you doing?” And he said, “keep doing whatever you are,” because that was everybody’s ticket to money on the money train. But part of it too, is that people like Sam Phillips knew these R&B records were selling like crazy. They needed to break into the larger and mostly white market. And so they needed a white face to market that with and that’s what they did with Elvis. So there’s a real lesson there. And then there’s so much other cultural appropriation. I know that Larry Watson, who performed very recently, he has a whole song that he did in Waterman theater called “Liar,” which is all about cultural appropriation. It was great. So obviously, it’s appreciation versus appropriation, who’s benefiting from what? The fact that Led Zeppelin then would change a few words on a bluesman’s song and then file the copyright themselves. Janis Joplin did it too. And all these people who very much took advantage of that, but then there are also a lot of people who appreciated the blues. I consider myself someone who preserves it because I like doing old blues songs… not nearly as well as they do… but I at least want people to know who some of the blues pioneers are as best I can.

John: And the Rolling Stones certainly did that and I believe they had Howlin Wolf open for them on some of their early tours.

Tim: Yeah, I showed them a great video that was one of those teenybop shows and they said they wouldn’t perform unless Howlin Wolf played and it’s just kind of hilarious because Howlin Wolf is playing, he’s doing what the Wolf does, and all the kids are bopping to it. And it’s like, “Wow, imagine if they were actually exposed to Howlin Wolf and all these other blues players that they never actually were.” So that could be like an alternative history of suddenly the radio stations that are playing Howlin Wolf might have happened, but it didn’t happen, obviously.

Rebecca: So you had students do a lot of listening and reading, what kinds of things did you do in class? I know you had some interesting projects and other learning activities.

Tim: Well, I will get back to the playlist. Basically, they would come in and the assignment would be let’s discuss at least one song on the playlist and everyone would do it… almost everyone would do it. Some of them want to talk about two or three. I’m like, hey, that’s cool, too. So like, if I’m talking about a blues gospel tune, talk about why gospel blues was a thing. I don’t even know how this existed, but when Ma Rainey’s Prove it on me Blues, from the 1920s, singing about being a lesbian, and you can’t get more marginalized in America at that time than by being a black lesbian. She’s like, “This is me, here I am.” And it almost feels like how did this happen? Because after the 20s, that disappeared for a long time, even that kind of expression. But that kind of showed, and I had people in the class who were very inspired by that, the courage that it took her to do that. And then just weird stuff like Blue Yodel Number 9, which is Jimmy Rogers with Louis Armstrong and Lil Armstrong. So it’s blues, with yodeling and old country and jazz. I read about it in a book. And I’m like, “this shouldn’t exist,” because again, we think of how much music was categorized back then. So those are great discussion exercises. But then the one really fun project I thought was I asked him to write a blues song talking about it could be their perspective or some other perspective. And so I brought in Kyle from the Counseling Center, because he’s big into expressive arts, and it’s like, “Is there anything that’s bothering you that you can sing a blues song about?” So a lot of them talked about loneliness, homesickness, missing friends and that type of thing. Some of them were really deep, and I’m like, “oh, goodness,” some of the stuff that they were writing. The first semester, there was actually a surprise attached to it, in that I had reached out to some friends. And right after Thanksgiving, we get back and we had a concert. And so my friends from a band called The Shylocks, they did two tunes. A third tune was one that was written by someone in the class. And I said, “Guess what we’re doing?” So I had a number of people there, and Kyle, a very well known blues player, Jess Novak, recorded one because she connected with one of the students in the class really well, because Jess talks about the old boys club and all the rest of that stuff. And there’s one student who talked about back home, she would get solos. People were like, “Oh, it’s because you’re a girl.” and all the rest of this stuff and be patronizing to her. But then we did research papers, and she presented on Etta James, and she’s asked if she could sing At Last. I’m like, “Are you kidding me?” And she did and I knew why she got the solos back home because she was really good. But then, to turn that around, I said, “Hey, Jess, remember that student.” And I sent Jess her thing and she performed it. And it was one of those, you could have dropped it back in the 1920s. It was that good. So I had some of them performed live, some of them recorded it as well. And it was just really cool to see because these students, some of them acted all cool, and that type of thing. But some of them were like just very emotional to see people perform a song that they wrote. I wasn’t able to do it last year… lowell, one thing, the cat was out of the bag, perhaps… but it was great because they got to use self expression, but then also see how people interpret songs. So it worked on many levels. And it was a heck of a lot of fun too.

John: When you had them write the songs, did they actually write it down in notation? Or did they sing it? Or did they write it down assuming there’d be a 12 bar pattern underneath it?

Tim: Great question. Basically, I just had them do lyrics. I am not qualified to teach composition. I can teach about writing. Last year, I don’t know what happened, but I wrote about 50 songs. I was looking into sources that talked about songwriting, like Larry Kyle spoke to the class or Jess Novak spoke to the class. I had them talk a little bit about their songwriting experience, how they wrote songs. And of course, with everything, “Well, it depends on the song.” But so I actually did try to workshop with them a little bit. And most of them didn’t really want my help. They just wanted to do it on their own. But I said they could do it in 12-bar blues, but they didn’t have to because obviously the blues has evolved, whether they want to do an ABAB rhyme scheme, or just ABCB or whatever. And honestly, I was looking for effort. Some of them were fantastic. Some of them were not anything that necessarily was going to be recorded. But the effort they put into it, especially if it came from the heart, that was more important to me, just that they learned about self expression. Some of them were already songwriters, so they had a bit of a leg up there. But at the same time, it was really an exercise that was to express themselves. And some of them did fictional stuff, and that’s great, or took something and elaborated on it, but that’s how I write songs too. So yeah, I can’t fault them for that. But so all of them are really good. I just asked them to do four stanzas. That could be four verses, three verses and a chorus, two verses a chorus and a bridge, just to show that they had invested in it. And nobody who turned in a song disappointed me or came even close to it. So I was happy how that worked out. And again, they didn’t know it was gonna be performed. And the performers, I didn’t have them say who wrote it, intentionally. But then one of the performers actually wanted to perform them live… open mics and stuff. And I asked the student’s permission, like, “Oh, totally, yeah,” and that type of thing. They didn’t want their name attached to it. So it’s just that personal to them. And again, I always say I learn just as much from the students as they learn from me. And so I learned a lot about what’s going on in their lives. And by the same time there are people who want to write songs about their blues, but some of them they didn’t necessarily want to take ownership of or let people know how they’re feeling. There’s larger reasons for that than I can fix in a class. But at the same time, I thought it was really great that they at least got that experience.

Rebecca: So I think it’s important to note, if students are writing songs, it’s a first-year class, it’s not part of the music major, there’s a lot of non majors. So students may have ended up in the class because they selected the topic, or because it fit in their schedule. So how did you handle students that were not too excited about writing a song or worried about being outed?

Tim: Yeah, a lot of it was reassurance. There were a few music majors in there. Some of them even said, Wait, I thought this was a jazz history class. I’m like, no, there’s 50 jazz history classes, there’s very few blues history classes. That’s the reason nobody knows about the blues’ role, because blues history is just not taught. A few places have programs. The University of Mississippi is a good example of that. But generally speaking, we all do jazz, because jazz is so much neater and more ornate and doesn’t involve feelings and unfortunate situations and people being murdered for cheating on their lover and whatnot. But so students took it for a variety of reasons. I think you expressed some of that, but also because Mallory is a big supporter, and so she plugged a lot of them into my class the first time around. But for a non-music major, I even said right off the bat, you don’t have to be a music major, but you have to enjoy music in some way. Like if you don’t like to listen to music, this probably is not the first-year class you should take. I talked on what I call syllabus day. I do talk about the songwriting assignment, and then sometimes a couple students might disappear. But I want them to be comfortable with the class. So I try to set the expectations early, we talk about it a lot. And before I give them the assignment, and that’s why I always ask songwriters for advice. But like I had Juliet Forshaw, who actually taught a songwriting class last semester, come and speak to my class. And it’s a trade off, I got to speak to her class. And so imposter syndrome was high. That day, despite all the songs I’ve written, I still don’t feel necessarily like one. And so she came in with her partner, Michael Judge, and so they played some Avalon songs, but also, she went deep into how she created it. And again, there might be people who write the music first, and then write the words and just like, well, that’s not necessarily going to be the case here. I told them, if they wanted to put a lead sheet and put some chords on there, that’s great. There were a couple of people who already did make music. But really, it’s not unlike writing poetry. So that was one of the analogies I used. And so some of them would come up to me with a couple ideas and said, “How do I flesh it out?” and I’d suggest a rhyme or say, “Here’s a great point, can you expound upon that?” …like every writing course I ever took. And so I was worrying that maybe I would get more resistance and more people who just didn’t want to do it, or who I would have to really work to get to do it, but then it surprised me, the day that they were due, they would show up… once in a while they’d be late or other people would send it to me via Google Drive or email and not show up that class just in case….

Rebecca: In case they had to share it out loud or something. [LAUGHTER]

Tim: I think they were afraid of that. And I told them, I’m not going to make you sing it. Of course, I didn’t tell people the first time that someone else is gonna be singing it either. But they took it in stride. And obviously the past couple years have not been the easiest time to transition into a freshman year, especially the year that people came in and they hadn’t been in in-person classes because they graduated from high school, which had been virtual since March 2020. And so I think they adjusted well to being back in class. I think they’re excited to be back in a class and in college. So I think that helped a lot. But generally speaking, they appreciated the assignment. I mean, they didn’t jump up and down and talk about how great it was. But they all put in the effort. I think that says a lot, because I remember it being really hard to be a freshman and that’s back before we had the Internet and other distractions.

John: So how many times have you offered this class now?

Tim: Two times and obviously you learn something every time you teach it, and then it’s like, I’m gonna change this next year. And then next thing you know, it’s like late August and like, “Oh, well, maybe I won’t.” But one thing I’ve been doing too is getting a variety of guest speakers and some of them are musicians. And then like I said, you’ll have people in Counseling Services Center or Tina from EXCEL or just other people who might be helpful just to come in and maybe do like a 30-minute talk. This was an election year, as many people are painfully aware. And so I had some from Vote Oswego come in and talk about that and civic engagement. And sometimes it might be just a 20 minute talk or someone coming in it might be a whole class. But in the case of someone like Kyle, he’s got a background, and he’s a blues fan, because he’s like, “Oh, my God,” when I asked him. His father took him to see Bo Diddley, and I’m like, “I’m jealous of you.” But so he had blues, introduced in his family. So he knew that, but part of it’s to hear all the services we have, which are very important for anybody to have, really, the way the mental health crisis is these days. So it’s great that he got to introduce that and also then the interactive stuff that he did… people understanding how to share how they feel, and that type of thing. So I think I was very lucky with guest speakers. And then it’s always like, “Okay, well, I’m keeping most of them if they can,” because like Marquel was an example of, I got to the 70s, 80s, the birth of rap and hip hop, and the first time around, I didn’t have the subject knowledge to do that a credible job. But then it occurred to me like, “Oh, wait, I know Marquel.” And so he did a whole bunch of research, asked me questions, and then talked about the history of hip hop, and then connected with the blues just so well, I was thrilled to have him and because guest speakers will liven up the class a little bit. And then some of them will do a session like Jess Novak did and they all connected with her immediately, and like they connect with me like that. But that’s why Jess does what she does for a living, and I do what I do for a living. But just I think trying to get some variety in the class, because part of it too, is if it’s class major specific people might be saying, “Okay, well, what can you do with this major or this class?” So I don’t think a lot of people they’re looking to become musicians… a couple of them are, but try to introduce people who can help them in other ways. The good thing for being a non-musician is that it’s, in large part, a history class. It just happens to have a really cool genre that goes with it and I get to listen to music and we have to write a song. It’s not the end of the world. They all survived and thrived with it.

Rebecca: What are some of the themes that came up in their songs? You mentioned that you got a lot of insights into what’s going on in their lives as first-year students and that might be helpful for a wider audience to be aware of.

Tim: One of them wrote a song called Lonely Man Blues that basically talked about being away from his friends, his family. One of them wrote a funny song about dealing with people at the holidays who had different belief systems than him. It was a bit of an angry song. I mean, I could see the Ramones performing the song as well as any blues band. But people would talk about that. And just homesickness. Even as bad as the pandemic has been, and having to learn from your house and that type of thing, at least that’s a familiar place. And for them, that’s really trying to figure out the comfort zone, making friends over again, because you know, social skills took a hit during the pandemic. And so some of them talked about the readjustment of that, or talked about someone who broke their heart. One person, actually wrote what sounded more like spoken word poetry, it was really long, but it was very honest. And it was a way that they expressed themselves about a relationship. So it’s something that they got out of their system. So in a way, they weren’t that different than what you see with normal blues songs, except, like I said, there was much less murder involved, thankfully. I don’t know what would happen if someone talked about murder, but it really was about feeling lonely, about missing people, about wanting more love and that type of thing. So it was, in a way, whether I expected it to or not, it hit on a lot of the themes that classic blues songs did.

John: One of the reasons for these classes is to help students connect to other students as well as to the institution. How did that work in the class? Did the students make a lot of personal connections through the activities you were doing in the class?

Tim: Absolutely. And again, I haven’t figured out how to master that yet, I would like to, but they would just make it organically. There were a couple of people who hit it off and became really good friends. I would like to say that somebody formed a blues band out of this. I don’t think that happened. But the good thing about a class like this is it’s intimate. And people do talk about things. And it’s interesting, because when Kyle was in the room, or Jess was in the room, they would talk about things they didn’t talk about in front of me because I’m their teacher, and I grade them. I had one student when Kyle was there, he said, every day, I feel like I’m going to break down crying, just because of all the stress and that type of thing that anybody goes through at that age. And so I think that they expressed these things.. kind of broke down some barriers among everybody, which I think was good. Obviously, nobody was going to become friends with each other. I took improvisational theater way back in my undergrad days. And that was great because everybody just goofs around and that type of thing. And it is to let your guard down class. And so that’s the tightest class I’ve ever seen was improv theater just because everyone’s just doing silly things. I didn’t do silly things in this, it’s unfortunate, maybe next time. But it was good because for one thing, no one studies this blues history. So they were getting a lot of information that was new to them. But then they would also talk about “Oh, I really liked this artist, this song.” And so people would be like “Oh, I love that song too.” And so there would be some side conversations… sometimes actually about the class… often about other things. But at the same time, I think people saw some commonality because they were all learning a lot of new content. But when they say, “Oh, I really love this, Ma Rainey song, Prove it on Me,” and then somebody else does, too, it’s bonding or these little moments in the things that they like or performers they’d never heard before. One of them did a paper on Blind Blake and I feel like this much qualified for the Blues Hall of Fame, just making a Blind Blake song in 2022, as it was. When they found themselves agreeing on songs, and some parts of history that make people not so happy, but at the same time, for some of them, it’s validating, knowing that these things happened. And for them to realize that this has impact on my life, still, 100 years after the blues started… obviously, racism hadn’t gone away, or sexism… and so to see these things expressed, and to connect with that, and connect with other people, because not every day, but sometimes we’d have some really, really good and honest conversations. And then people connect with each other over that. And maybe it’s not even because they agree, but they learned to respect other people’s viewpoints. And it was always a very respectful class. A couple of people even argued over whether or not things were rock and roll songs. And that was about as heated as we got. [LAUGHTER] I can tell you that much. Because when rock and roll started, the saxophone was the guitar. The guitar solo was a saxophone solo. And some people are like, :”No, that’s not rock and roll…” like, “that is rock and roll.” And so that’s what some of the arguments were. It’s like, well, though, it was kind of 12-bar blues still, there’s more R&B. An example I use is Shake, Rattle and Roll by Big Joe Turner, which was not a tune you would play around your children, I will put it that way. There were some lyrics in there that were pushing the envelope like “when you wear those dresses, the sun comes shining through. I can’t believe my eyes, all the mess belongs to you.” You couldn’t sing that easily in the early 50s. But then what happened is a white band, Bill Haley and the Comets who were very well known, covered it and took out the more offensive part of “the way when you wear those dresses, oh my, you look so nice,” which is a completely different context. There was still some sexism involved in that because there’s the 1950s, unfortunately. So what happened is that Big Joe Turner’s version became a big hit on the R&B track, Bil Haley and the Comets covered it and it became a big hit in America because they were allowed to be on all those airwaves. But just little moments like that that I was able to show or the fact that I think that Big Momma Thorton’s Hound Dog is vastly superior to Elvis Presley’s Hound Dog in every way. But I think when people get new information also, and maybe light bulbs go on over their head, that also builds a bit more of a connection too because these are things again, we don’t teach this anywhere. But it’s an important part of the cultural history and pop culture history and music history.

John: And it sounds like a lot of the intercultural competence that these classes were designed to work on was just built into the structure of the course.

Tim: Absolutely. And that’s one of the things I felt good about, because I knew that was an emphasis. And it’s like, well, this definitely has that throughout the years. For example, even though people will debate whether it’s blues, or it’s jazz, but something like Strange Fruit by Billie Holiday. That was something the fact that it talked about a lynching and all the rest of this stuff. That was something that really moved students ‘cause unfortunately, they might have textbooks and talk about it. But it’s also Billie Holiday, who has an amazing voice. And so this really translated a lot of that stuff. There are a few songs that talked about the welfare system, or Big Bill Broonzy talking about being black, brown, and white, and some of the different situations that people face there. It was just such a great way of conveying this information. And you know, they’re all amazing songs, too. So you read it in a history book, and it can be kind of removed. But when you hear someone singing about this, that becomes very immediate,

John: Strange Fruit just it’s just an amazing song.

Tim: Oh, yes.

John: How did the students react to that?

Tim: If I had to pick one song during the whole semester that got a reaction from them, it was that. They might have heard about lynching. This really painted the picture in words and in Billie Holiday’s amazing voice. So I think that was an example. But there’s also… no one talks about Bessie Smith’s Poor Man Blues, which essentially it’s about all the black soldiers who went and fought for you in Europe, and then you rich man, you don’t want anything to do with us anymore. You want us to fight your wars and that type of thing. And it’s really interesting, because there are some quote unquote, blues historians, I will call them chroniclers who had the audacity to say that the blues are not a political genre, but it’s all political. When you’re poor, when you’re dealing with all these barriers in life, that’s very political. And so it’s amazing that while these were white people from Britain, who had no real background in the country’s history, and so that’s why I wanted to get a lot of the social and protest songs because that’s a big part of the blues. I mean, again, so much of blues… you’re an economist, you know that the economy impacts every part of people’s lives… and if you’re not being paid enough, if you’re not getting employment if you’re being treated badly by the system because of systemic racism, that’s a very political thing. So I think that’s the point that they also got very much from a lot of what they saw. So it was just great to have that opportunity to show people these things. Well, when I say show people, I mean, having way more talented people than me sing about it.

Rebecca: I can imagine that a lot of students and just people in general, listen to music and don’t always pay attention to the details. So having the opportunity to slow down and actually think about the lyrics and have conversations about it and connect it to history is a really different way of experiencing music, and it, I would imagine, translate to other things they’re listening to. Did you have conversations in class about how they might have been listening to other kinds of music differently?

Tim: So many of them know Led Zeppelin and the Rolling Stones. They didn’t realize what a background in the blues, Jimi Hendrix had. Jimi Hendrix was very blues focused, even the Grateful Dead. So much of their stuff is blues. So especially when they saw this with artists that they knew, that helped make that connection a lot. Again, Eric Clapton is very much a conveyor of that, that they all know the Eric Clapton songs, but it’s like, well, that was written in the 1920s and 1930s, by someone who wasn’t Eric Clapton. But to connect all that backwards, or even the fact that to the era when I came of age, Nirvana, and their last performance on Unplugged, where they covered a Lead Belly song, Where Did You Sleep Last Night, and just how moving that was when Kurt Cobain did it in that I think his last performance ever. But then to see people make that connection. Okay, Lead Belly, and of course that was an old folk tale that he was singing, but at one point that got me into Lead Belly. And so just being able to peel back the layers and look at the history and see how that underpins the songs that they listened to. Because a lot of them do listen to what are covers of blues song. And there was a big blues revival in the 1980s, and it’s funny, because if you are a blues historian, you don’t want to admit it, but one person admitted, I hate to say this, but it was because of the Blues Brothers movie.

John: To be fair, there were so many great blues performers in the Blues Brothers movies.

Tim: Yeah, well, and the thing is, the movie company didn’t want to bring in these performers. They wanted “Oh, we have these hot young artists we want to do.” And Dan Ackroyd basically said “Hard no. I’m not doing this unless we’re allowed to bring in these performers who just didn’t get their due or just weren’t as appreciated.” And, so first of all, the music in that movie is great. It’s also very funny, but at the same time, people of a certain academic level don’t like to admit to something as base, dare I say, as the Blues Brothers movie had that impact on it. But then you had a lot of people in the 80s and 90s, like you’re seeing the Fabulous Thunderbirds having a big hit with Tough Enough, the Georgia Satellites having a really big hit with Keep Your Hands to Yourself, which was basically based in a blues structure and so much of the blues rock… the Allman Brothers, so much of what they did was the blues, and they became really big. But the unfortunate thing too, is that that had to do with suddenly becoming a white man’s genre. And generally speaking, like Robert Cray was big, but he was an exception, because by the time we get to the 1980s, most of the people who were playing blues, in large part, who were getting the air play were white men, even though it started with black women. And then also Stevie Ray Vaughan helped break it open too, and we can only wonder what happened if he hadn’t died tragically, but what he brought to the blues is just otherworldly. But he learned a lot of his stuff at the feet of Buddy Guy. Bonnie Raitt started… I think it’s a rhythm and blues foundation, where she basically knew there was all these blues performers. Larry Watson gave her a shout out recently performing on campus because she won a Grammy and is an example of somebody who actually walks the walk and talks the talk and she says, “Yeah, I was inspired by the blues, but I want to give back to the performers who didn’t have the opportunity to do that.” And the problem is like in the 1980s the blues was George Thorogood and I’m just not a fan of George Thorogood. That drove me away from blues for a long time, I think, but George Thorogood performed at Live Aid with Albert King and some blues performers, but they wouldn’t have been on the bill without George Thorogood which is morally compromising to me. But the problem was that there’s still a lot of great people out there. There’s Shamekia Copeland, who is well known. There are some rising stars still in the blues scene. Christone “Kingfish” Ingram, who is like 19 years old and talented and might be the next big thing in the blues. So there’s a lot still out there, but at the same time, that’s not the stuff that’s getting played on most radio stations.

John: Buddy Guy is still touring. It may be his last tour. I think he labeled it as his final tour, but we’ll see.

Tim: Yeah, well, I’ve seen Buddy Guy live twice. I saw him at the [NY] State Fair with BB King, and I think it was Tommy Castro and Susan Tedeschi, maybe.

John: Yeah, I was at that show. I’ve seen him at least a dozen times including twice at his club in Chicago.

Tim: Well, that’s fantastic.

John: … the old location and the new one.

Tim: Yeah, but Buddy Guy is so influential because he can do Jimi Hendrix, because Jimi Hendrix learned from him. He can do Stevie Ray Vaughan because Stevie Ray Vaughan learned from him . He did BB King… well, he and BB just did a lot of stuff together. And BB was a legend, but Buddy Guy stole that show and every show he ever performed at.

John: Yes. And I remember that show. He had just released the Riding with the King album with Eric Clapton. And he said, “Unfortunately, I’m not able to bring Eric Clapton here, but I’ll bring out the next best thing.” And I know everyone around me was hoping that Buddy Guy was going to come back on the stage, but instead it was his other guitarist who came out and performed with him….

Tim: Who was also really good.

John: …who was also really good, but he was not Buddy Guy [LAUGHTER].

Tim: Well, and what’s weird is that you’d look at it in retrospect, when Riding with the King came out with BB King and Eric Clapton, it’s easy to look at, “Oh, look at Eric Clapton doing a favor by letting BB King be on his record.” But it’s the other way around. Clapton… probably any bluesman worth anything would want to record with BB King. But the problem is with the cultural lens of me being a young, stupid, white kid it’s like, “Oh, wow, what an opportunity for BB King.” And it’s like, because Rattle and Hum introduced BB King in another context, too, because U2, they just had Joshua Tree… they could have done anything they wanted. And it’s like “We’re gonna do a movie. And we’re going to meet with some of our inspirations.” and that type of thing. And so they did a song with BB King and Bono… who is not always the most humble person, I will say. If you’re listening, Bono, I’m sorry, you’re still my hero… was just awestruck. BB King gave him a compliment, and he didn’t know how to take it, because this is BB King.

John: One thing with Buddy Guy is he sometimes will get into a mood where he’ll only do one musician for an hour or so at a time. And I was able to get tickets to his January run at Legends. And it was the only day I could make it. I was at a conference there. And it was listed as an acoustic only blues show. And after the first hour and 45 minutes, he said, “This is an acoustic blues show, so I guess I should do something acoustic.” [LAUGHTER] And he did a few songs and they went back to electric.

Tim: Well, it’s interesting because Syracuse was a big home of blues in the 1990s. Like my friend Larry Kyle said, you could get booked three or four nights a week as a blues artist in Syracuse. It’s not that way anymore, but there were a lot of really interesting acts back then. I was writing the course in 2021, and part of me is like is the ending of this going to be tragic? Is this going to be like you’re studying Latin… Womp womp, sad trombone. But then I went to the Blues Festival in Syracuse, the New York State Blues festival, it’s actually the first big festival since COVID had hit. And basically, to borrow a line from our friend Buddy Guy, I learned the blues is alive and well. It just changed a little bit like Larkin Poe, who is one of the bigger names in blues performed there, a couple of sisters, they are white. They’re supposedly related to Edgar Allan Poe in some way. And they have a lot of classic rock there, but huge crowd. Fabulous Thunderbirds performed, I thought they were not even one of the top five bands to perform. But Vanessa Collier, who is amazing… plays guitar, plays saxophone, and is just this great person. She was selling her own merch, she didn’t have to, there’s volunteers to sell your merch, but if you’re the musician selling your merch, you’re gonna do a lot better. And she stayed and signed stuff forever. And so after the start of the pandemic, just seeing a big crowd at all, just seeing how people reacted and how much people connect to that music, and then doing a little more exploration saying that, “Ah, the blues are still alive.” They’re not the blues that existed in the 1920s. To a degree things are drifting a little bit back toward women, toward black acts than they were in the 80s and the 90s. But it’s completely different. It’s so many different things. The same way the blues inspired this, people now have picked up rock and folk and even jam band and that type of thing, and brought that back… like Robert Randolph and the Family Band played. It’s very, very, very much funk that they play. But again, just mind blowingly good. So just seeing how blues has changed, or what we call the blues still exists. So finally, I’m mentally writing the last part of my class, but I wasn’t sure, up until then, whether I could tell them that the blues thrives, despite all this research I’d done on that type of thing and listened to Sirius XM Bluesville every day and knowing friends who played the blues. But to see this, see how it was received, see how many blues fans and how many new fans were won over to the blues… that made it possible for me to finish my class with my head held up high that I was not teaching a dead subject, I was teaching a subject that’s very much alive,

Rebecca: That seems like a good note, then, to wrap up with and we always end by asking what’s next?

Tim: Actually, it’s a funny question. I believe you both know a good man by the name of Jim Early, I’ve been recording with him… a record… which it sounds weird to call it that. And it’s not exactly the most bluesy record. But one of the things that this course has taught me and I tell my students all the time, you shouldn’t wait on your dreams or have someone tell you you didn’t do this. I did not grow up as a musician because we could only afford to have one of my siblings play an instrument and that wasn’t me. And so you don’t go through the system. And while you’re not a musician because you don’t know music theory and all the rest of that stuff. So it wasn’t until I got to college and joined a friend’s band and took a course in piano and composition that I’m like “you know what, maybe I am a musician or at least somewhat of a musician.” But I think so many parts of the blues is about overcoming things, and going against people who have preset notions or trying to keep you down in some way. And certainly I don’t suffer the hardships that the blues people did. But just seeing the creative expression, hearing all this music said, “You know what, I want to do music more and more in my life.” What’s next? Obviously, I look forward to teaching the class this fall, hopefully better, always want to teach better. But I try to introduce some historic research and publish in journals and journals don’t like blues history topics. Shockingly, it’s not a popular thing. I would love to do a book that looks at some of the issues I talked about, about blues women and how they started it and how they were relegated after a while. I’d love to talk to people like Shemekia Copeland, or Vanessa Collier. And there’s a lot of other artists who still cover those albums and that type of thing. I don’t know how to engineer it because so much of what I learned from this class, working with the students is so much of what people don’t know, I would love to write a book, even maybe get one journal article published, although I might have to start my own blues journal to do it. But to really get this information out where more people can get it, because people keep saying, “Oh, I’d love to take your class.” I’m like, “Well, you’re not a freshman and you’re not at SUNY Oswego.” Like maybe I’d try like an open source class or something like that, or find a way to impart these lessons to more people, because it’s certainly something that I realized, when you find knowledge gaps, it’s like, “Well, a lot more people need to know this.” And so how do I get that message out? I don’t know yet. But talk to me in a couple of years, I guess.

John: And it would be good to do some of this while you can still interview some of the people who’ve been in that for a long time,

Tim: Absolutely. Buddy Guy is really the last connection to so much of an era. But there are people out there like Bonnie Raitt would be an excellent interview, I would think. You’re right, because we are going to lose a lot of people who have a lot of knowledge.

Rebecca: Well, thanks so much, Tim.

Tim: You’re very welcome.

Rebecca: …very nice talking to you and hearing about the interesting things you’re doing.

Tim: Well, I enjoy talking about it and you all are excellent hosts, of course,

John: …and if I ever retire, my goal is to join a blues band and go on tour.

Tim: I know where you can get a good bassist.

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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.

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267. Fumble Forward

Preconceptions and biases often interfere with productive discussions and interpersonal interactions. In this episode, Donna Mejia joins us to discuss strategies that she has developed to address these preconceptions and to humanize classroom interactions. Donna is the Chancellor’s Scholar in Residence at the Renee Crown Wellness Institute and an Associate Professor of Theatre and Dance at the University of Colorado at Boulder. She is the author of a chapter in Picture a Professor, edited by Jessamyn Neuhaus.

Show Notes

Transcript

John: Preconceptions and biases often interfere with productive discussions and interpersonal interactions. In this episode, we discuss strategies that one professor has developed to address these preconceptions and to humanize classroom interactions in her classes.

[MUSIC]

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: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

[MUSIC]

Rebecca: Our guest today is Donna Mejia. Donna is the Chancellor’s Scholar in Residence at the Renee Crown Wellness Institute and an Associate Professor of Theatre and Dance at the University of Colorado at Boulder. She is the author of a chapter in Picture a Professor, edited by Jessamyn Neuhaus. Welcome, Donna.

Donna: Thank you. Thank you very much for having me. It’s nice to be here.

John: Today’s teas are: …Are you drinking tea?

Donna: I am drinking tea. It’s quite lovely. I have a rose tea with some vanilla in it.

Rebecca: That sounds quite nice.

Donna: Yeah. What are you drinking?

Rebecca: I have… double checked the name on it this time, John, because I failed recently. This is an All India black tea blend. That’s what it’s called, it’s the official name.

Donna: That’s hardcore.

Rebecca:[LAUGHTER ] But, it’s good.

John: All India, okay…

Rebecca: [LAUGHTER] All of India, I don’t know [LAUGHTER]…

John:…[LAUGHTER] which makes it a more inclusive tea, I suppose.

Rebecca: That’s one way of looking at it, from a brand of tea that has very imperial names as well. [LAUGHTER]

John: Well, I’m speaking of imperialism, I have an Irish Breakfast tea, which may very well have come from India.

Donna: Well, there you go.

Rebecca: So we’ve invited you here today to discuss your chapter in Picture a Professor. The title of your Chapter is “The Superpowers of Visual Ambiguity: Transfiguring my Experience of Colorism and Multiheritage Identity for Educational Good.” Could you tell us a little bit about the chapter to introduce everyone to it?

Donna: Thank you, I’ll be happy to. The chapter is really about my lifelong experience as someone who is visually ambiguous to most when it comes to trying to categorize my ethnicity, and a Creole Choctaw woman with at least six bloodlines running through my veins. And I noticed that in addition to being a woman in education… in higher education, students frequently challenge the authority of women in the classroom and they test us in ways that they do not test their male professors… but I have the intersectional complexity of also being challenged as unsettling for people who didn’t know how to categorize me. They weren’t sure if I exhibit loyalty to black heritage, to white heritage, to any other part of my heritage, if they could even guess what it was. And because of that, I realized that many people had a very difficult time proceeding in personal interactions with me in the classroom, because they weren’t sure what camp I fell into. So rather than seeing me as just an educator, the cultural programming of needing to know who I was prevented them from feeling safe in my classrooms. And it was biases that they were unaware of. And so I really started working with my students to, at the outset of the course, create some pedagogical tools that would allow us all to humanize each other, and not rely on categories, and assumptions of those categories, to determine what our interactions will look like. So, I am working at a predominately white institution. And so even sometimes, the one African-American student in the classroom wouldn’t know how to position themselves to me, because they weren’t sure how black I was in my identity. And so they were afraid to sometimes bring their own lived experiences forward in our conversations. And I just felt that the ambiguity of my parents which left everybody questioning: “Who is she? What is she going to say if I really, really am honest here? Am I gonna offend her, I can’t tell.” And so I decided to have some fun with it, and try and get rid of the fear factor and make it possible for us to all humanize each other. So the chapter is the summary of about three pedagogical tools. I have many, but those were the three that I came back to over and over again, and they’re lovely in their impact, and far reaching beyond just my classrooms.

John: In the chapter, you talk about a few situations where your racial identity was challenged by others, either by black individuals or by white individuals. Could you just tell us a little bit about some of those examples of the challenges that you were faced with there.

Donna: Great question. Interestingly, I remember my first job out of college was an administrative post for a university and I was sent as a representative to recruit in African-American communities, and a parent in the audience contacted the university angry that they would send a white woman to speak to the black community, not knowing that I grew up identifying as black. I’m also Choctaw, indigenous, as a woman. And many times, the departments on the campus that I work with, just didn’t know to loop me in on announcements or events that were happening, because they had no idea that I was also an indigenous bloodline. Probably the most dramatic thing that happened was in South Africa, when a little boy who could not have been more than, say, eight years old, ran up to a car window, and started to scream at me and tell me I was a devil, and that I had no right to live and that I was the enemy of all black people and just screaming at me at a red light while sitting there waiting for the traffic light to change. And then another dramatic incident… last one… I was in Taiwan, in one of the outdoor markets and a group of Chinese women started forming a group behind me yelling at me in Chinese. And at the time, I was not fluent enough to understand what was being said, I was with a host. And I asked the host, “What’s going on?” …and she kept trying to urge me for ward: “Come on, just keep walking, just keep walking.” And I said “I think they’re yelling at me,” and so I said, “Please tell me, what are they upset about? What have I done?” She said, “They want you to remove your wig. They don’t like your fake hair.” And I said “My hair is not fake, I grew this.[LAUGHTER] This is my hair.” And when I turned to face them, and to smile and say, “Oh friends, this is my hair,” they ran up to me and began to try and pull what they thought was a wig off. And so my scalp was getting clawed at and my hair pulled, and security had to run over and escort me out of the market for my safety. So I just feel that it’s less dramatic than it used to be. I would say in recent years, it’s calmed down quite a bit as Inter-ethnic and multi-heritage unions increased around the planet and there are more folks that look like me. I’m far from the only one. I just, I think, have a bit of a neon sign because I wear my hair in its own natural texture, I don’t chemically alter it, I don’t change the color. I have blue eyes, I have honey blonde hair, and I wear it in natural dreadlocks down my back. And so many people just don’t know what to do with that. There’s just too many cultural symbols in a mashup and colliding in their consciousness that they don’t know how to configure in an understanding.

Rebecca: At the start of our conversation, you mentioned having a little fun with this idea in terms of developing pedagogical tools, and one that you’ve talked about as the assumption index. Can you talk a little bit about what this tool is and how you use it in your classes to address implicit bias?

Donna: Thank you. The assumption index is a tool that aims to get at the heart of what we presume to be true about a topic before we have even cracked the book open. So how does it interfere with our learning, we’re trying to get to the heart of that. And I developed this approach at the beginning of the class after being in the classroom and discussing African dance traditions with students. And having many of them describe Africa as a country as opposed to a continent. And realizing that there were distortions in our understandings., I had to rewind frequently, and say, “oh, let’s get back to that assumption. It’s not a country, let’s go from there.” So it really is a set of questions, it can range from 8 questions to 20. I can customize it every time I go into a different topic or a different classroom, and try to get to the heart of what we presume to be true. And so for example, in a dance class, I would say, “Who taught you that dance? How were you introduced to this particular tradition? Where’s this tradition done? Are there movements that are allowed on female bodies that may differ for male bodies? Is there a gender assignment in how the dance was performed? Where is this dance not done? What is the role of observers? Are they involved or not involved? What kinds of dance have you been told not to do?” And so people get a little closer to understanding the value system that they’re coming in with and the reference point they have for normalcy in these traditions. And so, as we start to discuss the results of their assumption index, we get to those beautiful, honest differences of how we’ve all been indoctrinated, and then that gives us a better starting point for analysis. And I feel that in all of the human sciences, a positionality statement is a requirement, is considered good methodology. In some of the hard or other natural sciences, for example, a biologist does not have to give a positionality statement before they write up the results from their laboratory. They don’t have to say, “Hi, my name is so and so. I have this many kids, I was raised in the Midwest. And here are my religious influences and my economic background.” In the human sciences, we know that we are not blank slates, all of us come in with social programming, and most of it absorbed in very subconscious and subtle ways. And so the ability to render that visible before we assume to give ourselves agency in analyzing a topic for me has become critical, very important.

John: And how does this work in terms of student reactions, has it made them more open and helped reduce some of their biases?

Donna: It has, because it has helped negate guilt. They’re able to discuss their differences with curiosity, with some humor. There’s a lot of head shaking and nodding and smiling, and sometimes people getting up and even hugging each other, saying “Oh, that happened to me too. That’s what my dad did, or that’s what my mom did.” And so there’s a little bit of commiserating, but also identifying that no one is wrong, no one is being dishonest. No one is being harmful in their intentions, that we’ve all planted our pins in different places, and then turn to look at the same issue. And so we try to take those different vantage points as a superpower. Like, “What does this look like from your vantage point and your identity and your background? How is this subject situated to your lived experience?” …and each person is allowed to give that perspective with others reserving judgment. And then we can then neutralize those assumptions and talk about it from the tradition’s own perspective. We change the agency and move it to the subject matter. And like “What’s the phenomenology of the participants in this tradition? What are they experiencing as opposed to what we are reading and projecting onto their experiences?”

John: And you mentioned how this works in the human sciences. But you also suggest in your chapter that this could be applied just as easily in a physics class, for example. Could you talk a little bit about how this might be adapted in other disciplines?

Donna: Absolutely. I think an assumption index helps us to understand the biases that exist in even the questions that occurred to us in our studies, the things that we’re willing to investigate. For example, if a physicist is part of a design team, studying an exoplanet, and looking for life on another planet, if they have a worldview, that permit intelligence in other life forms, the kind of approach they’ll have to discovering another life form may differ than if they feel that we’re just a random soup of chemical reactions that happen to be intelligent. And so neither one nor the other may be good or bad in this conversation, but for purposes of an example, it does change the kinds of considerations, thought parameters, and questions that occur to us. And so I feel that at all levels, some type of an assumption index, or some type of positionality statement would serve all knowledge generation and all shared relational analysis. I think it would just serve us to bring a more honest framework. I was just visiting yesterday with a group of climate scientists and researchers. And we were talking about the concept of positionality. It was something that was never covered in their own methodologies. And they were fascinated and hungry and excited about it, because it helped them to understand that we are not completely objective. And it takes pressure off from them, to feel as if they have to walk into a community and be all knowing when they’re conducting a study. And it’s okay to employ some intellectual humility, to build relationships, to start to welcome some participatory research so that we are informed and our assumptions of what we come in with, for example, a scientific study on climate can be much more marginal and in relationship with the communities in which the scientific study is being done. We are no longer treating people as subjects or communities or identities as subjects and instead, we are inviting them into the intellectual generation process for academia. I think that’s a problem that happened in the past that was kind of enshrined by anthropology… that people would run out to a community that they considered exotic and unfamiliar, do some films, make some observations, and then run back to academia, create these studies, show films to each other, and discuss it amongst the intellectual elite. And nowhere in there did you have the voice of the actual participants from the study. And I’ve seen so many examples of it as I research dance traditions from around the world. The documentation was done exclusively in U.S. and Eurocentric communities. And so it really helps us to relocate wonder and awe. Then they can let cultural differences be a point of fascination inform our methodologies and our analyses, rather than feeling as if we have to come in understanding and knowing everything. It’s just an outdated mode of education that is worthy of retirement.

Rebecca: I really love this strategy, because it’s not that complicated [LAUGHTER] to really put into action. And it really sets the stage for interesting conversations and in a way to enter into a topic area. So for people that are interested in trying something like this on their own… So you create an index. Do you have students complete it for homework and then you talk about it? do you do it in class? Can you talk a little bit about what the actual kind of practical nature of implementing it looks like in your class?

Donna: We do it upfront, first day in class. And then we use it as a get-to-know-you conversation afterwards. But I also teach the second tool in the kit that’s offered in Picture a Professor, and that’s called “fumble forward.” So we set some ground rules for the conversation. F umble forward is one of those tools. And it’s a social contract. When someone is about to ask a question in which they may not have the right terminology or the most up-to-date terminologies, if they haven’t located their firm opinions on something yet, or they just think that what they’re going to say has the potential to be harmful or offensive, they can preface their question or their comment by saying, “Hey, y’all, I’m about to fumble with my words.” And that’s short code for the entire community to answer back “fumble forward.” And that’s a contract that we’ve all agreed to, we know what it means. It means that for the next five minutes, we are going to reserve judgment, we are going to allow confusion, we’re going to lean in together. And that means maybe a little bit of verbal surgery and mutual exploration. And it means that we’re not going to leave the class and talk trash about that person, because they had conceded “I’m not sure how I want to say this, but I have a question. I’m trying to locate it.” And I really want students to feel that there’s a safe arena for them to experiment with not knowing. Faculty as well. I use fumble forward questions with questions raised all the time. But before we discuss the assumption index, we practice fumble forward so that as our differences start to come up in that first get-to-know-you speed dating conversation on the first day, if someone says, “Oh, I’m different from how you were raised, fumble forward,” and everyone will say, “Yes, fumble forward,” and they’ll say something like, “Yeah, I was not allowed to do that, it was against my religion.” And then we get into some really interesting exchanges. Your curiosity leads the way. And kindness has been instituted as running the space as opposed to finger pointing weirdness and eye rolling. So I really wanted to bring the curiosity back. Fumble forward allows us to do that.

Rebecca: We’ve got some tools here. We’ve got our assumption index, we’ve got fumble forward, and I believe modeling mutuality is also on the list of things. [LAUGHTER] Can you talk a little bit about that tool as well?

Donna: Yes, I have a pledge that I put on my syllabus so that students have in writing that everything I’m asking them, then I asked myself as well. I think the power differentials in the classroom need to be addressed and called out, because there’s nothing wrong with expectations that really invite improvement and strength and experimentation out of students. But I think many educators forget how intimidating those things can be if they are not articulated or elucidated clearly. They just feel like an unspoken social contract that is held over a student’s head and I wanted to get past that. So I have a syllabus pledge that basically says things such as “Your dignity is important to me, and in return, I need your courage and your open thinking and your active involvement, do we have a deal?” Or I will concede what I have learned openly and tell you what I have not yet learned. And I will give you citations and sources for everything that I do know. Because I believe that the intellectual humility has to be modeled. We don’t need more arrogant go-getters in society. We know where that has gotten this in our current state. It is much better for us to help people to understand how to build relationships, how to understand our interdependence, how to truly embrace, I think, the excitement of building one’s cultural competency in those interactions. And without that kind of practice, they’ll get out there into the world and just create the same harms and perpetuate the same weirdnesses that have us in our very polarized society. And so my effort as an educator is to say, “Choose your topic, we can talk about physics, we can talk about dance, we can talk about biology, we can talk about history, but before we talk about anything, let’s look at what we presume to be true and let’s create mutual respect in how we’re going to unfold this exchange. Those simple things have completely changed my co-working environments, my classrooms, and my family interactions. And I have had the delight of having students return from school breaks in time to say that they used fumble forward at the Thanksgiving table. That it’s that rippling, out and about, because it’s easily accessible, it makes sense and provides us an edge whenever we’re about to collapse into weirdness, like “This is about to get painful. This is about to get weird.” …and instead of panicking, backing off and shutting the room down, people are able to lean in and say, “Ah, I have tools for staying at this edge. I have tools for keeping negotiations going. I have a tool that allows me to listen well.”

Rebecca: That sounds like the toolbox that should be in every first-year seminar.[LAUGHTER]

Donna:[LAUGHTER] I hope it goes far and wide, to be honest with you.

John: Well, one thing we can say is that Jessamyn Neuhaus, the editor of the book, has picked up on this and we’ve been doing I think four maybe five reading groups with her and some of her colleagues from SUNY-Plattsburgh. And on several occasions, she has used fumble forward as a way of addressing difficult issues when people weren’t quite sure how to state something or how to raise something. And so it is spreading and it is having an impact.

Donna: I am beyond thrilled to hear that. And I get reports back all the time, surprising areas. Someone from social psychology contacted me and said, a student in my class said I’d like to share a tool I learned from a woman named Donna Mejia called fumble forward and the instructor knows me and has been well aware of the tool. And she said her heart just warmed and melted and that the whole room felt celebratory for her. So if it’s the one big idea that I was able to give the planet. Hell yeah, I think that’s worth celebrating, that we learned how to talk to each other, with more ease, a little more kindness, and with less fear. I may not be remembered as a choreographer, I may not be remembered as a writer, but if someone 300 years from now says “fumble forward,” and everyone in the room knows what it means. I have made a lasting contribution to humanity that gives me honor and pride and I can take my last breath smiling.

Rebecca: And it’s definitely worth smiling for. I really love how it’s not really simple, because none of these things are actually simple.[LAUGHTER] But it’s such an easy tool to learn. And then one of those things that clearly takes time to perfect.

Donna: It takes practice…

Rebecca:…Yeah…

Donna: …But it provides, perhaps, the foundation to be courageous in their practice. And at the heart of it, I’ve expanded fumble forward into everything from a semester-long course, to a three-day immersion workshop for industry, to K-12 educators finding out what it looks like in K-12 classrooms. It’s being expanded. So the tool leads me, I may have originated the phrase, but the tool itself is taking on a life of its own. And I’d love to see it in many communities.

John: Fumble forward is a wonderful approach when you have a group of cooperative people in the classroom who are all very open and you’ve got a nice sense of belonging. But I can imagine there would be circumstances where that may break down, where someone may come in and regularly engage in microaggressions, or explicit forms of racist behavior, for example. What happens then?

Donna: There is an issue with fumble forward that I have to emphasize in that it’s not intended to be an escape route and it’s not a foolproof tool. As you talked about things being very complex, fumble forward offers the possibility of continuing when an interaction is starting to get strange or become harmful; it finds a reset point. But I have also observed that when people feel they may be outmatched in communication skills or in an environment where they feel they are outnumbered, the folks simply don’t want to address an issue, they will avoid it, their chosen strategy is to completely avoid engagement. So fumble forward is sometimes about trying and then acknowledging that the space to continue doesn’t exist, and choosing a different part of the toolkit. So I would like to say I think communication is always about trying, about leaving the door open and ajar to a possibility. But I’ve also done quite a bit of study around harmful individuals that quite honestly may have pathological levels of communication dysfunction, or may thrive or enjoy inflicting pain, and being tormenting in the kind of words they slang around. So I think we’ve all encountered those high-conflict individuals. And so fumble forward again, is about giving them the possibility to choose differently. But if at times` they’re not willing to make that choice then a boundary is needed. And safety is more important than everything. With individuals that have significantly unseen distortions in their perceptions, or are under the undue influence of harmful ideologies, and oppressive ideologies. My experience is, as a teacher, number one to interrupt harm when it is occuring in the classroom, to hit a pause button and say, “Excuse me, I’m going to interrupt and I need for everyone to take a moment. What was just said has the potential to be incredibly harmful, if not very harmful. I’d like for everyone to take a piece of paper out and take five minutes and capture your thoughts. And then I’m going to ask if you’re willing to share that paper with me and hand it to me as you leave the classroom today. I’d like to make sure I take in everyone’s responses. And then I will address what has unfolded and we will share in our space today so we can have a strategy for figuring out how to situate it in our understanding and share with each other. And so, for example, that’s one tool that I would employ, but to not let people quite honestly enact harm on others in my presence, not on my watch. That’s different from someone saying, “I don’t understand,” or “I disagree.” To me, that is part of classroom dialogue, and has to be protected. So if someone is devaluing another, or if someone is routinely aggressive and tries to basically devalue or dismiss the lived experience or the insights of another, that’s where I would say, “Okay, tell you what, everybody, we’re going to Google this, let’s get some facts first, and then we’ll proceed. And then I want you to capture your thoughts.” I just try not to let it become a slinging mudfest, that we have tools to help people organize their thinking, sequence their thinking, prioritize their talking points, and then even move around the classroom. I think it’s helpful to resituate people from their physical locations to say, “Okay, and folks that would like to discuss this from a ‘yes’ perspective, you’re welcome to come sit over here. Let’s talk to each other for a little bit and get your talking points together. For those of you that disagree with this point, I invite you to come over here by me, and let’s go ahead and rate some talking points, and then start to facilitate exchange, as opposed to individuals feeling like they are vulnerable and on their own in those spaces, trying to navigate hatred.

Rebecca: I really appreciate that you’ve taken the time to underscore boundaries for us because [LAUGHTER] it’s so important. We can say we want to be inclusive and welcoming. But there’s boundaries to that because allowing people to say whatever they want is not actually inclusive. Despite that [LAUGHTER] sometimes that comes up in conversation. But that’s how we make it inclusive, it’s often not. So I really appreciate you talking about the boundaries, but also just walking us through some structures that we can put in place to facilitate something productive because sometimes we don’t always have those structures in our back pocket ready to go and it’s important that we remember to have those and remember what our toolkit is. And you’ve brought us a lot of great tools today.

John: And I really like also the way that you call attention to the problem right at the time, but then give everyone a chance to reflect and think about it and then come back in later, because often things like that can escalate very quickly. And it’s very easy to come up with responses that may not help build a community and may not address the problem, but it may lead to more division in the future. So, it sounds like a wonderful approach.

Donna: Thank you. It’s also hard sometimes locate articulate questions when you are triggered, if something hateful has been shared in a room on your watch, sometimes, trying to come up with a very insightful and progressively welcoming question [LAUGHTER] isn’t accessible. And so giving everyone a moment to think, to land to ground for me is important. But I also do try and say, “What questions will be asked at that situation?” So with someone who shows unbelievable biases and harmful biases in their statement, I would ask the question, “What do you presume to be true about this tradition that you’re commenting? What are your assumptions about it?” And then really take it back to what have they been taught? What are their values? What’s important to them? …and try not to have them feel like they’re under a microscope, but also to say “You put some stuff out there that will require you to be accountable for the harm that it created. So if you’re willing to take responsibility and radical ownership of your words, I also want to give you the opportunity to explain how you came to see anything you did.” And I try to facilitate that process.

Rebecca: I wish I had your class when I was a student. [LAUGHTER] Just thinking about all things that went bad as a student in different situations and how it could have been handled much better.

Donna: Me too, my classroom experiences growing up were frightening at times, unnerving, never comfortable. I can only think of maybe two teachers throughout my K-12 education that I felt I could be myself with. And one teacher in particular, I admired tremendously. And he pulled me aside one day, he called me into his office and said, “How do you do it?” I looked at him, I had no idea what he was talking about. I just said “What?” And he said, “How’d you write that paper?” And apparently, the paper that I turned in for him, he thought was way too psychologically advanced for my age. And he just presumed that I had cheated on a paper. And I had looked up to him so much. And to have him presume that I didn’t have the capacity, the cognitive capacity, to analyze like that made me realize that he’s dealing with his racism in his assumptions. And I patiently managed up and explained bullet point by bullet point, how I wrote the paper and how I proceeded in my analysis and why. And he left me alone for the rest of the class. But when I tried to get into the honors level of his subject matter, he declined to let me get into honors. And again, it was the kind of thing where I was the only black girl in the class. And those are the kinds of experiences where women or folks of color are constantly told you won’t need this information. Women don’t go into this field…or you won’t…or you’re a dancer, you won’t be writing papers the rest of your life. Those presumptions get in the way. And so I have learned to hunt them down first, so that it saves me a little bit more of my life force for other things than having to navigate them.

Rebecca: Well, I appreciate that you’re on the task of remaking our [LAUGHTER] education system…

Donna: There’s so much that’s very antiquated, and yet so much beauty that still exists. But we’re seeing that there is arguably some kind of a failure in our education system that is producing citizens who eschew critical thinking and who are susceptible to undue influence. And so I think, at the same time, we are just starting to get precision of language to be able to unpack some of the inequities in our nation, which is why critical race theory is under attack. It’s because we finally have precision tools to start to understand the legacy of colonialism that we’re living in and through and over, under, and on top of all those things. And I think our ability to exchange has to be protected. And at the same time, our sensitivity around difference has to be upgraded. And so my tools are intended to try and do both at the same time, so that they are not seen as mutually exclusive in the classroom. We don’t have to play it so safe that we can’t unpack things. And yet, we have to allow confusion and creativity to still be a part of our educational process. That’s an investment and it takes time. So I understand that these tools like, for example, taking an entire day on an assumption index out of the classroom, may seem unrealistic, but I promise that it’s an investment that saves you some knuckle headedness through the rest of the course.

Rebecca: So we always wrap up by asking this really big question which feels extra big given the conversation we’ve been having, “What’s next?” [LAUGHTER]

Donna: What’s next, the fumble forward tool is being shared nationally, internationally, with lots of speaking engagements and that’s been a joy. I am on assignment as a faculty fellow at a healing Institute, a health and wellness Institute. So I have been enjoying looking at the interdisciplinary-ness of how to bring these tools into different industries and fields of study. So what’s next for me, I’m involved with a medical study, bringing cultural dimensionality to assessment tools in interoception, which I hope will impact people who are dealing with chronic pain management, and, and cancer and a variety of things. So I’m dealing with the medical school and collaborating with Dr. Yoni Ashar, on giving cultural dimensionalization to assessment tools there. And I feel like I can look at just about anything and say, “Oh, here’s where we have some biases in this tool. And here’s where we have some possibilities to transform the tool.” And so I’m enjoying watching it expand beyond just my initial field of study. I’ve met with physicist, I’ve met with climate scientists, with law professors, I have met with the National Conference of Victim Assistance Workers and law enforcement, it goes on and on and on. And so at the moment, I’m just enjoying the growth of these conversations in the way that I always, at a soul level, hoped they would go. And beyond that, I love to see these healing initiatives root in communities. I love to see people with their identities feeling welcomed. So their whole personhood into all environments that they inhabit, and creating affirming communities for them. And I myself am playing around with integrating tools and mindfulness, I find that if I can start a classroom with a three-minute grounding practice or some mindfulness that does an awful lot for the room as well. So I’m just thinking about how to have educational arenas be humanized, and have more diplomacy. Of course, I’ve got my own fascinations and research and all that. But honestly, all of my energy is going into watching these tools grow and learning from them in watching people interacting with them. There have been some stunning remixes of the tool right back to me. For example, I had a student named Laura, instead of saying fumble forward one day, she raised her hand and before speaking on a particular question in the room, her face went flush and she paused. And the whole room was like uh oh, what’s about to happen? And instead of saying fumble forward, she said, with a very shaky voice, “I think what I’m about to say may be broken, and I’m hoping you can help me fix it.” And it just felt everyone’s heart melt across the room, because she was saying, “Oh, I know, this is messed up. I know, I’m off. But I’m lost and I need some help.” And that’s the kind of learning that shifts our entire life trajectory, not just the classroom for that day, but how we inhabit our lives, how we interact with our children, how we act with our elders, how we discuss politics, and want to see a change.

Rebecca: Well, thank you so much for sharing all of these with us. We really appreciate having the opportunity to talk to you and share all these tools with everyone.

Donna: Thank you so very much, and wishing you lots of juicy learning in your own life.

John: Thank you and we wish the same to you.

[MUSIC]

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.

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260. Antiracist Pedagogy

Institutional statements related to diversity, equity, and inclusion are only meaningful if all practices within the institution embody these values. In this episode, Gabriela Torres joins us to discuss how we can become anti-racist educators and do the work of inclusion within our classrooms.

Gabriela is the Associate Provost for Academic Administration and Faculty Affairs and is a Professor and the William Isaac Cole Chair in Anthropology at Wheaton College. She specializes in the study of violence – particularly gender-based violence – and state formation. At Wheaton College, she teaches courses in Medical Anthropology, Global Health, Violence Against Women, and Latin America and Latinx Studies. She is also the author of a chapter in Picture a Professor, edited by Jessamyn Neuhaus.

Show Notes

  • Neuhaus, Jessamyn (2022). Picture a Professor: Interrupting Biases about Faculty and Increasing Student Learning. West Virginia University Press.
  • Gabriela Torres et. al. (2022). The Change Higher Education Needs Today. Inside Higher Ed.
  • Posse Foundation
  • Sathy, V., & Hogan, K. A. (2022). Inclusive teaching: Strategies for promoting equity in the college classroom.

Transcript

John: Institutional statements related to diversity, equity, and inclusion are only meaningful if all practices within the institution embody these values. In this episode, we examine how we can become anti-racist educators and do the work of inclusion within our classrooms.

[MUSIC]

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: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

[MUSIC]

John: Our guest today is Gabriela Torres. Gabriela is the Associate Provost for Academic Administration and Faculty Affairs and is a Professor and the William Isaac Cole Chair in Anthropology at Wheaton College. She specializes in the study of violence – particularly gender-based violence – and state formation. At Wheaton College, she teaches courses in Medical Anthropology, Global Health, Violence Against Women, and Latin America and Latinx Studies. She is also the author of a chapter in Picture a Professor, edited by Jessamyn Neuhaus. Welcome, Gabriela.

Gabriela: Thank you for having me.

Rebecca: Today’s teas are:… Gabriela, are you drinking any tea?

Gabriela: Yes, I’m drinking ginger tea.

Rebecca: Mmmm… love ginger tea. How about you, John?

John: I am drinking, on that theme, a ginger peach black tea.

Rebecca: Not on that theme, [LAUGHTER] I’m drinking a blend called eight at the fort.

John: You ate at the fort?

Rebecca: No, like, the number eight? It’s a blend.

Gabriela: What does that have?

Rebecca: I don’t know but it’s tasty. [LAUGHTER]

John: Is there some gunpowder green tea in there or something?

Rebecca: I don’t know what the eight are but it’s a good blend, it tastes yummy.

John: We’ve invited you here to discuss your chapter in Picture a Professor entitled “Beyond Making Statements: The Reflective Practice of Becoming an Anti-Racist Educator.” Could you tell us a bit about how this chapter came about?

Gabriela: Sure. This chapter came about when I was working as Director for our Center for Teaching and Learning, which is the job I did before my current job as Associate Provost. And during that work, we experienced the George Floyd murder, and our faculty were really impacted and wanted to think about how we could do something different. And what we found as CCTL directors was that there really wasn’t a lot of really basic how to… how do you go about thinking about changing your pedagogical practice, really at the level… “How do you start thinking about what teaching is about? What is the purpose of teaching? Who are you teaching for? Is it possible to have any redemptive practice in your teaching? Are there harms that we’re doing through expected notions of ‘I need the students to give me this assignment at this time, I need the students to achieve this level. This assignment, I need the students to do this, because this is the way that the expectations have been set for my discipline.’” And I think professors at our institution were thinking, “Could there be harms associated with these expectations that are taken as a fact and aren’t really questions?” So thinking about how do we start from scratch is where this chapter got started. And the idea of reflective practice being at the center came from the common readings we were doing on what does it mean to engage in anti-racist practice and that anti- racist practice really has to start with thinking within ourselves. How do the things that I do in my classroom and outside of it contribute to entrenched inequalities in higher ed, what is my responsibility in terms of changing those entrenched inequalities? And so those were all the kinds of questions that we began with.

Rebecca: If you’re going to make suggestions to faculty about getting started, about having those conversations with themselves, about what teaching is, what are some of the ways that we get started in this work?

Gabriela: I think we need to look at expectations. Who do we expect is in our classroom? And what characteristics we attribute to that person who we think is in our classroom, that generic person who we’re teaching to? So that’s one area that we really need to question and the kinds of questions we need to ask are, “Is there a gendered and race expectation for the person I assume I’m teaching in my classroom?” And, “where might those expectations have been set for me? Have I even asked myself this question?” And that’s one area of questions you can start thinking about. Another area of questions you can start thinking about is content. So where does the content in let’s say, in my case, Introduction to Anthropology, where does the content for introduction to anthropology come from? Is it a canon that you learned yourself when you were an undergrad? And that you want to make sure that students receive the same canon you did? Have you considered who is actually part of that canon? Have you thought about whether the experiences of students in your classrooms are reflected in the readings that you have? The third area, where I think we need to start asking questions, is around “What are the objectives for the classroom?” And by this, I don’t just mean learning objectives. But what are the objectives in terms of social good that we’re trying to enact in our classrooms? So we are trying to create students that are enabled to make change. And if we are trying to do that, if our objective is an objective that is about going towards a future society, then we really need to think about how we’re structuring those courses. And what does social justice in the course look like? I think it’s really easy to say to colleagues, you should have more authors of color in your syllabus, or you should make sure that you discuss underrepresented groups as part of the content. But I think that doesn’t get you to the reflection that’s really needed to think about “What is our role in higher ed in terms of the social good that higher ed is meant to have?” And actually, probably the reason why many of us got into these jobs in the first place, so that we could actually educate the next generations. And so I think thinking of anti-racism as a reflective practice gets us further than just thinking of anti-racism as a sort of simple retooling that we’re doing, really, almost for performative purposes.

Rebecca: As a designer, what you’re saying is really resonating, because it reflects some of the design framework that I’ve even been talking to my students about recently, is like, you’re probably not the audience. So who is the audience? And they’re not some imaginary fake person with a fake value system. They’re they’re real people that have real goals, and they’re definable in a way. And I’m also hearing a philosophy that I like to talk to students about, which is “do no harm.” I’m hearing like, that resonating. When I’m thinking about some of the things that you’re saying. It’s interesting that the same ideas come up in different contexts, when we’re designing different kinds of experiences, to really be considering and thinking about them as questions to reframe what we’re doing, and maybe make some things explicit. We’re talking about not just learning objectives, but I was hearing you say, well, there’s things out there hidden objectives, perhaps, that we don’t make explicit. So is making those explicit important to this process and making it explicit for students as well?

Gabriela: Yeah, because I think those hidden objectives are really in many ways, what directs how we come to organize teaching for ourselves and the meaning that it has. ‘Cause teaching, for me, is always about the relationships that we have and about how, for the instructor, for the professor, it’s about what they are giving back to the world. And when we think about teaching in that context, really we’re thinking about an identity project. And so, often, we might be engaged in an identity project in practice, that is maybe not the identity project we thought we were engaged in. So when we were working in our Center for Teaching and Learning, and we would ask colleagues to think, “Who is the expected student in your course?” … it became clear that for some colleagues, they actually had a pretty precise picture. I teach in a liberal arts college in New England. So they thought that their student was 18 to 21, that they tended to come from New England, that they tended to be middle class. And so if that’s who you’re teaching towards, then you’re probably ignoring a lot of needs, that students who don’t come from those backgrounds might be having, or you’re not even considering the learning differences that students who come from those geographic backgrounds and class backgrounds might have, because you are assuming this student who isn’t raced, who isn’t gendered, who doesn’t have their fullness. And so even if you think you’re having a redemptive project by teaching something like public health, if you haven’t really thought through your audience carefully, and if you haven’t really thought, “how do we get to the future in which we are not just addressing the needs of the suburbs,” for instance.

John: I think a lot of faculty see their audience as being people who are just like them, and the faculty tend to be very different than our students. How can faculty elicit more information about their students’ identities and their needs?

Gabriela: I think that that can be resolved in multiple different ways. So how do we engage with our students’ identities, and I think we can engage at the assignment level, so we can have assignments that are structured to actually actively engage with students’ identities. There’s a lot of research that suggests that engaging with students’ identities allows us to amplify learning in different ways. And so I think that’s a regular practice, it allows for memory retention, it allows for students to integrate learning into their life course. So engaging students with their identities in assignments is one way to do it. So an example of the way that I’ve done this in anthropology courses is, I’ve asked them to engage in participant observation in a part of their daily life. Sometimes, I’ve asked them to do that when they’ve gone back home, or sometimes I’ve asked them to remember and engage in participant observation of a remembered ritual that they participated in. And so that process of engaging students’ identities and life experiences is one way for professors to find out. It also creates a lot more interesting things to grade and read, frankly. So I think it’s an interesting practice. Another way is to actually engage students in devising parts of a curriculum with you that is based on their interests. Many colleagues at my institution also send a questionnaire to students asking them to share their interests, whether these are topical interests, or to share experiences that they think might be impactful in their classroom learning. I think another way is to ask for course material that students would like to engage in together and to ask students to present that course material. So not exactly giving up part of your syllabus, but maybe integrating different pieces of course material. And students have done that in my courses by suggesting things in forums, which then we bring into the course. So there’s different ways that you can engage with students’ identities and experiences. I think the primary way is by saying that you value those, and that you think of those as relevant to the content of the course. So I think that’s the primary way, and there are different ways to signal that which I’ve just tried to go through.

Rebecca: Sometimes, we have conversations with colleagues where they might say, “Ah, I don’t know if this is really for me, because I don’t teach in a field where talking about race or gender or other types of identity is relevant.” Can you talk a little bit about ways that we might address or approach faculty and colleagues who maybe don’t quite see anti- racist education as an approach that is relevant to them?

Gabriela: I think that’s a really interesting question. And I think, starting from the idea of inequality being fundamental to our society, and race inequality being fundamental to our society, and to the creation of knowledge writ large, I think anyone who is working in academia is working in fields that have been shaped by that inequality. So colleagues that say, who are working in STEM can think about the history of knowledge production in their disciplines, and can find those histories of race inequality. For example, in our own college, we’ve been lucky to have Howard Hughes Medical Foundation funding to rethink STEM, and our colleagues have engaged in self- reflective practice. So for instance, we had a laboratory that was named for the famous biologist, Linnaeus, it was the Linnaeus Laboratory, who also happened to be the biologist that created the framework for racialization. And when our colleagues began to look at the production of knowledge, and that something that they felt was central to their canon, but was also central to racial hierarchies, they felt, “Oh, well, perhaps the naming of this laboratory as Linnaeus Laboratory is not the intention that we had in highlighting the history of our knowledge production and making it central to this lab.” So I think it’s always part of the history of knowledge production in any discipline. I mean, certainly in design, it is. [LAUGHTER] But I think also, in my own discipline, anthropology has been very, very tied to histories of colonialism, public health has been very tied to histories of colonialism. So I think in many disciplines, it just takes but to start unraveling a little bit of threads. And I think we’re all involved. And maybe thinking that we’re not means that the reflective practice is more important to start figuring those connections for yourself.

John: And sometimes even a Google search for decolonizing and then a discipline name will turn up a lot of resources, because there’s a lot of people who’ve been working in this in pretty much all disciplines. In May, you co-authored with a couple of other people in an article called “The Change Higher Education Needs Today,” and that deals with critical race theory. Could you talk a little bit about that?

Gabriela: Sure. The essential argument of that piece that I co wrote with Melba Trevino and Irene Mata, it was that if we think of the backlash that there’s been against critical race theory, we often don’t stop to think how that backlash really impacts those who are raced in the academy and working in the academy as raced persons. We often don’t stop to think about how colleagues who are working on let’s say, Latinx literatures are impacted by the constant backlash against critical race theory. And in fact, there are colleges and universities that instead of thinking about it, have attached themselves to the bandwagon of trying to suffocate critical race theory as something that might be dangerous or problematic. And we argued that instead, actually, if higher ed is truly going to become anti-racist, we need to actively incorporate critical race theory and the persons who are de facto assumed to espouse the beliefs that critical race theory, certainly not every person of color in academe would agree with critical race theory, but they’re assumed to and so what does radical inclusion of persons of color in academe mean? It probably means an acceptance that we do need to think about those raced bodies that we work together with. So that is what we were trying to argue. And we were trying to argue that based on our experience developing a mentoring program for faculty of color in New England, and unlike colleges and universities in the south, there very few faculty of color comparatively in New England institutions. And so we’ve created an inter-institutional program to support each other in persisting and thriving.

Rebecca: Can you talk a little bit more about mentorship and its relationship to this work more broadly?

Gabriela: Yeah. So I think mentorship in terms of anti- racist approaches to supporting students is something that has been actively used. So for instance, I participated as part of the Posse Foundation’s mentoring of students in elite colleges and universities. And the idea that to create and sustain persistence of students of color, you need to have systems of support that create an environment where people are not just socially emotionally supported, but also taught the rules of the game that are often talked about as the hidden curriculum. I don’t know if you’ve talked through that concept in Tea for Teaching. So for first-gen, and for a lot of students of color, there are a lot of assumptions that let’s say, my children who have grown up in New England and have half of their friends going to college, they already know that when you go to college, you should talk to your professor or go to office hours, you should ask for a syllabus. A lot of first-gen students, a lot of students of color, don’t know those very basic,” how do I engage with?” …even knowing where the rules are located. And so mentoring for students has always been a part. It is also a part for the persistence of faculty from first-gen backgrounds and faculty who are faculty of color. And so I can give you an example of how important that process is. So it’s important for tenure and promotion. But it’s also important for how do you navigate expectations within departments. And so that is work that we’ve been very lucky to have done working as a group of institutions based out of University of Connecticut.

John: In addition to mentoring, are there any other ways that faculty can try to unhide some of that hidden curriculum?

Gabriela: I think unhiding the hidden curriculum is essential. It’s essential for students who have differences in learning, it’s essential for students who have differences of experience, I think it’s even essential for us as educators to do. I don’t think that can be done by putting everything in the syllabus. So I’ve seen colleagues try to put every single rule possible into a syllabus. An effective strategy I’ve seen used is to try to take a nugget of that hidden curriculum, and explain it to students on a regular basis. And so to set as a goal for yourself, which little nugget am I going to explain in each of my classes? So for example, you could decide to explain the structure of a scientific article, there’s always an abstract, there’s always keywords, there’s always an argument that has to be restated in a conclusion. That is a hidden set of knowledge that actually a lot of students don’t have when they first take, say, a public health class. And you could just teach students to just read as a small goal in a class, or you could teach students that they can get help from a librarian to find out how to put in the best search terms. So you could bring in a librarian into your class and have them do a little bit of show and tell of how effective knowing the right search terms can use. So integrating little tiny pieces of knowledge that you assumed that the students would have is a way to slowly get in bite size, accessible pieces into that hidden curriculum.

John: In a just-in-time format, so that when it’s relevant and salient, students are getting access to the information they need.

Gabriela: I think that’s the most effective way I’ve seen it done. I always start with the idea that the syllabus is your contract. And then we talk about what’s your contract? What does that mean? And I think that that is a really important way to also show students… so to tell students about the kinds of relationships that they were involved in. So as a cultural anthropologist, students don’t often think about the kinds of relationships they’re involved in in a course with a professor. So they might be pretty nervous with a professor, they might be pretty dismissive with a professor, but they don’t realize that when they enter into a course, they enter into an agreement to provide a certain set of things to the professor, and to have the professor provide a certain set of things to them. So just even that basic, “here’s the relationship that we’re in” [LAUGHTER] …is a really important part of what it means to make the hidden curriculum visible.

John: And I was thinking not only in terms of helping students learn how to read scientific articles, which is something they’ve never done before. The same might be true in certain types of writing assignments, where some students will come in with preparation in those areas, others won’t, and just providing the structure that Viji Sathi and Kelly Hogan often talk about to support students who haven’t had that exposure earlier can make a big difference, I think.

Gabriela: Yeah, absolutely. That is such important work in terms of how do we engage in assignments. One of the effective ways that I’ve seen as well is to, if you’re going to be using an assignment regularly, is to work with student educational partners. So our current director of our teaching and learning, Deyonne Bryant, has begun a program where we have student educational interns in some courses, where they can test assignments, where they can act as consultants with the professor. That is a really good way for professors to also engage. his is work that has been done for a really long time at Bryn Mawr, and which is also outlined in the Picture a Professor volume. And so I would suggest people have a look at that chapter as well.

Rebecca: As part of this work, institutions make all kinds of statements, we’ve got DEI statements, we’ve got strategic plans around diversity, equity, and inclusion, we’ve got social justice missions at our institutions that often feel separate from our work as teachers. And so what role do teachers have in this work or what role do our classrooms have in this work?

Gabriela: The title of the piece was really reacting to the performativity that surrounded the post George Floyd moment, where businesses and certainly higher ed institutions were making statements. [LAUGHTER] And so I think the one point that is important for me to make is I think the classroom is really a site for making good on any statement that might be made at the institutional level. And actually, the classroom has to be the site where we make good on those statements. So thinking about the work that as professors we might do in the classroom is not untied to those statements, but as actually the space in which we are able to effectively deliver on those statements. So that as faculty members we’re essential parts of any anti-racist agenda that our institution has said it holds. And then I think faculty members need to hold their institutions accountable. So if they are unable to support students, or present the curricula that they need to… so for example, they have insufficient OER materials to make the content that they’re using accessible, and they want support for their institution to develop OER materials, or need different kinds of resources in their libraries, I think that professors do need to think of their role as saying, “I’m trying to make this effective in my classroom, and we’re going to need to be resourced in this way.” So I think tying yourself to institutional aspirations that are located within those diversity and equity statements is really important.

Rebecca: So we always wrap up by asking: “What’s next?”

Gabriela: I think what’s next is why I moved to this particular role as the Associate Provost, and that is to think about the complicated nature of resourcing diversity and equity work. So diversity and equity work is often an aspiration, but not a resource one. And so thinking about what’s next for me is trying to enact that change by creating the policies, and support, and follow up that we need to truly take on the work of equity in higher ed beyond those statements. And so, I guess, in complementing the accountability that I think faculty members should hold their administrations to, I think what’s next for me is trying to be a partner in that from the administrative end.

Rebecca: …important work to be done, for sure.

John: Well, thank you for joining us. We’ve very much enjoyed talking to you and we hope we’ll be talking to you again.

Gabriela: Thank you so much. Thank you for doing this Tea for Teaching.

John: It’s been a lot of fun.

Rebecca: Yeah, thank you so much for sharing your expertise.

[MUSIC]

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.

[MUSIC]

254. Teaching Up

Creating an environment where members of the learning community can be taken seriously as their own authentic selves requires planning. In this episode, Celeste Atkins joins us to discuss how shifts in context, like reframing an assignment, can impact the way people engage with each other and the content.

Show Notes

Transcript

John: Creating an environment where members of the learning community can be taken seriously as their own authentic selves requires planning. In this episode we discuss how shifts in context like reframing an assignment can impact the way people engage with each other and the content.

[MUSIC]

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: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

[MUSIC]

Rebecca: Our guest today is Celeste Atkins. Celeste is a Sociologist, the Assistant Director of Faculty Mentoring Initiatives, and a Lecturer in the College of Agriculture and Life Sciences at the University of Arizona. She is also the author of a chapter in the Picture a Professor collection, edited by Jessamyn Neuhaus. Welcome, Celeste.

Celeste: Thank you.

John: Today’s teas are:… Celeste, are you drinking tea?

Celeste: I am an iced coffee person. So I actually drink Jot and I make my own vanilla lattes every day.

Rebecca: Wow, that sounds fancy.

Celeste: It’s really easy. Jot is a coffee concentrate, you use a tablespoon full of it and then I use a tablespoon full of vanilla sugar and eight ounces of milk. And it’s delicious and easy and quick.

Rebecca: and caffeinated. [LAUGHTER] I have Jasmine black tea today.

John: And I have ginger tea today.

Rebecca: The title of your chapter in Picture a Professor is “Teaching Up: Bringing my Blackness into the Classroom.” In addition to your chapter in Picture a Professor, you’ve also published other chapters that grew out of your dissertation: Teaching Up: Developing an Intersectional Andragogy. Can you tell us a bit about your dissertation research?

Celeste: Well, I have a background in sociology, but my PhD is in higher education. And so I spent close to a decade teaching at the community college level. And my dissertation grew out of my own experiences as a Black woman in a conservative Arizona town teaching about racial privilege, heterosexual privilege, and those types of things. So what I wanted to do was take an intersectional approach, because there’s literature on faculty of color, there’s literature on women, there’s literature on queer faculty, but not much takes an intersectional approach to see what we have in common and what we don’t. And so I interviewed, I believe, 18 sociology faculty from across the nation at different levels, in different types of institutions, about their experiences as part of a traditionally marginalized group teaching up, so teaching about privilege when they themselves are oppressed in some area. And so we had women, we had queer faculty, we had a couple of faculty who identified as disabled, and quite a few faculty of color.

John: On your website, you note that the chapter in Picture a Professor is based on some unexpected findings from the research in your dissertation. Could you tell us a little bit about the unexpected findings that you talked about in this chapter?

Celeste: Sure. So actually, this chapter is about the part of my dissertation that spoke the most to me, but surprised me the most, which is, when I started to look at differences intersectionally, I found that Black women, in particular, focused on bringing their authentic selves to the classroom. And for some of them it was after they got tenure, for some of them, it was after they felt they had sort of sold their soul in a way. And for me, what I found in my teaching, and why this resonated with me was: I started teaching, I got a lot of feedback, “you’re too aggressive,” “you’re too assertive,” “you’re too scary,” blah, blah, blah. And so then I tried to be like a Disney princess and be really, you know, flowers and butterflies, and very welcoming and soft, and it was fake. And my students didn’t like it, because it wasn’t me. And they could tell it wasn’t authentically me. So after a year or two of that not going well, I decided to just be me. I found a different book that was more intersectional and I started talking about what it’s like being a fluffy Black woman and how it affects how I live in the world. And I would make jokes about it, and I would address it. And then students really responded to it because it was who I am, and my authentic self. And so what these other sociology faculty were doing that’s so important, is modeling different ways of being professional. Because one of the things that’s so hard about hegemonic academia is it’s very heteronormative, it’s very white, it’s very male, it’s very middle class. And so a lot of us do a lot of code switching. And I used to joke about my best friend in college, she worked for a talent agency and I worked in HR and so we would call each other and like, “Good afternoon, may I speak with Michelle, please?” And she’d go, “Who’s calling?” And I’d go, “This is Celeste. What’s up girl? Hey, what are we gonna do this weekend?” As soon as we knew it was each other on the phone, then we would be our authentic self. And a lot of us spend time code switching. But what that does is reinforce the idea that our authentic selves is not okay in academia. And so this chapter about bringing our Blackness to the classroom is about when we show our true selves not only do we find different ways to connect to our students, but we also expand for many their ideas about what faculty are, about what professional is, about what an academic does. I can be an academic and not talk in $5 words, I can be an academic and be very gesture-y and very outspoken and out there and still do quality academic work, and in some ways, reach students that a lot of others who are so concerned at fitting in this rigid box of what is considered proper academia miss.

Rebecca: Can you talk a little bit about the kinds of classes that you teach that we can start talking about what that looks like for you and how your chapter addresses being in those classes?

Celeste: Well, I’ve gone through a lot of changes during my dissertation journey. And I actually have another chapter coming out about how I felt like I was kind of pushed out of teaching. It is very challenging to be a woman of color, the only Black woman faculty at my institution for part of my tenure, and teaching about these topics in a place that not everyone agrees with. And so I have actually transitioned out of full-time teaching, but I spent my career teaching intro to sociology, human sexuality (which is very fun), race, and gender. And now for the College of Agriculture and Life Sciences, I teach a diversity class. It’s fully online, but what I’ve done, based on what I’ve learned from my teaching experiences, is I’ve created it in a totally different way. So there’s no book, and it is the closest I could get to a series of guest lectures. So it’s based completely on YouTube videos and I give a little introductory video explaining the concepts. And then I find people who are either experts in the field, or who are personally oppressed in that way to share their stories. Because what I learned is, it’s one thing to hear about the concept, it’s another thing to humanize the people who are going through it. And so we’re actually doing some research on that to see if that approach is more effective. And so that’s currently what I’m working on.

John: And there’s a lot of research that shows the power of narrative. And when they’re personal stories, it has much more resonance with people than when they read about something in a book that seems a bit more distant. So, that sounds like a wonderful approach.

Celeste: I really found that especially when I was teaching human sexuality, I would bring in queer folks, I would bring in trans* folks, I would bring in polyamorous folks. And it went from “Ooh, that weird stuff”or “all those ‘those’ people” to “Wow, they remind me of…” and “They’re just like…,” and that I found was so important in breaking down stereotypes and really making a change.

Rebecca: You talked a little bit about negotiating your identity in the classroom at the beginning and making adjustments and not feeling authentic. How do you feel like you’ve been able to really be your authentic self [LAUGHTER] now? How are you able to arrive at that moment? And what does that look like?

Celeste: Well, when I was teaching face to face, what I would do is literally address the elephant in the room, we would do those, you know, the things that students love so much: come up and talk about yourself. But I would say “Look, I’m a big Black lady. And we’re gonna talk about stereotypes and those types of things”. But people say that I’m intimidating and people say these things, but my students who know me know that I’m here to help you. I’m not here for the money. If you knew what I made, you’d know that. And so I use a lot of humor. I make a point to break stereotypes, especially with my images. And then I make a point to be humorous about the images. So we’ll be talking about deviance, and I’ll say “So not holding a knife to a white lady’s throat is that… what kind of deviance [LAUGHTER] is that?” But I’m also very careful to never show single mothers that are Black. I’m also very careful when I do gangs. I have memes that I use and one is this white guy with a really long beard, riding a pink bike talking about biker gangs, or I have one meme of Sesame Street when I talk about gangs. And so I’m really, really careful to break stereotypes. And I also make sure that when I’m choosing my test questions, I’m choosing the ones that, again, reinforce breaking those stereotypes.

John: So you’ve talked a little bit about bringing your own identity into the classroom and how that evolved over time. How do you help students express their identities in class?

Celeste: I’m really, really careful about how I do examples. I very deliberately find diversity for my images. And again, I try to find things that people don’t think about. So when I’m doing, let’s say, relationships, I’ll show like an older lesbian couple, nobody thinks about old people still being in love [LAUGHTER] oftentimes, when you’re talking to young students. And another thing that I do is I bring in stories of my friends who are very diverse, and the people that I’ve known. And I feel like if you create a safe learning environment, and I do a lot of steps to do that in the beginning, that then students will feel safe sharing. One time, we were talking about border patrol, and we were talking about racial profiling. And I was trying to get across to one student who was either in border patrol or headed to be in border patrol that if you only focus on Latinos, then yes, you will only find drugs on Latinos. If you’re not stopping white people. If you’re not stopping Black people, then you’re not going to find drugs on them. And the argument was, “Well, it’s the cartels. And it’s this, and it’s that.” And finally, another student of mine, who is Latino, and whose father is Latino, but a border patrol officer, talked about being stopped, talked about being afraid, talked about this dynamic of “Yes, there are good officers who aren’t, and yet still, this happened to me, even though my dad is.” And so I tried to create that kind of space where students can shift each other’s ideas by sharing their own narratives.

Rebecca: You mentioned just a moment ago about setting yourself up to be able to have that space for students. Can you talk about some of the steps that you do take to create that environment?

Celeste: Yes, when I was teaching face to face, it was basically the first week, and usually these were two day a week classes, were centered upon creating a safe learning environment. So we would talk about community agreements, and then I would take it further. And I use some things that I learned at WRITCHE and don’t ask me what that acronym is for, but it was something about teaching about sexuality. And so what we did when we went to that workshop was we anonymously answered all of these questions on a survey. And so what I did was I create a survey about: Have you ever had or helped create an unwanted pregnancy? Have you ever used a food bank? Have you or anyone you know ever been to prison? Or Is anyone you know, undocumented? We lived on the border. And so what I would do is I would have my students take this, and I would go to great pains to make it truly anonymous. So I made everybody do a checkmark and not a big X and not a square, and everybody used pencil, and then we would go outside, and we would shuffle all the papers and pass them out. And then we would step in, step out to show who did it. So how many people have been part of an unwanted pregnancy? And we’d have… so I’d say then when we’re talking about reproductive rights, remember, it’s not those people, it’s people in this class. How many people have a family member who’s undocumented? Okay, when we’re talking about this, you need to keep it in mind. So it makes it really personal without outing people that, in this classroom, there are queer people. In this classroom, there are parents. In this classroom, there are people who have been to prison. And so we do that. And then I did a version of the opportunity walk. I know that there are mixed responses to the opportunity walk, but the version that I use starts with basically what we call ascribed statuses in sociology, so the things you can’t control. And so when they get to a certain point, I say “Now stop, look around, these are the things you had no control over.” And I talk about, as a Black woman, I’d be kind of back there in the back as well. And then we talk about the things that they have control over: education, those types of things, speaking up, being an ally, that’s an important one, because that starts to push you back again. And so we look at that. And we end that, and I say, “I want you to think about, again, where you were, it has nothing to do with you. So therefore, when we’re talking about privilege, it’s not about you, you didn’t tell the stork, ‘please bring me down to a rich white family,’ we have no control over any of these social categories that we’re born into. And so when we’re talking about that, then we’re trying to understand.” And then later on in class, I do another exercise called the “oops exercise,” again, talking about intersectionality. And pointing out that even if you’ve got privilege, if you’re white, male, heterosexual, well educated, at some point you were young, and therefore you were oppressed by age, and we like you enough that we want you to live long enough to be oppressed again by age, right? So even the most privileged people experience oppression in at least one category. And so those are the ways that I tried to make it a space where both we can share our own stories, and where we understand that privilege. While it’s challenging, and while we want to think the world is fair, it really isn’t. And we have to look at how we have privilege without it being a personal failing.

John: What other suggestions do you have for creating a more inclusive classroom environment where everyone is part of the class and where everyone’s voice is taken seriously and is heard by the class?

Celeste: I think it’s a balancing act. And I think it depends a lot on the identities or the perceptions of the faculty person themselves. So as a Black person, as a big Black woman, I find it necessary (and luckily, it’s part of my typical approach anyway) to use a lot of humor to make myself seem approachable. And it’s very frustrating because I used to co-teach with a guy who called himself my token old white guy, and he was an English professor. And I would say something about sociologically sound principles that are from my discipline that are scientifically proven, and students would go “well, I don’t …:.” and then he would say the same thing as a frickin English professor, and they would go “Yes, you’re right.” And it’s frustrating. But [LAUGHTER] the reality is, that’s the way it works. So sometimes I do that, sometimes I use my colleagues that way. And sometimes I’m that way, as a cisgender, straight woman, then I provide that added, “It’s not the chip on my shoulder” when I’m talking about issues affecting the queer community. So I think that’s important. I also think it’s really important to listen to your students. I have yet to find a school that has student surveys that address what I want to learn. So I create my own. And then I have students give them back, I have them give them back on the last day of school where I like to be done. So their grades are done on the last day of school. And so this won’t affect your grades. I’m going to give you your grades in a minute. And you can be completely honest, and what would make this class more comfortable for you? And I change my classes based on that feedback. And when you work for a while in one institution, then students tell them and so the feedback at my former institution, students either loved me or hated me. And the ones that loved me were like, “She’s awesome. She’s funny. She does really cool stuff. But she don’t take no crap. So don’t go in there and try to BS her and don’t be late, because she won’t take it.” And then the other ones are like, “Oh, she’s so hard.” Yeah, because I don’t take late work, because I’m trying to also prepare you for real life.

Rebecca: Can you talk a little bit about some of the ways that you design assignments to make them more personally relevant to students?

Celeste: Oh, yes. One of the things that was really interesting when I started graduate school was I started a minor in a certificate for college teaching. And I was like, “Oh, this will be an easy minor. I’ve been teaching college for quite a while now, so I’m good.” But part that really helped me was designing effective writing assignments. And I saw such a difference when I stopped having students write a paper and started having them do things like write a letter. So in my race class, I would have students, instead of writing a paper explaining to me privilege and intersectionality, I would have them write a letter explaining to someone in their lives, privilege and intersectionality. And if you looked at my website, some of my students did some amazing, amazing letters. And they were students that I wasn’t, in some cases, expecting that type of understanding. But when they’re explaining it, using their experiences is very different than how I explained it. But not only are they showing their understanding, they are teaching me other ways to reach other students. And so I found that very, very helpful. And part of what I do is I build reflection into all of my written assignments. So, what did you learn? How will it help you? Because my argument to students is that sociology is something that they can use no matter what their end goal is in life, you can always interact with people better. And so how will this help you in your civic life? So those are some of the ways that I try to make it more relevant to students.

Rebecca: It’s amazing how a small shift in the frame of a writing assignment can make all the difference, that content is really not any different. It’s just framed in a different way.

Celeste: Yeah. Because when you say it’s not a paper, and you say it’s a letter, then they start to write from their own, instead of trying to regurgitate what I said. When I say it’s a paper, they think I want to hear me, and I hear me talk enough. [LAUGHTER] So I really want them to show me their perception. So, to me, that was the most powerful change I’ve ever made.

Rebecca: Audience matters, for sure.

Celeste: Oh, yes.

John: Much of your work now is in faculty mentoring and faculty development. Could you tell us a little bit about your roles there?

Celeste: Sure. So once I started to feel that I was losing my empathy for students [LAUGHTER] and getting very frustrated in teaching… especially, it’s hard to teach online about race and hot topics, because they don’t really see you as a human being. And they feel really empowered to say things that they wouldn’t say, especially to my face, but they wouldn’t say in a class. And in a classroom setting, first of all, students will call each other out. So I don’t always have to be that person. And second of all, I can revert to: “Hello, we’re going to treat each other with respect, we agreed to this, we wrote a contract about it, we have community agreement.” It’s much more challenging to do that online. And so I began to feel like it was taking too much out of me to try to teach about these in a fully remote setting as I was during the pandemic. At the same time, I was working as a graduate assistant, paying for my tuition, and I happened to land a job in the Office of Instruction and Assessment. And I started to learn about faculty development as a career, which I really didn’t even know existed. And I began to think that is something that I can do. I’d been department chair, I’d been mentoring new faculty, I had done a lot of workshops on time management and classroom management. And so I began to shift my ideas into that was what I wanted to do. At the same time, I was working full time, working at least two jobs, because I was also a graduate assistant, sometimes three or four, and a single mom to a four year old when I started graduate school, and having some challenges with a cohort of students that were half my age who had very different ideas about social justice than I did, like we both wanted the same end result, but had very different ideas about how to go about it and was feeling very isolated and made a friend. And after a couple of years, where both of us sort of mentored each other, we both ended up in assistant director positions. And we started to think about the power of our relationship and how we could help people find that in a less organic way. Because it just happened to be magic. It just happened to be she worked in the office, she had really cool artwork, I walked in and asked about it. And when you see us together, you see this big Black lady and this little… she looks 12, but she’s not… and she’s got blue hair, and people are like, “How are y’all friends?” But at the core, we’re both about helping people. We’re both about social justice. We’re both about making the systems better. And so we bonded in a lot of ways, and we help each other in a lot of ways. And we actually complement each other in a lot of ways. For example, I hate rewriting and I would have not published all those chapters if it weren’t for the fact that she loves editing. So I would write it, she would edit it, and then I would fix it. And that’s how I got through. And we collaborated on a lot of things. And so we had been sort of building out this framework around peer mentoring, and how can we create, systemically, an environment where people could find their sort of match. And during that time, they were also, in the Office of the Provost, hearing that mentoring needed to be focused on and talking about creating a mentoring Institute. So she encouraged me to apply for this position, it’s a brand new position. And so I, in November, received this position, which is Assistant Director of Faculty Mentoring initiatives. And my main goal is to facilitate the creation of the MENTOR Institute. And I like acronyms. So MENTOR is actually an acronym for Mentorship through Effective Networks, Transformational Opportunities, and Research. And that’s really what we want to create. We want to create a place where we share social justice minded inclusive best practices about mentoring, and where both faculty and students and hopefully, eventually staff, will be able to do training and expand their knowledge and do research about mentoring best practices.

Rebecca: Sounds like a really great opportunity to start something new, but something that’s so needed in so many institutions. The mentorship piece is crucial for people, but also it’s so not facilitated. [LAUGHTER]

Celeste: Well, what we found is it’s just very different. In a huge R1 Institution, each college does things their own way. And so what we want to do is synergize and illuminate the great work that’s already been done. We have pockets of really excellent mentoring, and then to help facilitate for those who are going: “Yes, we need to institutionalize this, but we don’t know where to start.” And so it’s been really interesting. It’s been fun. It’s been a lot of work. [LAUGHTER] I’m currently working on our first workshop that’s going to premiere in fall, when everyone comes back, on mentoring practices. And I’m also conducting focus groups with graduate students to sort of understand what’s going well, and where we can fill in those gaps.

Rebecca: Sounds like really important and exciting work, but definitely work nonetheless. [LAUGHTER]

John: Do you have any other reflections on your work on the Picture a Professor project,

Celeste: I just want to say a couple of things. One is that I really hope that people will take the time to look at this book, because I think that part of what’s needed for the culture shift in academia is a shift in how we picture a professor, what a professor is. I spend a lot of time with people going, “where’s the professor?” It’s me. Hello, I’m the professor. And I also want to encourage people who are in graduate school to look for these types of publishing opportunities. I’m still working on my first sort of solo first-author publication in a peer-reviewed journal. I was part of the task force for the American Sociological Association, where we focused on contingent faculty. And as that I earned a first-author credit just because my last name starts with “A,” but I found it really challenging in any other ways to publish in peer-reviewed articles. However, I published three or four chapters of my dissertation by looking for edited anthologies that were coming out in the area that I was publishing. It’s still peer reviewed. It may not carry as much weight, but for me, it was a little bit more of a user friendly way to learn how to publish, to learn how to do rewrites, to learn how to do those multiple versions of wait a minute I thought I was done with this… [LAUGHTER] until it gets accepted, and it builds your CV. So I wish someone had told me that. I just happened to luck into it. And once I got my first chapter, then I started looking for other chapters. So that’s some advice that I wish someone had given me.

Rebecca: Well, thank you so much for all that you’ve shared with us. We always wrap up by asking, what is next?

Celeste: Well, I’m gonna be 100% honest, because I found bringing my authentic self was the only way to do it. And literally what is next for me is an epic road trip with my daughter.

Rebecca: That sounds awesome.

Celeste: She’s been a trooper for four years while I was in graduate school. She’s been a trooper for two years of a pandemic. And my little extrovert [LAUGHTER], who was stuck at home with just me and her. And I’m pretty much an introvert. So we are going to go on a road trip for two and a half weeks across seven states. And we are going to work on my bucket list, which is I want her to see all 50 states with me before she goes to college. So we’re working on breaking that down. And then professionally, it’s our first workshop. And we also facilitate faculty development communities for promotion. And we are looking into creating some sort of grad student communities in the fall as well. So, that’s what’s next for me.

Rebecca: That sounds like lots on the horizon. Have a wonderful road trip. That sounds wonderful.

John: It does. And thank you for joining us. It’s been great talking to you and we’re looking forward to sharing this episode with our listeners.

Celeste: Thank you

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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.

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234. Education in Prisons

Education provides a pathway to a more secure and comfortable future for individuals living in poverty. This is especially true for those who are incarcerated. In this episode, Em Daniels and William Keizer join us to discuss the challenges and opportunities associated with providing education in prisons.

Em is a researcher who focuses on education, corrections, criminal legal reform, and abolition. She is the author of Building a Trauma-Responsive Educational Practice: Lessons from a Corrections Classroom. William is a Founder of Frontline Professional Development and Co-Founder of Revive Reentry Services and the Revive Center for Returning Citizens. He is a former state prison Adult Education Instructor, and in addition, he himself was formerly incarcerated.

Transcript

John: Education provides a pathway to a more secure and comfortable future for individuals living in poverty. This is especially true for those who are incarcerated. In this episode, we explore the challenges and opportunities associated with providing educational in prisons.

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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: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

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John: Our guests today are Em Daniels and William Keizer. Em is a researcher who focuses on education, corrections, criminal legal reform, and abolition. She is the author of Building a Trauma-Responsive Educational Practice: Lessons from a Corrections Classroom. William is a Founder of Frontline Professional Development and Co-Founder of Revive Reentry Services and the Revive Center for Returning Citizens. He is a former state prison Adult Education Instructor, and in addition, he himself was formerly incarcerated. Welcome back, Em, and welcome, William.

Em: Hello.

William: Thank you.

Rebecca: Today’s teas are… Em, are you drinking tea?

Em: I’ve just got water. I’ve got boring room temperature water with no flavor in it.

Rebecca: That’s a disappointment.

Em: I know, I’m sorry. I set the bar very high, and then I didn’t even get over it. [LAUGHTER]

Rebecca: How about you, William?

William: I am water and lemon in a spill proof cup.

Em: He’s got a sippy cup. [LAUGHTER]

William: I’m a little clumsy sometimes, [LAUGHTER] Em knows. I take every precaution.

John: And I’m drinking a peppermint spearmint blend today.

Rebecca: Oh, that sounds nice, John.

Rebecca: I have Scottish afternoon tea this afternoon.

Em: Mhmm.

John: Very good, appropriate. Because it’s afternoon and I’ve already had a lot of caffeine I’m doing a non-caffeinated route.

Em: I did have coffee earlier, just so people know that I haven’t abandoned the caffeine train. I just tried to finish it before, and I can’t have a tea right after a coffee. It’s too much liquid. [LAUGHTER]

William: I second that.

John: In an earlier podcast, we talked to Em about the general topic of trauma-responsive educational practice. Today we’d like to focus more on the topic of education in prisons. How did each of you become involved in teaching in prisons?

William: You know, it’s funny, as I was preparing for the podcast, it dawned on me that I actually started my career in education in a carceral setting, teaching life skills at a juvenile detention center, clear back in 1989. From there, I worked as an intervention specialist and a special education teacher in public schools. But around 2004, I’d been teaching life skills classes at a state work release program when I was hired to teach adult education in the state prison in our area. And I’ve always worked with marginalized populations. And so for me, it was just kind of a natural progression. I guess I’ve always just landed right where I’m supposed to be.

Em: Yeah, I started after Bill, but I also started out outside of academia, I started working in a community organization, helping people during the Welfare-to-Work years, as they were trying to transition people off of welfare. I worked for a small agency that did workforce development, and didn’t know anything, but learned quite a lot, and then continued working in just such a variety of different teaching and learning spaces, eventually coming to working in the prison for several years when I was living in Oregon, and had also worked in alternative high schools and left the prison in Oregon and then moved to Spokane, Washington, where I live now to work as a Re-entry Education Navigator, and my job was to try to help people who were coming out of prison who wanted to go back to school, and did that for several years… met Bill during that time, and feel like that whole experience of seeing what happens to people before they go to prison and what that education looks like, and then during prison, and then what happens when people come out of prison and want to continue education or enter education has really given me a fairly unique perspective on higher ed in prisons.

Rebecca: For those that aren’t familiar, can you describe some of the challenges facing both students and instructors within the prison system?

William: I think one of the significant challenges is to create an environment where students feel safe and respected, where they can settle and become ready to learn, especially a place where they can feel insulated from all the distractions that come with being locked up. It’s tough because students in a carceral setting are trying to learn while they’re dealing with stuff like maintaining a relationship with their significant other outside of the walls, or maybe family issues, family stuff, sick kids, whatever, because you’re powerless over what happens on the outside and it eats at you. Then you have internal distractions like prison politics, you may have issues with staff or with other individuals that you’re locked up with. And it makes it hard for students to try to settle and learn.

Em: Mmhmm. First, I’m going to say I think educational trauma plays an incredibly significant role for students in prisons, because so many of them have been denied public education or actively ejected from public education before they come to prisons. So they’ve already had a lot of really significant harm around education. So they come in with a lot of those barriers. And then when you look at the demographics of who was in prison, you see also many people who have disabilities, especially undiagnosed learning disabilities, the incidence of traumatic brain injury is anywhere from three to five times higher in the population in prison than it is in general populations. And that also presents significant barriers… addiction and the impacts it has on the brain, especially alcohol, provides really a lot of issues. So there’s just a number of barriers that show up in population, and are connected to reasons why people come to prison. So there’s that piece, and then some of the more logistical issues. It’s hard to describe how few resources there are, when you work in a prison setting. When I go into a prison, I’m like, “Well, I might be able to have a pencil and a piece of paper.” And that’s really the resource that I might be able to have. If I’m going in as a volunteer or something like that, if there’s programming inside, I probably have a little bit more, but there is no access to internet, not active internet. Some states and some facilities are working on a secure internet, where people can get on to certain sites, information and what not. And there are certainly, like, librarians and information management people at colleges, two- and four-year schools, do an outstanding job of trying to update resources that sit on a server. So they’ll put together sort of a secure server full of information and then they’re always trying to update those resources. But again, it’s still static, it’s not dynamic information. So the lack of access to resources is profound. There are certainly technical issues around funding, always around funding, Pell is being reinstated for people in prisons next year. So the scramble over the last couple of years, and will continue into next year for colleges and programming to try to adjust to people being able to have access to Pell again, and the benefits that that brings, but also the resistance of institutions to change and adapt so that people can get the most out of their Pell funding. To say it is very strong is an understatement, and that’s a whole other topic. Funding for programming is always challenging. And Pell is just a whole other big thing. There are all kinds of different issues around programming. So access, what materials you can bring in and bring out, who gets to come in and come out, what you get to talk about, all of these things. So there’s programming issues, and then probably, in addition to having to make an effort for students like a really, really big significant effort for students, the extreme cultural differences between, what you need for education, because education is inherently supposed to be a liberatory exercise, like it’s a movement toward liberation. And you are trying to do this in an institution that is designed to control and constrain and to hold people captive. So the cultural clash there is deep, it’s very deep. And because the corrections institution is really the one ultimately in charge, educational entities really have to walk a lot of lines that feel like compromise all the time.

John: One of the things you mentioned in the book, Em, was Eurocentric ways of knowing are built into our educational system. How might we adapt our approaches to education to better accommodate those from cultures who rely on alternative ways of knowing?

Em: Well, I would reframe that it’s not an accommodation, that it’s a rebalance… like, this country, it did not start out as a European country. And to say that European and Eurocentric ways need to accommodate other ways, I think is maybe a mis-frame. And I think that looking at all of the people and all of the representation of all the different people around the world who are living in the U.S. and go to school here, and pay taxes here, and are citizens, and all of this… this is really about how do we open our own minds and our own hearts to the way that we see the world? And understand that that is not the only way to see the world. And people talk about that a lot, but I’m, like, “This is more than just entertainment. It’s more than just a holiday.” It’s fundamentally, people see, they experience information. They take in information differently. They respond to it in their bodies differently. They respond to it in art and creativity. The way that they think about information is very different and those differences, while they certainly do present opportunities for us to push ourselves and stretch ourselves, that’s what we should be looking for. Because every time we push ourselves and stretch ourselves, it makes us better. It makes us more fully ourselves that we get to try to experience the world in all of these different ways. And I think that, when you look at the hallmarks of Eurocentrism, the production, quantifying things, wanting efficiency, wanting to make sure everything can be measured in a particular way, all of those kinds of things, none of those things are inherently wrong or bad. But when they are the only thing, the only way that you know the world, the only way that you even consider that could be possible to know the world, I think that that makes us all smaller. It makes us all less than what we really are. And I think that that piece of it, like really pushing ourselves and challenging ourselves to think about knowledge differently, is one way for us to step into a more fuller version of ourselves.

William: Yeah I agree, I agree. I guess in the literal sense, the Eurocentricity that’s embedded in our education system, really misinterprets and misrepresents the historical journeys of many marginalized populations. I think it forces those populations to use more informal ways of learning about their journey, like song and dance, and storytelling and art, just to get a more accurate understanding of who they are. And that shouldn’t have to happen. I think, really, the three things that are important for me are what’s being taught, how it’s being taught, and then how it’s being assessed. And we have to have a broader brush to be inclusive, otherwise, we’re just perpetuating that marginalization.

John: And that’s a critique of our educational system in general, but I think it may have even more weight in the prison system, given the large proportion of marginalized individuals who are in our prison system, it would seem to create even a greater amount of harm in terms of providing effective education.

Em: I agree. I think that one of the ways… like Bill talked about this earlier, building these relationships and building trust. And I think that when we think about what people need in a classroom to learn, and what they need in themselves, and in order for people to learn in a way where they are able to grasp that knowledge, connect it to something that means something to them, the things we really want students to do that there has to be sort of this calmness in the body. And that comes when people have some feeling of both physical safety, and I would say more settling than demanding that they label themselves emotionally. And one of the reasons I say that is because when you get students who have been really harmed by public education, and specifically when you’re talking about people of color who have been harmed by white supremacist entities or Eurocentric entities, and that can be white teachers, sometimes it’s not, sometimes it can be teachers of color, but it’s often white teachers, like asking them to be in a prison classroom, and they’re a person of color. And now there’s a white person, another white person in an authority role, and they’re supposed to just automatically trust them. That can be a big barrier. And it’s not something that you can talk about very often because race in prison, even though race is present in every single thing in every single interaction, always, it’s not talked about. When I was working there, race was one of those issues, like, you didn’t want to talk about it, you did not ever want to really have any conversation. I don’t know, I feel like that’s a mistake and not acknowledging it when we go in like the positionality, especially for white people, the positionality and the sort of inherent power that comes into that, like not acknowledging that and talking about it, at least amongst ourselves, is a mistake.

Rebecca: It seems particularly challenging when we’re thinking about these power dynamics that you’re talking about when it’s layered in a prison system where there’s already kind of a teacher-student relationship that has a power dynamic, but now there’s also a prison authority, telling teachers what they can and cannot do in this space as well. So how do you help students reach a feeling of being settled or overcome some of those barriers around power to actually have learning happen?

William: I think it’s super tricky, because with correction staff outside the classroom, it’s all about that absolute authoritarian coercive kind of power. And here’s the thing, often, new hire teachers, including me, receive their orientation training in the same sessions as corrections officers and other corrections staff. So there’s an expectation that we go in and behave like corrections officers in the classroom, see where in reality in the classroom success is found through compassion and collaboration and not coercion. So earning a student’s trust and respect by developing that teacher-student relationship goes a long way. If you ever have to exert your authority in the classroom, for example, enforcing classroom rules. I know from my own experience as a teacher that if you develop that relationship, you can gain compliance through respect and you don’t have to resort to threat of punishment.

Em: Mmhmm. I had that happen… When I was working I spent a lot of time building relationships with my students. And I had a very unique situation, I can’t imagine in today’s climate that I could ever have such a situation again, but, really focused a lot on building relationships with students, and also trying to walk the line of teachers are expected to be corrections enforcers when they’re in the classroom, like that is the expectation from the institution. And because teachers rarely get training that is not corrections offered training… Until this book, any training that was given was the program would put together some training. But the conversations around power and… What does it mean to be a teacher and be expected to be complicit in these dominator power dynamics? And what do you do with students who don’t have the ability to withdraw consent? And how do you navigate that? How do you not abuse that power? And that has been a question that we have not talked about. Education doesn’t have that question very often about, what do we do to maintain our own ethical core when we are in these positions where we are expected to wield power? And I think that, what Bill was talking about, where you’re building relationships with people so that they understand how you make decisions. They understand that a yes is always going to be a yes, and a no is going to be a no, and that doesn’t change based on the person. It doesn’t change based on, you’re having a bad day, you’re still going to make your decisions in the same way. People are going to know when they come to you, if you tell them yes, it would be a yes, and if you tell them no, it would be a no. And I think that we underestimate the importance of that, that consistency. I know that when I was at the prison, I had corrections staff who would come to me sometimes if they were having issues with a student, and they were someone who was in my class, they would come to me and they would say, “We know you have a good relationship with the student, can you talk to them about this or that?” And it didn’t happen all the time, but it definitely happened where they saw that I had a relationship that was not based on dominating the student and forcing them to do things. But it was based on trust and openness, as much as we can be open, and that I can at least have the conversation with the student where they might not even be able to do that.

William: Right, and I’ve had the same thing occur, and I think the big difference is that when you develop that relationship, that students begin to understand your motives for saying yes or saying no…

Em: Mmhmm.

William: …and that you do have their best interests at heart when you’re doing that, and you’re not just about asserting your dominance. It’s about trying to be that individual that is, again, working in their best interest.

John: And earlier, William, you mentioned how you received the same training that was provided to the guards. So it sounds like that could provide some insight for the correctional staff, who may perhaps be able to learn more effective ways of dealing with those who are incarcerated.

William: In a perfect world, that’s really all I can say. That institution has been doing things the same way for a long, long time, and is super resistant to any kind of change, especially in a more compassionate direction.

Em: Mmhmm.

John: Well it perhaps could lead to some gradual evolution in a better direction, at least.

Rebecca: Real slow, real slow. [LAUGHTER]

John: Really slow, but if perhaps instructors are better prepared in providing that sort of role model, it certainly couldn’t hurt, and it certainly couldn’t hurt the educational purpose. What are some effective strategies in providing trauma responsive educational practices in a prison environment?

Em: I think that the three things Bill and I always come back to over and again, and he’s always been the one to bring us back to that whenever things have gotten really difficult or challenging, is you prioritize the relationship, you maintain the dignity of everybody who is involved in whatever is going on, that’s yourself. I’m going to leave the word respect out of it, because respect in prisons is code for obedience, and I’m not interested in perpetuating that. So I think maintaining dignity, and then also strengthening connection. I mean I know, teachers, we have all had those moments with those students who are just… they feel intolerable. You’re sick of them. They have been irritating, they have been annoying, they will not leave you alone. They pester, pester, pester, whatever it is. And I think that on a free campus, you have a lot more latitude in how you work with students like that. And you get to leave, like you get to go. But in prisons you don’t really have the same amount of latitude. And losing your temper once can just destroy a relationship, and you don’t usually get second chances. People do not usually give you a second opportunity to regain their trust. So when I talk about strengthening connection, I think in that moment when you are disliking them the most intensely, you have to find something to appreciate about them, and you have to tell them that. So whatever it is, they have nice handwriting, or they’ve been speaking up in class, even if they’re irritating you to death, you have to find something to remember that these are people who are trying to learn, and that our job is to help them learn, and they are in a position that is so much more intolerable than ours. That’s something that we bring in when we accept the responsibility to teach inside, I believe that’s part of our responsibility, is to do that.

William: Absolutely, well said. Really, the only thing I think I can add to that is just to really be mindful to ensure that nothing that you say or do has a potential to re-traumatize individuals.

Em: Mmhmm.

William: Because, again, absolutely do no harm. But also, like Em said, you only get one shot with a lot of these students. And it’s part of the culture, you only get one shot. And if you do something to offend, or to re-traumatize, which is going to be perceived as offending, you may not get another chance to build that all-important relationship that you need to help them be successful.

Em: Mmhmm. To just add something to what Bill was saying, is that we talked about this a lot when we were prepping is… What would be helpful for people when we talk about strategies? And we aren’t going into more detail, because, well, we don’t have enough time and you can also read the book, but partly because some of the strategies are things that teachers have to develop for themselves. Like we can give people guidance on, How do you handle yourself when you go in? I assume that people who are teaching are professionals, and they may or may not have taught in prison before, but they’re professionals and that they have some experience and they have knowledge. And you know that they have their own strategies. So some of this is like, “How do you adapt your strategies?” Instead of telling you, “You have to do these things.” Just give you enough guidance, give teachers enough guidance, so they can see how their own strategies can fit into this very different environment. So I just wanted to say we’re not trying to avoid talking about more detail, it just feels like it’s not always helpful, you can get really into the weeds on it, and it’s not always helpful.

Rebecca: One of the things that I’m sure has impacted education in the prison system significantly is COVID-19. Can you talk a little bit about what that impact has been?

Em: That has been a disaster, like a disaster, as much a disaster as it has been for free campuses and for K-12, you just magnify that, because you have millions of people who are basically trapped in a building where they have to share ventilation. They are totally reliant on people who come in from the outside for protective gear, they may or may not be able to maintain social distancing. They have no way to ensure that people that they are around are vaccinated, or will get vaccinated, or can get vaccinated, and that includes prison staff, any staff who come in. And I’m going to refrain from more commentary about what happens in prisons to people, because those aren’t my stories to tell, but everything that’s happened outside of the prison, you can just magnify that by whatever amount you want to, and it probably still isn’t as bad as what happened inside.

William: We just lose that ability to provide the consistency that that population of students needs.

Em: Yeah. About education specifically, prison programs, because of the lack of technology and the lack of access, have almost entirely been face-to-face programs. There’s been like a little bit of, they can have a tablet, and you know, you update the tablet, but none of it is online, like the tablets aren’t connected to each other, you have to bring them in and plug them into a server and do the updates and things like that. So I think there’s a tiny, tiny, tiny bit of movement on that front, not very much. But most of the people that I know who teach, they can maybe get inside occasionally, but the minute there’s an outbreak they can’t come in anymore. So students, for the most part, have lost the last few years of access to education, in addition to being in a terrifying environment where they don’t have the ability to really care for themselves in the way that we do.

William: I don’t think we can overstate the importance of that face-to-face contact. I mean them seeing you on a daily or weekly basis and being in that physical presence. Because it’s everything you do, it’s your body language when you’re with them, it’s your facial expressions, it’s micro expressions. Everything you do is your message to them about why you’re there and what your motives are, and that you’re there to work in their best interest, to be an advocate for them to learn and to grow. Because that’s really, when we boil it down, that’s what we’re talking about, is we’re talking about individuals who are trying to better themselves through education. And it’s just, it’s a population that’s rife with trauma and negative educational experiences. And I think that that face-to-face time is just so important to support their success.

Em: I have a lot of colleagues who have been doing fantastic work through correspondence, or doing packets and things like that, because correspondence is a little bit different than doing packet work. And there certainly are people who benefit from having more time and people who are introverted, or have maybe some different needs in learning who like the asynchronous learning piece more, or they have more time to maybe reflect and things like that. So I don’t want to say that nobody has gotten any benefit at all. But I agree with Bill, like, my bias is certainly that face-to-face learning is… there’s so many benefits to it. And I think when you look at the literature around trauma, one of the big benefits when we talk about trauma responsivity, is that somebody has a settled body, like if you’re settled in your body, you can be in that space, and other people respond to that. Like mobs, you get one or two people who are just completely hyped up and doing all this stuff, and that’s contagious. Well, the same way that that kind of chaotic, high-level, excited energy is contagious. So also is the settled, calm, deeply grounded energy, is also contagious, and that can be really important when you’re working with folks.

John: There’s a lot of research that shows one of the best ways of escaping from poverty is through education and higher education. I would think that would be especially true for people who are incarcerated. As a society, are we devoting enough resources to provide educational services for those who are incarcerated? And what changes should be made to provide more resources? What are some of the most pressing needs for addressing some of these inequities?

William: For me, I just would like to see more resources devoted toward putting more teachers in the classroom. In my last teaching job in the county jail, my class size would be, sometimes, over 25 students. And it’s so much harder to… and I keep going back to developing these relationships because, to me, that’s a foundation for everything else that comes. But I would like to see more education staff and smaller class sizes, to help create those relationships that foster success and students.

Em: I agree, I think, definitely more teachers. I think that, like roughly half of the states in the country don’t offer education inside, or education is not mandated, and that may have changed a little bit. But last time I checked, it was, like, 28 states did. So it’s roughly half that do not mandate education. The demographics aren’t different, the people who go in, 60 to 70% of them don’t have a high school credential. And two thirds of people who are going into prisons are existing on, just subsistence, 12,000 a year or less, like very, very high rates of poverty. So absolutely. But I think we also have to think about re-entry, and 95 to 97% of people come back to the community. So if we’re thinking about education while people are in prison, but we’re not doing anything to make sure that people can have access to education, can have access to housing, and access to jobs when they come out, then, I don’t think education is ever a waste, but I think that it’s very short sighted, it’s not a good way to talk about lifting people out of poverty. I would say one thing people should be thinking about are background checks. Background checks are probably one of the biggest roadblocks to people getting housing, to people getting credit, to people getting jobs, sometimes getting into college, being able to spend time with their kids when they’re at school. Background checks impact people in so many ways and forever, because we don’t have any expiration date on them. So I’ve heard stories of people who got hired by a university to be a tenured professor, and then somehow it comes up that 25 years ago they had a conviction on their record and the university’s like, “Oh, sorry, our policy is that we can’t have you.” And I’m like, “Well, that person’s been working there for years, what are you talking about?” But it happens. So I think that that is one area where, because it’s so deeply entrenched, and it’s connected to employment law in a lot of ways and to public records, it’s such a tangled problem that people really don’t even want to think about it. But it is a huge roadblock for folks. So if we are going to invest in people, and we’re going to give them education that they should’ve gotten earlier in their lives and should’ve had access to. If we’re going to give them access to more education, then we’re just doing them a grave disservice if we are not making it easier for them when they come out.

Rebecca: Are there things in the education system we should be working on that happen, perhaps, before people end up incarcerated? So avoiding some of the traumas and things that are happening in the education system early on.

Em: Well… I feel like that is a very difficult question to answer because I have the same critique of our K-12 education that I did of higher ed, that it is very Eurocentric and that people of color, and people with disabilities, children with disabilities, who need to relate to information differently, who may need to consume information differently, all of that stuff, like, they’re not just treated as if they are trying to learn things, they’re treated as if they are wrong, as if they are deliberately challenging the authority of a teacher. And then they’re punished, they’re punished, because they can’t or won’t assimilate into these Eurocentric ways of understanding the world, which again, are not wrong, but are not the only way. And nobody should be punished because they understand information in a different way from somebody else. And that is a very broad statement, and I know that there are individual people who make an effort to try to not punish, or who try to have students learn in different ways. But systemically, the system itself does that. I mean, think about it, so if you are a black student, black parents, and demographically, perhaps you have a single parent household, we’ll say, and this could happen with any student, I’m picking a black student for a reason. So they have a single parent household, and the parent has to work a couple of jobs. So not only like if that parent is going to come to school and interact with teachers, which they definitely want to do, they have to deal with their own trauma from having been discriminated against and potentially punished because they were a black student in a white system. So they have that from their own childhood, from their own adulthood, from their own lives. And they have to try to come into a school which may have harmed them when they were young, and try to bring themselves in and do the things they need to do for their children. And so that’s a barrier that white parents, perhaps, don’t face. And this is a very general example, and I am not saying that all white parents or all black parents would have these kinds of experiences. But it is an example that I’ve heard from many students and many parents that this happens. And again, it’s just something that we aren’t addressing. And I’m very hesitant to say a whole lot on the topic of K-12, because I don’t teach in K-12, which is part of the reason I don’t feel like I have a lot other than a general observation, I don’t have a lot of direct experience that I can speak to. Bill, I think you taught more in K-12 than I have.

William: Yeah, having worked in about, I think five middle schools, and seven different high schools in different parapro and professional instruction capacity. What I can say is looking back, if I had access to Em’s book, to having a better understanding of trauma and the impact of trauma on how students learned. I felt that I was fairly effective as an educator, back in my time in the public schools, but had I had access to that I could have been more, I could have done more, I could have been more effective. Because for me, introducing a trauma-informed perspective into my instruction, I think it’s a game changer, I really do. I think that students who couldn’t be reached before, could be better reached, better understood. And even within the constraints of the framework of public education and the way it is right now, I think that teachers who adopt a trauma-informed approach into their teaching can’t be more effective. I can’t say enough about it, honestly.

John: There’s certainly a lot that we as a society can work on to provide a more inclusive environment all the way through for everyone, but let’s turn back to one of the things that is addressed in Em’s book, which is the importance of bringing joy into the educational experience, so we can end on a, perhaps, a little bit more upbeat note. Could you talk a little bit about that?

Em: One of the things I love about being in any kind of learning space is getting to learn with people. And I think that that’s learning from them, but also getting to learn with them. So I’m teaching how to make a widget, or write about widgets, or something like that. And I have a way that I do that, so I kind of teach from that perspective and maybe I have different strategies. But what I get to learn is, when that person, when that thing, whatever it is clicks in and they have that lightbulb moment. What I get to learn is how they understand it, and I get to learn how they see it and I get to feel that excitement that they feel because they, maybe opened up a new little neural connection for themselves, or maybe something they knew in one way they now know it in another way, and I get to share that with them. And that’s something, like people love working with kids because that’s what’s happening all the time. There’s so much they don’t know that everything’s like,“Oh my god, I can’t eat dirt.” That is exciting for a child because they didn’t know they couldn’t eat dirt, and, I mean, maybe they’re just going to eat dirt anyway, because it’s fun, because it makes your parents mad, but it’s really exciting, everything is exciting. And I think that we lose that as we get older and we get into adulthood and we take on adult responsibilities, and there is no structure in our society that encourages us to keep learning and to keep our learning muscles strong. And so we kind of forget just the joy and the pleasure that we experience when we’re being expansive together, when we’re expanding our minds together. And we’re opening ourselves up to learning with other people and learning from them. I think we forget that, because we’re not allowed to do it, or we don’t have places that we think we can do it, or we just get sort of swept away by circumstances of our lives.

William: And I take what Em said, and I want to frame that in a carceral setting too, because seeing the face of a student who’s learned something that they never thought they could learn, or seeing them begin to understand a concept and watch that light bulb go on. And just to know that something is happening that’s combating some of those past educational negative experiences that they’ve had, that they’re finding out that they have the ability to learn, that they can learn, and that they’re excited about it. And to be able to share that excitement with them, to me, that’s the joy of education, because like Em said, the instructor and the learner share that. So yeah, just knowing that the ability to learn is there. It’s amazing.

Em: I had a student once, this is not when I was in the prison, but I had things like this happen when I was in prison. And we were talking about getting jobs and doing interviews and things like that. And I had a group and we would do a group interview, and then I would interview them one on one in front of their classmates, which was a small class, and it was a cohort so it wasn’t like it was a bunch of strangers. And this one student was just terrified. Like, didn’t want to even get in the chair at the front of the class to do the group interview just where the class was sort of asking questions. And all they could do was just sit in the chair. And the class went around and they all asked the question, and I don’t even remember if the student really answered anything, but they did stay in the chair the whole time. And when they got done, that moment of recognition… And of course, the rest of the class was very supportive. If they could answer that would be great, but if not just overcoming their fear of sitting there. And that moment when the student realized that they had stayed in the chair, that was such a moment of success and triumph and joy for them. And all the class got to share in that we all got to support and cheer for this person, even though it was really, really hard. And that’s something that you would not necessarily consider a learning that you could measure. That what? Somebody would just, like, sit in a chair? That’s not a piece of learning that you can quantify, you can’t put a grade on that. But when I ran into that student years later, and they were working as an educational assistant at the local community college, and they had gone through however many interviews they had to do to get that job. And if they had not done that, they would not have ended up on that career path. And I thought, “Oh, this is one of those things that you need for people to be able to do.” But you shouldn’t have to put a grade on that, a number or a letter. This is part of what it means for us to be human together, and to be in this space together, and to support each other, and care about each other. And I always remember that whenever we talk about what is learning, and joy in learning, and that piece of it. And I saw things like that happen, I would have students who would fail two or three tests in a row, but they would get one or two points more on each test. And so the whole class would just celebrate, because the person was obviously starting to get a little bit better either at taking tests or remembering information or learning how to study or whatever that was. And I think that those are things that our current education system doesn’t give us time for. And I think especially when you’re talking about prisons, and just the level of educational trauma and denial and rejection that those students have gone through, of anyone who needs that kind of attention and care, I think that our students who are inside really do. And joy as an antidote to trauma, Bill mentioned ability to learn, but I think that when you look at what trauma does to the brain, the stress chemicals and keeping us locked into fear and survival, but when you talk about joy everything just opens up. When you are having those joyful moments everything just opens up, and I can’t help but think that those moments of joy and what happens in your body really is an antidote to some of the impacts of trauma.

Rebecca: That was a great story, Em. So we always wrap up, though, by asking, What’s next?

Em: Hmm. So for me what’s next, I’m working on a book chapter for a handbook on prison education, a friend asked me to do a chapter on that. So working on the chapter on that. But beyond that, I am starting to put together, like a companion or guide for the text, Building a Trauma Responsive Educational Practice. And I just started thinking about what that would mean, and what are the things that would be most important to unpack? And what would I want people to take away from that. And then, of course, my consulting business, I’m going to be talking to Princeton in May, which is very exciting. And I’m going to be doing a training session with John Jay College, which has two or three programs around corrections ed and teaching and working in prisons. So I’m pretty excited to be doing that later in the year. But yeah, I think the companion book is starting to take some shape in my head, so I’m excited about that.

Rebecca: That’ll definitely keep you busy.

Em: Yes.

Rebecca: How about you, William?

William: For me, a couple of things, I am working on a re-entry survival guide, which is kind of a workbook manual for people coming out to help them through just some of the beginning pitfalls of re-entry. You know, how do you get your ID? How do you get connected with your state services if you need them? Job hunt, finding housing, things like that. And then I’m also looking at putting together an in-service training, a lot of it based on Em’s work to take into the public schools. Because I think that if students have an opportunity, say at a secondary level, to be exposed to educators who have a trauma-informed perspective, a trauma-informed approach, then hopefully we can mitigate some of the high prison populations that we have now, and maybe go a long way to having some of those students skip going to prison. [LAUGHTER]

Em: Mmhmm. It would be at least nice to be able to reduce the overall level of connection between education and prison. Like people are always going to make mistakes and screw up, and part of abolition is imagining… What would it be like to be able to make a mistake and screw up and not have to go get locked in a cage? So part of the work of abolition is imagining that and I think for me, too, part of that work of abolition is… What would it be like if education wasn’t a pipeline to prison for so many people? What does that mean? How would education have to change? How does society have to change? And I think that’s work that is very interesting to me, and necessary.

John: Well, thank you both. You’re doing some really important work, and we thank you for sharing it with us.

William: Thanks for having us.

Em: Well, thank you, too. Yeah, and I welcome if people have questions or want to learn more, I’m happy for them to reach out to me. I think you can put my email in the show notes.

Rebecca: Thank you both.

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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.

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229. Inclusive History

Most history textbooks provide a narrative that is filtered through the lens of the dominant culture. In this episode, Vanessa Holden joins us to discuss how the study of history can be enriched by including a wider variety of voices and perspectives in historical narratives and in our classrooms. Vanessa has a dual appointment in both the Department of History and the program in African American and Africana Studies at the University of Kentucky. Her research focuses on African American women in slavery in the antebellum South, the history of resistance and rebellion, gender history, and the history of sex and sexuality. Vanessa is the author of many scholarly publications, including the recently published Surviving Southampton: African American Women and Resistance in Nat Turner’s Community. During the 2021 academic year, she was selected to be the inaugural Distinguished Visiting Scholar at SUNY Buffalo’s Center for Diversity Innovation.

Show Notes

Transcript

John: Most history textbooks provide a narrative that is filtered through the lens of the dominant culture. In this episode, we explore how the study of history can be enriched by including a wider variety of voices and perspectives in historical narratives and in our classrooms.

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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: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

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John: Our guest today is Vanessa Holden. She has a dual appointment in both the Department of History and the program in African American and Africana Studies at the University of Kentucky. Her research focuses on African American women in slavery in the antebellum South. Her areas of interest are the history of resistance and rebellion, gender history, and the history of sex and sexuality. Vanessa is the author of many scholarly publications, including the recently published Surviving Southampton: African American Women and Resistance in Nat Turner’s Community. During the 2021 academic year, she was selected to be the inaugural distinguished visiting scholar at SUNY Buffalo’s Center for Diversity Innovation. Welcome, Vanessa.

Vanessa: Hi, happy to be here.

Rebecca: Today’s teas are… Vanessa, are you drinking tea?

Vanessa: I’m not. I’m drinking water. I’m a coffee person, I’m sorry.

Rebecca: So you got the water, you got the coffee, all right, all right. As John always says, that’s our most favorite tea on the podcast. [LAUGHTER] How about you, John?

John: I’m drinking iced tea today for a change. Because it’s such a nice, warm, wintry day here with a blizzard going on outside.

Rebecca: Hey! It’s in the 30s, it’s a heat wave.

Vanessa: Oh, that’s like beach weather in Oswego.

Rebecca: Totally.

Vanessa: Yeah.

Rebecca: And I’m drinking cinnamon spice black tea today.

Vanessa: Ooh!

Rebecca: It’s very warming, kind of the opposite of John’s situation.

John: So we’ve invited you here today primarily to discuss your work on inclusive teaching. But first, could you tell us a little bit about Surviving Southampton and the research that you’ve been doing that led up to this book?

Vanessa: Sure. So Surviving Southampton is about America’s most famous slave rebellion, what historians often call Nat Turner’s Rebellion, but I’m really keen to assert should be called the Southampton Rebellion. Mostly because that’s what the people who lived there and lived through it called it. And that’s mostly what it was referred to until historians got a hold of it in the 20th century. And what I do for an event that’s been written about, almost since it happened is I actually just asked the question: How were women and children involved in this really important moment of violent resistance? And of course, when I started to look for women in the archive, I was led to a number of other communities of people in Southampton County who’ve been mentioned, but largely understudied and not looked at. So I do have a chapter that specifically deals with enslaved women. But I also look at free people of color in the county—Southampton County, Virginia had the third highest population of free people of color at the time in Virginia. I look at children and children’s involvement and resistance. And I really center survival not just as endurance. We use the word survivor to mean somebody who endured a natural disaster, a crisis, a tragedy, but it’s also a word we use for the bereaved. So if you’ve read a death announcement, or see a notice on Twitter, it sometimes will list who the deceased is survived by. So I also take time to look at the ways that African Americans were rebuilding systems of resistance, even as trials were happening for rebels, really violent backlash to the rebellion was happening. So even in the midst of really the most oppressive moments of the slave regime, black people were strategizing about how to continue to resist slavery. And really, women are at the center of that labor of survival.

Rebecca: These narratives are often not discussed, especially K12 but also at the college level. How do we start bringing these voices in more? Obviously, your book is helping with this, but how else can we start doing this?

Vanessa: Yeah, I am a very public-facing scholar. I work a lot with public history projects and community groups, and have a real heart for working alongside K-12 teachers. I’m convinced that they’re all geniuses, that they take on mammoth feats every single day in the classroom. And really through my work with the digital humanities project Freedom on the Move, which is based at Cornell right now, but we have a team of scholars who are at universities all over the country. The project’s main goal is to find and digitize every extent runaway slave ad. Right now we’ve got about 44 or so thousand ads in the digitized archive, and a little over 10,000 have been fully transcribed. But through that project, I’ve had the opportunity to work with teaching hard histories and work with focus groups of K-12 teachers, and really hear how impactful dealing with these particular sources can be for K-12 students. That learning about the history of slavery from the point of view of people who were resisting slavery, reading thick descriptions of folks who were fleeing to find family members or striking out for freedom really transforms the way that students are able to access what is and should be a very difficult, painful history. And also thinking about really age-appropriate ways to approach that history, that often students can find people their age who are listed as fleeing from slavery. And that really helps them think through, at an age-appropriate way, the real injustice of slavery and the dehumanizing nature of enslavement while acknowledging moments of resistance and, really, triumph of humanity. So I think some key ways that I’ve seen educators who work with K-12 students bring this history to them is highlighting the ways that people their age experience these difficult histories, and giving them a chance to work with primary sources, to go to the documents, work with them to get through some of the stilted 19th century language to get at experience that hasn’t been interpreted for them that they can really exercise their interpretive skills to understand better.

Rebecca: I love the hook of finding a way to connect. And doing that through finding people of the same age is such a great idea.

John: Have you or this project done any work in having some of the students do some of those transcriptions?

Vanessa: So yes, and that has been a key part of one of the branches of developing the project, is thinking through the accessibility of our crowdsourcing platform. So right now, Freedom on the Move is a crowdsourced database, anybody can log in to freedomonthemove.org, create an account and begin transcribing, or pulling information out of the ads—what data scientists would call coding data, but what historians would call really mining sources for information. And we’ve run into a couple of interesting things working with educators, because the team initially was only researchers. And we sort of imagined that there would be classroom applications. And we’ve really learned from this misstep of not having educators involved from the very beginning. Because, of course, the things that researchers care about are not the things that are most useful in the classroom. And the transcription platform is built for an educated adult public, you don’t have to be a specialist to do the transcription by any means. But there’s a real difference in what, say, sixth graders can read and understand and transcribe, and what someone who is an adult can read and transcribe and understand. One thing that we were pushed to do actually was, and this really was an educator critique, was create a glossary. Because, of course, these documents from the late 18th through the 19th century include racial terms. And we have advertisements in the archive from Spanish speaking areas, from French speaking areas, from English speaking areas. And these racial terms are archaic. They’re considered offensive and racist now, and also students have little or no familiarity with them. And so one of the ways that we had to really provide educators with a tool they could point to, to help students understand this language, understand its context, understand why we don’t use it now, involved us going back and doing the work of writing out a glossary of terms with, really, annotations for how to best understand why enslavers are using the language that they’re using. To get students and user participants to critique the documents, read the documents with a critical eye that these are things produced by enslavers about enslaved people, it’s not the way they maybe would’ve described themselves. So finding both subtle and overt ways to cue in participants, and also teach critical skills, interpretive skills at the same time. So there’s a lot of intellectual work that goes into these sorts of projects. But ultimately, I think it helps students really engage with the sources in really fruitful ways. And we’ve had educators take this in all sorts of directions, to creative lessons, to lessons where students are writing bound poems using the ads and really attending to the emotional affect of this material. Instead of shying away from the fact that this is difficult, leaning in and saying, “Yeah, it should be difficult. And let’s actually do the care work of processing what’s difficult.”

John: Many textbooks, though, do not take this approach, where they leave those voices entirely out. What sort of harm is done to students, when there are these glaring omissions in history?

Vanessa: You know, there’s like a whole series of podcasts you all could do on the textbook industry, and how textbooks happen, and what is and isn’t allowed. And of course, we’re living in a contemporary moment where what reading materials are provided to, particularly K-12 students, where they’re being deeply scrutinized. There are a new wave of bans on materials. And interestingly, a lot of those revolve around the language of discomfort. And I think often the way that issues like racism, sexism, ableism, classism can be approached is with the language of emotion and feelings. So particularly very young people, it’s explained to them, “Oh we don’t use these words that are racist, because they’ll hurt someone’s feelings.” And sure, yes, feelings are a part of that. But the other reason we don’t use these racist terms, it’s not just that it might hurt someone’s feelings, it’s that those terms dehumanize someone. And when that happens, that opens the door for very real violence, and very real physically, financially, materially detrimental consequences. The first step actually is that language, but it’s the steps that follow that language that are the issue. And so I think sometimes, because so much can get wrapped up in only dealing with the first piece, when it comes to feelings, the other pieces get maligned. So then it becomes about well, nobody should ever feel bad ever. And a lot of times that I’ve talked to my own students who often, even at the college level, they’re encountering these sources for the very first time, they’re encountering an in-depth discussion of American slavery for the very first time, some of them have never really heard in any detail the types of violence that were involved in American slavery, that just are omitted, they sort of know slavery was bad and that’s where the lesson stopped. I give them a moment to pause before we really get into the semester and I just acknowledge that this is really difficult material to read and to process. That they’re going to learn about things that they haven’t learned about before, and they’re going to have a feeling about it. And then I say that that’s actually pretty great, because that actually just means they’re human. They shouldn’t learn about the Middle Passage or slave auctions or physical violence, and just be sort of okay with it, or have no emotional response to that. Then in those moments when they’re having an emotional response, that’s just a moment where they are being empathetic human beings. So at those moments where a student learns something that makes them uncomfortable, learns something that ignites an emotional response. It could be sadness, it could be anger, it could be disbelief, it could be a little bit of denial, it could be a whole range of things. That’s actually a moment to pause and acknowledge your own moment of really human empathy, your moment of discomfort. And then to push forward that, “Oh, this is the place where I actually should be paying attention. That, here’s the point at which I’m learning things I didn’t know before. Here’s the point at which I haven’t experienced that before.” I also like to do an exercise that involves watching an episode of Colonial House. Are you both familiar with the series from PBS?

John: I am not.

Rebecca: No.

Vanessa: It’s an early reality television series where they get people to agree, I don’t know how they get them to agree to this, but they get them to agree to live using only materials and technology for a particular historical period for a summer. And then they film them and find out what happens if a bunch of modern people go pretend it’s the 1630s. So there’s this great episode of Colonial House where the overwhelmingly white participants are upset because churning butter is really hard and the corn isn’t coming in. And it turns out building a colony in 1630s Massachusetts isn’t so great, and it’s pretty smelly, and difficult or whatever. And then some Wampanoag people who are descendants of the original inhabitants of the Cape in Massachusetts show up in their traditional clothing. And their point of view of this experiment is very different than the participants. The participants are there thinking they’re doing this educational thing with their kids, even though it’s hard, they have a really positive perspective about what they’re doing. And when the Wampanoag show up, some of them are moved to tears, the way that they’re viewing this little re-enactment experiment is deeply emotional, and deeply hurtful. And they make the point to the participants, you know, “You’re out here playing, but you’re re-enacting this moment, this kind of point of no return for people like us where we were about to lose our homelands, we were about to lose everything.” So I have students engage with a form they’re really familiar with, reality television, before they’re engaging with each other around these topics. And we kind of talk through how this is an iconic period in American history, the Colonial Period. And Americans throw around that word “colonial” like it’s a type of architecture or a type of clothing. Americans don’t really think about it as a system of oppression, even though a key moment of our history is throwing off colonial rule. And we talk about it, it’s the exact same experience. The people who are playing colonists aren’t there with evil intentions, they think this is like a summer learning thing. And they’re confronted with a community of people who can look at the exact same thing, and say, “No, this is actually really harmful. And here are all these things you haven’t thought about at all.” And it creates a really helpful moment because, of course, in an African American history course we’re going to talk about the American Revolution, we’re going to talk about the American Civil War, we’re going to to talk about westward expansion, we’re going to to talk about all sorts of moments that they probably have watched movies about, they’ve maybe read really celebratory accounts of, or just accounts that are just like, “Well, that was just meant to happen, that people moved westward, that just happened. And moving on.” That doesn’t account for other people’s experiences. So it gives them a moment to look around the room and say, “Oh, I might be sitting next to someone for whom a moment in American history that I’ve always thought was celebratory for them is actually a horrible thing to remember. And it involves all these other dimensions that they just have never been asked to think about before.” And so give students a moment because, of course, some of the people on the show get really defensive. And so rather than have them start to learn difficult things and get defensive with each other, they can actually talk about these people on the TV. So we get a lot of that out of the way before we get to, “Okay, now you’re reading a slave narrative, and you’re learning really horrible things. And you see some place names you recognize, when you get into it.” Now, we have this common text to come back to and say, “Oh, there are different ways to remember this. There are different perspectives about what exactly happened. And the version I learned has particular consequences.”

Rebecca: I really love the idea of having something to try on that conversation without it feeling like it’s actually a conversation about you. It’s safe to have a conversation about something that’s not you, like the TV show, as a way to work through those ideas, and deal with some of those emotions that you were talking about that certainly come up that make you be defensive about certain topics, potentially. I love that you have that grounding and shared moment with each other. I’m sure it actually helps make everything else be far more productive during the semester.

Vanessa: I mean, there’s a great moment where one of the participants says, “Oh, I never thought that I was being an imperialist.” And then inevitably a student of mine will say, “The name of the show is Colonial House. [LAUGHTER] Like, what did you think?” So then he kind of really gets it like, “Oh, you’re using these terms to describe, I don’t know, buckle shoes and funny hats and architecture, but you’re not thinking about, ‘Oh, I’ve re-enacting a process of incurring on other people’s lineage.’ Like, that’s what I’m re-enacting.” It’s not just churning butter. It is a lot of butter turning, but it’s not just that. [LAUGHTER]

John: I also really like that approach of letting people look at it through this third-party lens. We’ve talked about that in some other situations, where that’s really effective when their own personal emotions and feelings are not put at stake in the same way. But I imagine some difficult conversations will come up during your class. How do you help prep students to deal with those issues when someone is offended by something that someone else says because they weren’t considering other perspectives?

Vanessa: I try to… and this is some work that I do in the first few weeks before students, I think, are even really aware, because the first few weeks of class are all about setting the stage, not just material that they need to know, but also practices that I want them to engage in throughout the semester. So I begin to set up early a culture of common texts for the class. So that first documentary clip screening that I show, it becomes a common text. It’s the first day of classes, sometimes they think, ‘This is just a throwaway exercise,’ or ‘Dr. Holden is just trying to engage us or whatever.’ But I start to build into this culture of, we have common texts in this course that we go back to. Part of learning in my field, at least historical methodology, is work with historical sources. So I begin to build piece by piece that in this class, it’s less about you talking about your own opinions about things, and more about us discussing common sources and common texts. So I’ve had, of course, a number of situations. Sometimes it’s students speaking without thinking. Sometimes they are in the middle of having an emotional response to something, dnd so what comes out of their mouth hasn’t taken into account all the other things we’ve read. Sometimes though, I’ve actually had a couple situations a lot earlier in my career, where students are just trying to test me or test my knowledge or see if they can knock me off kilter a little bit by saying something just outrageous just to see if I’m going to take the bait or engage. And typically what I do is turn the whole class back to the common texts. So I had a student once make a really disparaging comment about a group of Thai immigrants who were actually being forced to do unfree labor in Hawaii on pineapple plantations, because we were talking about contemporary cases of unfree labor and slavery. And the student just off the cuff said, “Well, these people aren’t Americans, why should we even care about them?” Which immediately resulted in gasps for the rest of the class. And so I said, “Well, let’s answer that question. Okay, this half of the class go back to this document, this piece of the class go to this document, and this piece of the class go to this document, let’s interrogate this. A: Why aren’t these people Americans? How is it that people who are not Americans are ending up in this labor situation? B: What is the landowner getting from this? And C: What connections can we make? Why should we care?” And this took the wind out of this particular student’s sails, because I think they really hoped I was going to really go in and yell at them or say something out of pocket. And instead, it was up to their classmates. And what came out of that, A: Really made clear that the class as a whole was not going to accept this. And B: Got students back into the documents in a way that felt way more immediate, I think, than it would have if they felt like, “Oh, clearly everybody in class with us agrees that this is horrible.” And it also set up some expectations for appropriate ways to handle disagreements in class. I do that a lot. Teaching the American Civil War here in Kentucky is always interesting, because the Commonwealth did not secede from the Union. But it’s a very contentious topic. And what folks often know is what family members have told them or things they read themselves in historical fiction or more pop historical texts. And seeing the primary documents for the first time can be kind of startling with just how explicitly racist people of the 19th century really were. And so I found myself in a number of situations making clear, we’ve got to go back to the sources. And I’ll say this, my subject position in the classroom is something that I have to be very aware of, as a woman, as a person of color. Sometimes students expect somebody like me at the front of an African American history course or an African American studies course. But when I’ve taught broad U.S. courses, I’m not who they think is going to teach them American history. And it would be silly for me to not be aware of that. But oftentimes, that means my pedagogical practice has to be really transparent, I have to be really clear. This is what I’m asking you to read, this is why I’m asking you to read it, and this is what outcome I expect for there to be. And some students are surprised that I’m that transparent about pedagogical practice. But in a time and place where student evaluations are as biased as the research tells us, I think it’s really, really important.

John: This might be a good place to transition into a discussion of inclusive teaching practices. And one aspect of that might be that sort of transparency about what you’re doing in class and why you’re doing it. Could you talk a little bit about your philosophy of teaching and how you go about creating an inclusive environment in your classroom? Some of that has come through already, but what are some other specific steps you might take?

Vanessa: Sure, I approach my classrooms as a collaborative space. Of course, there’s a power differential, and my job as a professor is different than students’ jobs as students. But I find that, actually, the more transparency, the better. So clearly laying out expectations, but also being really clear about what my expectations for myself are. So students are often surprised that I’m pretty upfront, “Here are the ways that I am available to you. And here are the ways that I can help you outside of those hours I’m not available to you.” Modeling healthy boundaries around what is my obligation to this course, allows them the leeway to say, “Oh, one of the things I need to do is set up what my boundaries are around my coursework.” [LAUGHTER] I’m very clear. I don’t expect that you are only thinking about my class all the time. So you should just know that that’s not an expectation I have for myself. So let’s talk about the times when I am thinking about this course. Beyond that, I offer them as expansive a menu as possible of inclusivity policies. And I think when students think about accommodation in class, they often think only of visible disability and that’s it. And so in my syllabi, in my first day of class presentation, I make super clear that anybody can be eligible for accommodation, and the ways to go about advocating for that for themselves, that there are processes involved. So I mention everything from care responsibilities, I have a number of students who are parents, I mention military service, I have a number of students who are in ROTC, or they’re in the National Guard. I talk to athletes in my classes. I talk to students who may be figuring out for the first time that they have learning needs that are now becoming apparent in their first year of college, they just, it hasn’t been diagnosed, it hasn’t been looked into, tested, treated, all those things, and then give them all the resources I possibly can to access those services. And I’ll say that it actually lends itself to really good classroom management, because it opens the door for students to talk to me early and often. I can’t tell you how many times I have students who are parents that are surprised that I note care responsibilities, particularly for young children. And I just say, “Look, as your professor, obviously I can’t help you with the direct physical care of your children. But when a two year old has an ear infection, they have an ear infection. So here are ways you can get in touch with me, here’s how we work on how your assignments work. This is something you can bring up to me as a mitigating circumstance for assignments.” I also bring a sense of, and this is where common texts come in too, that nobody’s joining the course because they know everything that we’re going to cover already. That everybody is at a space of learning and a space of growth. That this classroom is an opportunity to ask questions, it’s an opportunity to sometimes get things wrong, it’s an opportunity to be called in about various prejudices you’ve never really interrogated before. And to really set up the expectation that what’s important is not that you know all the right things to say every single time. But what’s important is that you’re open to learning, and that you’re open to understanding. And I think that setting up that environment as collaborative is really important. That it’s as much about the questions that they ask as the lecture terms that I talk about. To really be clear that students have agency in their own learning process. And some catch on, and some lean in and some don’t, that’s just the nature of classrooms. But affording them that agency then has resulted in some really fascinating takes on the material I have to cover.

Rebecca: So one of the things that you’re describing, Vanessa, is in your classes, students are doing history, right? [LAUGHTER]

Vanessa: Yeah.

Rebecca: No matter who they are, they’re doing the practice of history, because they’re looking at primary documents and things. But we also know that there are students who may not come to a particular class or a discipline because they don’t see themselves represented or people like them representing the field. How do we help to bring students in through the door, and also keep them there, so that we do have a wider perspective in each of our disciplines?

Vanessa: I feel like I’m really fortunate because I end up with, at least in my African American history courses, I end up with a pretty self-selecting population. So, typically, I end up with students who already have some subject interest in African American history. So they’re not particularly surprised, for example, that we’re going to talk about slavery at some point. In my general American courses, then that can be a little hit or miss. But in my AFAM courses, students tend to, like I said, expect somebody who looks like me at the front of the classroom, expect to talk about these issues. Something that I find is that students often arrive on campus with a pretty limited view of what’s available on university campuses. There are some majors that have professions directly related to them. So they know if I go pre-med, then I’m going to become a doctor. That’s a thing. I know what that is. If I major in history, there’s less of a clear, professional path. And that’s true with a lot of the majors that are available on university campuses. And we know from this side of the desk, like, “Oh, no, there are all these applications for all these different types of inquiry. They’re all these different ways to think about the world.” But students often are just trying to figure it out. And I just find a lot that students don’t realize what can be known, if that makes sense. They’ve taken history courses, because they have to in high school. They can be pretty cursory. And that’s not the fault of educators, it’s often the fault of a whole other set of mitigating things like standardized testing schedules and what textbooks are available and these sorts of things. I know I was told frequently growing up that the kinds of things I was interested in in U.S. history, just couldn’t know them. They just weren’t knowable. There were no sources for that. So I think sometimes when I go to these major fairs, or I’m trying to reach students at our black students center and say, “You know, you could take whole courses on this.” Some of it is just about showing up in spaces where students are already, being visible on campus. I’ve gotten more interest in my classes just walking through the classroom building and having students say, “Wait a second, who are you and what do you teach? I didn’t even know that there were black professors in the history department.” Meanwhile, we have like eight tenured black professors in our history department. So not just assuming that students know what’s available to them. I also think there’s something to be said for university advising. This is different at every institution, but the sorts of courses that advisors are slotting students into sometimes has way more to do with whatever the core curriculum demands. So for example, now that my African American History course to 1865 is part of our core curriculum, I know that that’s going to get that course in front of the eyes of way more students, and students who would have self-selected into the course, had it been part of that core. And so I also think that there’s something to be said for really solid intro course teaching, because that’s the place where you can really capture students’ interest and give them a sense of what’s available to them.

Rebecca: It’s also the place where we often rely on part-time faculty, it’s a different experience, often at the first year, not always, but that happens more often than not that introductory classes may be taught by faculty who aren’t there all the time, or who are new to the field. And not that that’s a bad thing, necessarily, but it’s not always engaging students with the people they might be working with as they go through all four years.

Vanessa: Well and I think students have really very real and understandable considerations. I know at my institution, a lot of our students, they’re very career minded. We have a number of students who come from economically disadvantaged backgrounds, they do not have the extra funds to just play around in elective courses, they’ve got to get things done. I get it, I understand. I’m not going to disparage them for that. That makes a lot of sense. So sometimes the kind of exploratory moment of, “Well, who’s in what department? Do I see myself in this? Is there a way that I can learn the histories that apply to me?” That’s not the priority. And I get it. I think, as a faculty member, and I’ve talked to my colleagues about this too, what we want to pivot and do, really, with real intention is find ways for us to serve students better with the kinds of offerings we make. And that has meant actually putting in the time and the paperwork to make sure that our courses fulfill particular requirements. We’re in our first couple of years of having an African American Africana studies major at U.K. We had a minor for a while, and now we have the critical mass of black faculty to really provide an Africana course progression in the history department. And so these things really do matter. And I think as faculty, that’s also something to think about when we’re advocating. I’ve seen, I don’t know how many job ads for scholars of color, for research areas around minoritized people, and that’s fine. But it really does take more than one person to step in. To really serve a student population, you really have to have a whole constellation of folks. And so tackling issues of diversity and inclusion on this side of the desk are super essential to tackling those issues for our students.

Rebecca: So I’ll be your next student, I’m going to sign up. This sounds like a really good course to take. [LAUGHTER] I’ll be moving.

John: I was thinking throughout this that Vanessa and I worked at the Duke University Talent Identification Program for several years, and I never got a chance to sit in on any of her classes. And I was just thinking, I wish I could do that now.

Vanessa: Oh, man, I was a baby. He met me when I was a rising junior in college.

John: At first, but I think you also did it into graduate school, didn’t you?

Vanessa: Oh yeah, yeah and I did teach some of my own courses, which was a lot of fun. It’s always fun in the humanities, because it’s this area that I found students, particularly students who are slotted into the gifted track, they end up doing STEM things, sometimes the social sciences, sometimes, but they found the humanities challenging in ways I don’t think they expected because you can’t evaluate them in the same way. And they were just so much fun. So much fun to work with.

John: Now, you went to SUNY Buffalo in 2020, as this visiting scholar. It may not have been the greatest time to be able to do as much outreach and meet quite as many people. Could you talk a little bit about your experience at the start of this pandemic?

Vanessa: Sure. So a couple interesting things that were just happenstance because, of course, we couldn’t have possibly seen any of those coming, except for in a broad sense that like pandemics are possible. But what that would even look like most people didn’t really think about. So two things. So in 2018, I agreed to develop an online course for African American Studies, as a part of a graduate certificate program in diversity and inclusion. It’s an accelerated course that runs for eight weeks. And it’s exclusively online and asynchronous. And so back in 2018, I said, “Oh, yeah, yeah, I would do that.” I developed it over the summer of 2019. And then ran it for the very first time spring semester 2020. And ironically, it wrapped up right at spring break, just in time for everything to shut down. And then the other course I had was full of senior seminar papers that now they couldn’t leave their houses, let alone go to archives, it was a complete mess. So I have this completely online course. I did all of this work, thinking through asynchronous pedagogy and thinking through… How would I cover an intro to African American studies that quickly? How do I make sure that the rigor is at a graduate level, but also accessible to undergraduates? And I put in all this time and work. And now for the first time since then, I’m actually going to teach that course the second half of this semester. But I’ll be interested to see for students what the differences are, because initially with the course, actually, the learning curve for students was pretty steep. I think there’s an assumption that students, at least before this pandemic, there is this assumption that students just are born with devices in their hand, and they just automatically know how to use whatever random teaching platform exists. Honestly, this move to more online teaching, or even platforms like Blackboard or Canvas. What you make available on those platforms, there’s a whole sharp learning curve for students, they don’t necessarily know the functionality of the Canvas website, and they don’t know where to find things. And you really have to teach them to use the course, if that makes sense. And so I’ll be interested to see if there’s any difference now that the students that I’ll most likely have in this course will have had, at least part of their education has happened online, remotely during the pandemic. I’ll be interested to see if they’re more adept at it, or if it feels too demanding, because it’s assuming conditions of a different time and place. So we’ll see. It’s designed to be really, really flexible, because it was designed for people who this is the one thing that they’re doing this semester towards their certificate, and they might have a full time job or whatever. The other thing about the start of this pandemic is in 2019, I got invited to apply for this program at Buffalo. I moved to the University of Kentucky from another institution. So even though I was going up for tenure, I wasn’t eligible for sabbatical yet. So I knew that if I wanted some time away, I had to go find the funds somewhere else. So this was a great opportunity. Looked like a great time to get involved in a different intellectual community. And I knew western New York was gorgeous. And it was like, “Yeah, this will be wonderful.” And then the pandemic happened. [LAUGHTER] So I moved up to Buffalo and I spent time in Buffalo and came back and forth to Kentucky. It’s actually only eight hours by car between the two places. You know this but Buffalo’s about as far west as you could get without being in Canada. And yeah, Buffalo is such a cool city. And I got to experience none of that. [LAUGHTER]

Vanessa: I did eat wings while I was there, and they are better. They’re different there than they are other places. And I had a lot of great colleagues. But there just wasn’t the opportunity for the kinds of collegial bonding or collaboration. My cohort was wonderful. And I was putting the finishing edits on my book. It was really good for me to have that time out of the classroom, sort of dodged dealing with early pandemic stuff. I will also say that New York’s approach to the pandemic, very different than Kentucky’s. Initially in Kentucky, we had a lot of really common sense measures around safety in the pandemic. And that eroded pretty quickly in ways that New York was way more cautious. City of Buffalo was way more cautious, for example I had to quarantine for 14 days every time I left the state and came back and I experienced two different types of availability of testing. In Kentucky we had really good testing really quickly. Experiencing the pandemic and two very different states was a little bit of reality whiplash. I felt like I was beaming down to a new planet each time I would go from place to place. And then I experienced that again, just this fall, I gave a talk at my graduate alma mater at Rutgers and I got off the plane in New Jersey, it was like I was on a different timeline where the pandemic was still happening, versus Kentucky where very few people wear masks in public and mandates are few and far between. So it’s been a wild ride. It was a really weird time to have a fellowship like that. I think I still got quite a bit out of it. And I enjoyed my time up in Buffalo. I really wish that it had been a non-pandemic time. And I did get to go to Rochester and see Susan B. Anthony’s house and Frederick Douglass’s grave. So I felt like I got to have my one big field trip, but I’d have been doing a lot more field tripping had I been there any other time.

Rebecca: Definitely a weird time to be doing things. [LAUGHTER]

Vanessa: Yeah, just figuring out travel in general. We had pretty early access to vaccines in Lexington, and so I was vaccinated relatively early, but New York did not. So I would go from an area where the city has really high vaccination rates to then New York where they just were not available yet.

John: Interesting times.

Rebecca: Yeah, definitely.

Vanessa: I told my students sort of jokingly, “History is way more fun to study than to live through.” [LAUGHTER] We’re all ready for some precedented times. It turns out, yeah, living through a historic global pandemic, not fun, not a fun time. And they all chuckled. That’s why I always sort of scratch my head when people find out I’m a historian and they ask me, “Oh, well, what time period do you want to live in?” And I’m like, “Oh, yeah, no I’m good. We’ve got enough going on right here. Yeah, I’m good.”

Rebecca: Well, we always wrap up by asking, What’s next?

Vanessa: So it is been since the 1930s, that we’ve had a synthetic work about slavery in Kentucky. And so currently, I’m the Director of the newly started Central Kentucky Slavery Initiative. It’s a project to both tell the black history of our university from its founding in 1865 to present, and a multipronged research initiative to study slavery in the bluegrass. So we’re working on a history of African Americans in Bourbon with one of our partners right now. We’re working to make some public documents more accessible to community members. In collaboration with and partnership with our local county clerk’s office. We have a number of research projects going on African American contributions to the University of Kentucky. And my hope is to take really the broad range of research that’s happening across a project right now, and do a project on slavery in Kentucky. It’s famous for being one of the hubs of the internal slave trade, but the depth of knowledge about that sort of stops there. So I’m going to do work where I’m at and delve into this archive. I’m a Virginia specialist, and when I got here I was bowled over by the amount of material that still exists here. In Virginia there are a lot of burnt counties, because lots of cities were burnt to the ground in the American Civil War. But this place didn’t secede, so they have all of their documents. And I think it’s really powerful, particularly for descendant communities, to have a lot of what they often already know from oral histories and community historical memory, acknowledged, preserved, and presented in accessible ways. Not just for researchers, but for community members, for communities that have their roots here, but have moved on to other parts of the country. So yeah, I’m Kentucky focused and the Bourbon project doesn’t hurt. I’ll say that’s one of the perks of living here.

Rebecca: Sounds like a great project and a really worthwhile endeavor and a good way for us to be thinking about the different spaces we live in, and the records that are kept, and what’s here and what’s not.

Vanessa: Yeah, I try to keep things as local as possible wherever I’m teaching. Because if students can recognize street names, or they recognize names from buildings in the work that we’re doing, it just makes it feel so much more present.

John: Well, thank you. It’s great talking to you again, and I really enjoyed reading your book Surviving Southampton.

Vanessa: Thank you. Thank you.

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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.

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John: Editing assistance provided by Anna Croyle, Annalyn Smith, and Joshua Vega.

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226. Rooted Jazz Dance

Our disciplinary practices have histories that are important to acknowledge and share with our students. In this episode Lindsay Guarino, Carlos Jones, and Wendy Oliver join us to discuss jazz dance, its roots, and how instructors can decolonize the curriculum.

Lindsay is an Associate Professor of Dance and Chair of the Department of Music, Theatre and Dance at Salve Regina University. Carlos Jones is a Professor of Musical Theater and Dance and Associate Dean of the School of Arts and Sciences at the State University of New York College at Buffalo. He is also a performer and choreographer whose works have appeared on television, film, and regional theater. Wendy Oliver is a Professor of Dance and Chair of the Department of Theatre, Dance and Film at Providence College. Lindsey, Carlos, and Wendy are co-editors of Rooted Jazz Dance: Africanist Aesthetics and Equity in the Twenty-First Century.

Shownotes

Transcript

John: Our disciplinary practices have histories that are important to acknowledge and share with our students. In this episode we discuss jazz dance, its roots, and how instructors can decolonize the curriculum.

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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: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners..

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Rebecca: Our guests today are Lindsay Guarino, Carlos Jones, and Wendy Oliver. Lindsay is an Associate Professor of Dance and Chair of the Department of Music, Theatre and Dance at Salve Regina University. Carlos Jones is a Professor of Musical Theater and Dance and Associate Dean of the School of Arts and Sciences at the State University of New York College at Buffalo. He is also a performer and choreographer whose works have appeared on television, film, and regional theater. Wendy Oliver is a Professor of Dance and Chair of the Department of Theatre, Dance and Film at Providence College. Lindsey, Carlos, and Wendy are co-editors of Rooted Jazz Dance: Africanist Aesthetics and Equity in the Twenty-First Century. Welcome Lindsay, Carlos, and Wendy.

Lindsay: Thank you.

Wendy: Thank you.

Carlos: Hello.

John: Our teas today are… Carlos, are you drinking tea?

Carlos: I am, I’m drinking chamomile.

John: Very nice.

Rebecca: Nice and relaxing.

Carlos: Yes.

John: Lindsay?

Lindsay: I have a big tall glass of ice water. Exciting. [LAUGHTER]

Rebecca: But energizing.

Lindsay: Yes, it is. Refreshing.

John: A nice ice water on a nice cold wintry day here in upstate New York.

Lindsay: Yeah, right? [LAUGHTER] It’s cold here too in Rhode Island.

John: And Wendy?

Wendy: I’m typically drinking jasmine tea.

Lindsay: [LAUGHTER] How appropriate.

Rebecca: Typically? Hmm.

John: Typically… but today?

Wendy: Meaning my cup is empty.

Rebecca: Oh, no, that’s so sad. [LAUGHTER] And I have English breakfast tea.

John: And I am drinking, and I think a first, the same as you: English breakfast tea.

Rebecca: John and I never drink the same kind of tea.

John: It’s a matter of principle. But this time we didn’t have a chance to coordinate that. [LAUGHTER]

Rebecca: Yeah, we’re not in the same place. So we’ve invited you here today to discuss your new book, Rooted Jazz Dance: Africanist Aesthetics and Equity in the Twenty-First Century. Can you tell us a little bit about how this project came about?

Lindsay: Wendy and I co-edited another textbook called Jazz Dance: A History of the Roots and Branches that was published in 2014, and Carlos was a contributing author to that book. That particular book really positioned jazz within its roots. We went to great lengths to study the history of jazz from its roots in West Africa, and then looking at the continuum and the things that impacted the continuum. The conversations that emerged from that book were readily acknowledging the roots of jazz. Many people previous to that time weren’t necessarily saying the roots of jazz were West African. They maybe had that knowledge, but it was just not central to their teaching, or to the discourse in general. The conversations really shifted to look at: “Okay, now we know that the roots are here. We know that this is because of enslavement that we got jazz to this place, that it’s embedded in our American culture, but what do we do with that as practitioners? As teachers? As educators? How can we make sense of that in the classroom? And how can we have the tools? Especially, I myself, as a white person, how do I do that responsibly?” So I remember distinctly Wendy and I having a conversation, we went out and had coffee and lunch, and I pitched her this idea for a new book, and in that conversation, we were like, “We need Carlos to do this with us, or else this book can’t happen,” and I think Wendy emailed Carlos, and Carlos was like, “Yeah, I’m in,” and the idea was born, it was that simple.

Carlos: Yup.

Lindsay: Am I missing anything there, Wendy?

Wendy: I think that was a great summary.

Carlos: And I said, “Yes!” And off we ran.

John: So how did you select the contributors for this project?

Wendy: Well, many ways. I think we started by inviting people from our first book, who are all jazz experts, to submit an abstract for this book. We knew that this book was going to have a different frame of reference. So we weren’t automatically going to keep the same authors, but we invited them to give us their ideas. Then we were in the midst of making an outline for the book because we didn’t want to just have an anthology of random articles about jazz dance. We wanted to have it make sense and have a particular pattern that led somewhere, that had a logical progression, and we did that. I think we must have revised our outline about 10 times at least, right?

Carlos: [CHUCKLE] Yeah.

Wendy: What we did was we looked at the abstracts we had and then if they didn’t all match up with our outline, we posted a call for authors on several websites where professional dancers congregate, and we were able to find people that way.

Rebecca: Can you talk a little bit about how their traditional approach to teaching jazz might mislead students about the origins of jazz dance and why this book is so important?

Carlos: Well I think that most of us have learned jazz dance, either through, initially a studio system, meaning private studios, you know, go to class, take your children to class. Then moving through the academic system, higher education, particularly if we are getting degrees and moving forward. And what has been traditionally or typically taught throughout all the years, is a version of jazz dance that did not embrace, or incorporate or use rooted material. And if it was, it wasn’t specifically identified. That has been the really, by and large, the large expanse of that. Even, I would say, to what most people see presented either in television, film, on stage, what you would see has no real connection to the roots of where it began. So, that teaching of that jazz dance, many of us have experienced that. It’s not until you have these personal investigations, as we’ve done, to really go back and go, “where does this come from and how did we get here?” …do you then start to unearth all of that that’s happening. Now, that’s not to say that rooted jazz dance wasn’t going on, but it hasn’t necessarily been mainstream, or given the platform or the space to be seen and carried and moved forward. And there are many layers to how that has happened. I would say that is how the traditional approach to teaching it has happened in our country since, I’m going to say, you know, the mid-20th century, when it began to be popular and began to be used as a commodity that shifted it and changed. So there was a split in who owned it and who moved it forward. The voices that carried it forward or have the means, capacity, power, etc, to move it forward, moved it forward without acknowledgement of those people that were the innovators in the beginning, which were primarily African American people and it was rooted in African aesthetics. So that is the training and the teaching that has happened throughout.

Wendy: Also in higher education, the dance departments were predominantly oriented around modern dance in the early part of the 20th century and jazz dance wasn’t really part of the curriculum at all. So it was pretty much ignored in colleges and universities for a long time. When it did become more popular in higher education, probably in the late 70s or so, I think the kinds of jazz dance that were being taught were mainly from a white perspective, rather than a black perspective and the majority of people teaching in higher education (not only in that time but also today) are still white. So that really skewed the presentation of the material.

Lindsay: Also adding on to that, one thing that is worth noting is when you look at jazz music, where that’s situated within academia, jazz dance never found its grounding in the same way. So jazz music has been part of institutions for decades now. There’s festivals, there’s conferences, there’s journals, there’s all this energy around jazz. It also goes without being said that it is also moving towards whiteness. The very act of putting jazz music in the academy stripped jazz music from its black American culture, and from a place where it’s social and communal. And although there have been movements in a direction that is honoring the black American roots within music, a lot of the jazz music programs in academia are more white than black. When we look across the whole spectrum, we have jazz music, which has been growing and increasing in stature over the years. For some reason, jazz dance never found its foothold. It just became marginalized over time, and we make that very direct connection in the book to racism. Jazz reflects racism in America.

John: For our listeners who are not as familiar with the history of jazz dance, could you provide a little bit more information about where jazz dance got its start?

Carlos: Ok. Wooh, this is so dense. So in the interest of time, I’m going to try to move through this very quickly. There’s no doubt that enslavement, and the movement of Africa migrating to the country, came in contact with other cultures, and that is the birth of jazz. That happened because of exchange of ideas and so forth. You really can connect it back to early spirituals, because of all that communal, and work within the family unit and the soul and the spirit, and joy. And then connect it into early forms of entertainment in terms of minstrelsy, and Ragtime involved and moving forward. As it evolved, and we get to what we know is jazz, true jazz, which is coming into the early 20th century. And we have that explosion, and you get to the 20s, and Harlem Renaissance and all this stuff. It is amalgamation of all those experiences up to that point. So that jazz, that movement that occurred and that happened, speaks specifically about jazz movement, dance, comes out of that. It’s birthed out of that experience of African Americans who are having the opportunity coming off of the late 1800s, and so forth, and have an opportunity as we move into the 20th century to explore and be and have a culture that is vibrant. Their communities where now they’re growing in education, and they’re having all these experiences. So they have these places where they dance, and they can go and be free, and be in their own environment, which many of us have heard about… those nightclubs, and the Savoy ballroom, all of that jazz stuff happens there. And that’s when the innovation aligns with the music and it goes, and we build these steps which we call rooted, that are happening, swing, lindy, etc, going that way. What happens is, as our country begins to love it, and it’s massive, and everybody’s enjoying it, and there’s opportunity to make it into a commodity to sell and be commercial. And we put it into platforms, as I spoke before, television, film, musical theater at that time. And then there became a few people that decided it needed codification: to teach it, and train it and move it forward. As they did that, they began infusing Eurocentric forms: ballet, etc, and so forth. That primary space of that, and I’m talking about jazz dance, again, the movement, actually factors it, that’s what we call the continuum now, because we live on a continuum of the jazz dance and what it looks like… fractures it and begins to have all of these offshoots of what people call styles of jazz, as it fits that venue. Musical theater, jazz, commercial jazz, club jazz, these things are happening as people start infusing other things on top of it. That’s what gets translated forward, and we started teaching it in studios and we started teaching it in different ways, but what gets left behind in that process, are those rooted African-American and Africanist aesthetics. That gets left behind in favor of these other things, which seem to be, for lack of a better term, more refined. And so we move that technique out, and now we’re seeing something that looks more akin to ballet, or modern, or other things, and it gets commercialized and moved into other forms. And also, our music changes. So we’re going into the late 20th century, and our music changes, and jazz music goes one way, and as we electrify a little bit more, and rock and roll, and soul and all that comes in. So jazz in a social form, jazz dance, as we sell it, in our commodity, follows that path. It leaves jazz music and follows that other path. So what you see today is that… stuff that was created, so that we fit in Broadway musicals on a Broadway stage. That does not necessarily mean it held on to the roots, or something that is in a commercial, or something that you see on TV, or even on the concert stage. So that’s a real quick sort of pathway. Again, it’s more detailed, and we have this jazz tree in the book that you can look at that really talks about all that. It really illustrates how it fractures out.

John: And there happens to be an excellent book on that coming out very shortly. [LAUGHTER]

Carlos: Right, exactly.

Lindsay: I was going to add, Carlos, the tree is such a helpful analogy for someone that isn’t familiar with jazz because the tree shows the roots in West Africa, but then the influences that come in later are European. But then there’s also all of this movement because of the Diaspora, the way that the enslaved were bought and sold across continents and through the Caribbean, into South America, into the southern part of North America. Then from there, the very core, the trunk of the tree, all the way from the roots till today is still situated in blackness. And as you get into the branches, that’s where we see these European cultural ideologies that are really centering other forms and decentering the black American roots.

Carlos: And that’s really important to really note what Lindsay just said because what happens is, and this cycles back to the question you just said earlier, where we have been giving tribute or homage or paying close attention to are the branches, versus the trunk and the core.

Wendy: And in that image of the tree, we also included dance forms like tap and hip hop, which aren’t exactly the same as jazz, but they come from the same roots and the same trunk of the tree.

Carlos: Correct. In fact, early tappers were called jazz dancers, because they danced to jazz music. They just had rhythm on their feet.

Lindsay: Those histories are one and the same. And I think what’s also interesting for us is the way that we carry this type of embodied history in us. And as we’ve made our own efforts to decolonize the knowledge that we hold in our bodies, that’s equally as important as discussing the history and the theories and all of the things. So how can we dismantle these ideologies? How can we interrupt the conventions that reflect something other than what the rooted core of that idea is, what the essence is? And I know for myself, when I was working on our first book, I really started questioning… oh, this thing that I’m teaching in the studio is really centering white American ideology. And I had to strip away a lot of the layers because I knew it was there, I was taught all of these things. It just wasn’t at the center, it wasn’t at the forefront of my practice. And so I think that those are the conversations that we keep having are, “How do you get to the essence?” And that’s also, I think, where the elusive, transformative, transcendent power of jazz is. So the closer we get to that, I mean, that’s the juicy part.

Rebecca: The tree image is really useful for people outside of the discipline, as was a personal story that was shared on a recent podcast episode of Rough Translation by LaTasha Barnes in an episode titled “May We Have This Dance?” where she talks about exploring the Lindy Hop that she had learned in her family. She’s a professional dancer, and then traveled to Sweden to learn Lindy Hop. And she was kind of like, “Why am I doing this?” And so hearing that story not too long ago, and then hearing your description of the branch really brings that all to life in an interesting way.

Carlos: I think I would say too that, by the way LaTasha is also a contributing author in the Rooted Jazz Dance book, but that was so poignant for me, because I think that is the experience of many people, particularly African Americans, because you would think that we would understand and be perpetuating moving forward the experience and the rootness of our ancestors. And that maybe my fellow authors who are white, had different experience in, as Lindsay said, decolonizing their body and their training experience. But that’s not the case. I had to do the same thing too, because what I was taught as I moved through, was through the lens of whiteness, and that’s all I knew. And so I knew that it existed like LaTasha did, and I had that experience in my family, but it was something over there. That wasn’t what I needed in academia. And that wasn’t what I was asked to bring forth in academia. So it was like learning a whole new language and leaving a part of me out. And It wasn’t till then I went back in to re-investigate, when I finally really went back and invited it back into my life, went, “Oh, that’s what I was missing. I left a part of me away.” So I think that that is very much all of our experiences, regardless of cultural background.

Lindsay: And the irony with that, is that there is this dance form that’s an indigenous American language here, and yet, it’s been marginalized in a way that, we’re placing value on a form that’s coming from a different country. We have this form that, like Carlos is explaining, that’s rooted here, it’s rooted in our very American experience, and yet, we value other things.

John: How does this affect the students who are learning dance? You’ve talked about this a little bit, Carlos, but in general, what’s the impact of having this misappropriation of the roots of jazz dance on the students who are studying it?

Carlos: Well, I think the impact, depending on where you look at it, first of all, the art form continues to move forward without all the information. And so you get more, more, more, more of those branches and black fracturing out. So that’s one of the impacts. I think, for the student, although they may not know this, they have missing information. And we want students in education, regardless of your field, regardless of your subject, to have inquisitive minds, and think and ask questions and have full information, not a single information. And I think that, in line with how we’re looking at education across the board, about decolonizing classrooms, having inclusive practices in our teaching, gives us more information, even to students where the information may not be the primary culture. If you’re always only studying about you, then you are sort of myopic in your space. So I think that’s what it does with jazz dance. And I think they lack richness, and what they can then produce and teach and move forward because again, they only have part of the information. So I think that’s some of it.

Wendy: I think this relates to the topic of whitewashing, where you get incomplete information. But it’s not just that the information isn’t complete, but the power structure is such that all of the glory and credit goes to white people for making an art form that really began with African American culture. So the problem isn’t just missing information, it’s how the imbalance of power and how some people got credit for something that was perhaps not only inappropriate, but it was misleading in a very negative way. And now we’re having to correct the problem. So I think it was harmful to our dance community to not have these things out there on the table, because now we’re having to go back and say, “Uh! We got that one wrong, we got that one wrong,” and make amends to the best that we can. But the problem is that jazz dance has kind of run away in a certain direction. If you look online under the term jazz dance, you’re probably not going to see a lot about the Africanist aesthetic, unfortunately. So the preponderance of dancers believe that jazz looks a certain way, and that way is more balletic, more white. And that’s a problem because what those dancers are doing is something interesting, something that could be very artistically valid, but it’s not really what jazz is or was.

Lindsay: One of the things I think students struggle with, there’s that initial, like, they’ve been deprived of knowledge. They come into higher ed and all of a sudden they’re learning things that they had never been taught before, and they didn’t realize the things that they didn’t know. So oftentimes that’s met with just shock and some anger even, but after that, for me and my teaching, sometimes it gets a little bit messy. For some students, they really take ownership of that and run with it and they want to be responsible, and also innovative, recognize that jazz isn’t this thing that happened in the past, and to do it today we need to be anchored in this era, we can move it forward and still be responsible. And this is resistance that… I don’t know if resistance is the right word, but we’ve encountered this even within our jazz community of dance educators, where there’s the questions that come up about, “Well, maybe I shouldn’t be doing this form. What is my role? If I’m not African American how do I engage with this art form that wasn’t mine to begin with? Where does ownership lie? What does it mean today, to not be black and to participate in this?” So it’s prime time to have this conversation. It’s not only relevant, it’s necessary, and I think it’s ultimately where we need to go as educators to be more inclusive in our spaces and recognize the needs of our students.

Rebecca: One of the things that was really standing out is something that Carlos said earlier about the personal, cultural, and familial experience of feeling other, like outside of. And maybe a need to help students recognize that their personal experience is valid and an important part of how they interpret and understand what they’re learning and that it belongs in the academy. It’s not that it doesn’t belong here, but historically, in many fields, like we’ve said, your personal experience is not relevant to this ivory tower in some ways. And something that, Lindsay, you’re saying that is resonating with me is also thinking about what it means to be a steward of a particular kind of cultural form. I’m a visual artist, so many of the things that you’re talking about resonate with me in a similar way, it’s just a visual form that I tend to work in.

Wendy: I’ve just been reading a book about culturally relevant teaching in dance. It’s Nyama’s book, McCarthy-Brown, and there’s a whole section on, for instance, how to teach ballet in a culturally relevant way. It’s a white art form, but maybe your students are predominantly non white. What do you do with that? How do you make it relevant? And a lot of what she has to say about that whole project, and not just in ballet, but in all dance forms, it’s really about getting to know your students and understanding where they’re coming from culturally and allowing that to be part of the curriculum in some way, shape, or form. So I think for jazz, for some people, there may have been black vernacular dance in their growing up. And for others, it’ll be something they’re not at all familiar with. So it could be an interesting exchange amongst students and with the teacher’s guidance.

Lindsay: Rebecca, I was just going to say to that point you made, you had alluded previously to the LaTasha Barnes NPR podcast. And she used that term, “cultural surrogate,” and I just thought that that was so perfect for what we do, especially as a white person, you’re carrying this form with respect and honoring the tradition, but knowing that, for me, these aren’t my elders, my ancestors, and recognizing what the role of my ancestors possibly was.

John: This discussion seems to be part of a broader issue in which we see a lot of whitewashing of much of the curriculum in all academic disciplines, where the focus tends to be on the supremacy of Western cultural traditions, Western Europe, and so forth. Should people in all disciplines focus on decolonizing the curriculum within their disciplines?

Wendy: Sure. Well, there’s so many diversity, equity, and inclusion efforts right now, on campuses across the country, that I believe that administrators in higher education, even college presidents, have finally realized that we cannot move forward in the 21st century without doing that, exactly what you said. We need to do that across the college and across the curriculum. And I think colleges are taking this on, but it’s an extremely slow process, unfortunately, because it takes time to create new courses, get them through all the proper channels and approved, and then find appropriate people to teach them, and so forth. Plus, there’s the whole business of changing people’s minds about what the curriculum should be, because they’re so attached to… Oh, teaching all about the Greeks and the Romans and the beginnings of Western civilization, and, “If I have to teach about something else, some other continents, that gives me less time to do the things that I am familiar with,” and so forth. So I think people are having a hard time making the shift, and it’s probably not going to happen within the next five years, but it’ll happen over time.

Carlos: Yeah, I think that it is important that we look at it across all disciplines. I’m not so utopian in my thinking that it’s going to happen overnight. I do think it’s going to take time, but I also want to encourage people that I think that small things can happen soon, quickly, and you can make those efforts which can make a world of difference. And also, I like to look at the positive side of things, and as you can introduce something, I think people have a fear of it changing, or we’re not going to do it in its pure form. And I think you can support what needs to happen within that discipline, but have different viewpoints on it. And what I think that does is, it empowers people to take ownership with their own self within the space, which then helps them feel that there is a place for them, and then they have a better educational experience. I’m talking from the student point of view right now, “I’m engaged, I am important, I do matter. This is important and so I can be successful.” And I also think this is important to understand that because we see things from different perspectives, it doesn’t mean the object changes, and I think, Rebecca… artists, we look at it, we see different things, and I think that that happens, whether it’s English or math or science, whatever. We can see something happen from different perspectives, which is undoubtedly colored by our background and our culture and stuff. And it’s still what it is, we just see it from a different thing, and how do we articulate that and come up with the same message, but we all have a different sort of way of saying it. So I think that’s also what we have to realize… is when we are talking about being inclusive in our teaching and moving beyond that and decolonizing, we’re not saying, “Change it.” It’s how you recognize that people have different views of how they see it and experience it.

John: It’s enriching it, not limiting it.

Carlos: Exactly, exactly. Yeah. And how fun is that when you talk to someone and they say, “Well, I saw this,” and you go, “Oh, I never saw that.” Now you have two or three more ways of looking at it, and it’s still the same thing.

Rebecca: Carlos, you mentioned small things we can do. Can you give some examples of small things we can do within the classes that we’re in control of?

Carlos: Absolutely. I think, well, to go back to what I just said, in terms of how you talk about what you experience. We have had a tendency to say, “Okay, you’re going to answer it, and you’re going to answer it, and you’re going to do it in this way.” But maybe I am from a culture that we have a real, real, real big oral tradition. And so we’re very skilled at telling information or talking about what we experienced, or what is happening, or working through the process, because we always do that. So we can get to those finer details, through language, or through talking about it, as opposed to writing it down. There are different ways that cultures experience moving information forward. So you can make an exercise where you change up how we do it, and that will undoubtedly diversify, decolonize. Maybe it’s the music, maybe you’re doing it in music, or maybe you do it in art. I know that the African American culture likes singing and rhymes. That’s where the jazz comes from. So why not add that? Or allow someone to do that as they answer your question. Very simple. Something like that.

Rebecca: Lindsay or Wendy, did you have other examples of ways to improve the inclusivity of the classroom?

Lindsay: I would just say, representation matters. Look at the sources that you use. Are you using readings from mostly white scholars? What video clips are you showing? What information, what source material are you giving your students? Are you actually representing the students that are in your class? Do they see themselves in the work? And then I think that we also have to take responsibility ourselves, like… What is your positionality in relationship to the work that you’re teaching? What is your identity? And how can you be aware of your own identity in relationship to all the students in the room. I would also just add reach into the community and have the conversation. So I think that within our book, we have this community where we’re having these conversations around this work, but at my institution, I’m part of other cohorts where we’re talking about race, and teaching, and how we can be more inclusive and more anti-racist. And this work doesn’t have to happen on your own, it doesn’t have to happen in a silo, the action is more real, and you can be held accountable if you’re doing it within community.

Wendy: Just as an example, I’m teaching a section of a course which is beginning ballet, and I’m having students read three articles and write a paper on the articles. I was looking for articles that would talk about ballet in different cultures, and also with people who aren’t white. So I found something on the Final Bow For Yellowface, which is an organization that was created a while back, and it’s been working against stereotyping agents in ballet, particularly in the Nutcracker. And then there’s an article on a Latina dancer, who’s dancing in this country with a ballet company. And then a woman named Chyrstyn Fentroy, who was a black ballerina who wrote about her experiences in a top ballet company and how she was experiencing whiteness in that company. And all of these articles are just a way to say to students without even having to say anything… Look, a lot of different people do ballet. Ballet may have been a white form when it started, it is not anymore exclusively a white form. Here are some examples of people who have succeeded, and although there are still issues and problems within the world of ballet, it is much more open than it used to be. I mean, people do it all over the world. It can look different depending on who’s making the ballets and who’s dancing them. So there’s room for a lot of different kinds of people within even the supposedly whitest of dance forms, I think. And then with other dance forms, you can certainly do the same thing, just find ways of representing, as Lindsay said, who’s in your class, looking for ways to make sure that people know that their culture is represented in this art form.

Lindsay: And I would just add without making assumptions about people’s identities, I think it’s important to talk about their identities, and that’s something that I think maybe comes more naturally for those of us in the arts, where there’s a lot of self reflection and conversation that happens. But I think it’s really important from the beginning of this semester to talk about identity culture, and then not have to make assumptions about anyone in the room.

Rebecca: I found that one of the most interesting responses I had from students by providing different material for them to digest related to design was an article that had them look at the idea that some fonts and typefaces misappropriate other cultures. Their minds were blown.

Wendy: Oooh!

Rebecca: And they continuously over the semester kept bringing this up, like, they had never thought about that. It’s interesting how one very short article [LAUGHTER] can have such a big impact on the way students see something.

John: This book project came together during the neverending pandemic that we’re working through now. Could you tell us a little bit about what it was like putting this together and working on this during the global pandemic?

Wendy: Kind of like what we’re doing right now.

Carlos: Yeah.

Wendy: We all got on Zoom and talked. And then we went to a couple of conferences before Zoom, where we got to meet with people in person, but a lot of it was done on Zoom.

Carlos: Lots of phone calls.

Wendy: [LAUGHTER] Yeah.

Carlos: Lots of phone calls, and late night questions, and sending things back and forth as you edit, and you look at it. Yeah, a lot of that.

Lindsay: Also just the way that the pandemic, especially that March of 2020, to June, July of that year, how it forced us into isolation, but I think it also kept us connected. And it forced us to really deepen the work that we were doing, I can see the way it comes through in the pages. I’m not sure what the book would have been if we weren’t doing it in a pandemic. So I think that there are some aspects of it that allowed us to take really full and complete ownership of what we were doing. And, like I said, build within community because no one wanted to be alone during that time period and this was a way for us to stay connected.

Wendy: Also the killing of George Floyd was big. That really impacted our discussions as well.

Lindsay: Mmhmm.

Carlos: Yeah, I would say I think that some of the racial, civil unrest was actually a focusing thing because we began looking at the chapters and what people were trying to contribute, and it was a barometer for staying on task, like, “Well, no, that deviates out, this is where we need to be, because this is what we have to answer, and if we don’t answer that, we can’t move it forward.”

Lindsay: It really did crystallize some things though. I remember, Carlos, being on the phone with you one day, when we were having that conversation about how people were talking about the roots of jazz. And everyone says the roots are West African and European, right? And I remember us having that conversation where, “We’re not talking about the African American component. How can we be saying this?” That became a through line in the book, Carlos, right? And Carlos really pulled that apart for me and opened this whole channel where we were like, “We’re not talking about those 400 years in between 1619 and the jazz era, and that’s where the jazz happened.” So I think for us, it really did crystallize a lot of things and gave us permission to talk more openly about them.

Carlos: So I think that’s what the pandemic did for that. And as a side note, to bounce off of that, what I think is important to say is, that’s very important, because it’s very easy to be idealistic. It’s lofty to say, “It came from Africa,” or, “It came from Europe,” and have these places which are really wonderful, rich spaces for information, and we know that things came to this experiment we call America, United States. But what we often don’t talk about is what happened in that time, because it’s painful. But we have to talk about it because out of all of that pain was so many wonderful things that happened, so many wonderful things that happened. Jazz dance is one of them.

Rebecca: So we always wrap up by asking the very loaded question… What’s next?

Carlos: I think what we are excited about, and Wendy and Lindsay please jump in if I’m missing something, is moving this information forward. So immediately, the book is being released. How do we move forward? How do we have conversations like this? How do we keep having people have it and take it and move it forward? I think people are excited about getting into the curriculum and the class. So I think that that’s what’s immediately next… Can we keep this energy moving and having these greater, deeper conversations?

Wendy: I’d love to go to conferences with the three of us and present on the book. It’s not just about our work, I mean, a lot of other people wrote for the book, and I think there are a lot of good ideas in the book. Some of it has practical applications and could be used in the classroom, some of it’s more theoretical. And the idea is that if enough people in higher education and elsewhere begin to grasp these ideas, and get an idea of how to implement them themselves, that we could change the way jazz dance is approached across the country. I mean, that’s a pretty big ambitious goal.[LAUGHTER] I’d love to see us at least instigate that concept, so that eventually, everybody understands that the roots of jazz dance are West African, and that it developed because of a particular situation in our country. So eventually, hopefully, it will be taught in a fuller, more complete way.

Lindsay: There’s a part of jazz that is so personal, and this is actually something that came up in the book, where I remember at one point us feeling like some of the chapters just weren’t hitting home. And we were trying to guide the authors, and then we realized that there were just some places that people needed to talk in the first person. It’s not like our traditional scholarship, where we’re always distancing ourselves or looking at it from a distance, it really does need to come from that place of who you are, how you feel, all of those things coming together. And so I guess my hope is that, moving forward, people will take that ownership as an individual to go in the studio, and to figure out what jazz is, what rooted jazz is, in their own body, in their practice, but then also bring it back to the community. Because as much as jazz is about individuality, it’s also about community. So how do we bring that back together, and grow as a community with some shared values and shared understanding?

Carlos: I think that even cycles back to an earlier question you had, when you were talking about how we decolonize or be more inclusive. And traditional scholarship and those working in diasporic art forms or diasporic information, Africana Studies or philosophy or whatever, the scholarship hasn’t been viewed in the same light as something else because it is different, the viewpoint is different. As Lindsay said, it’s personal, it’s about that journey, because, talking about jazz dance, that is the birth of it. It was about how we experienced it as a community, and how you shared that information when you hit that dance floor at any of the clubs, ballrooms, Savoy, whatever. How you shared that, and what information and electricity happened there, that is the essence of it, it is so deeply personal. And so to stand out and look at it from way at a distance isn’t true to the essence of what it is.

Lindsay: And one more thing that we didn’t really discuss that I think is important off of Carlos’s last point, is the way that we really do call for people to explore the jazz music continuum. It’s so vast, it’s so relevant today. There’s just an endless wealth of music that you can look to for inspiration. And jazz dance comes from jazz music. I will say in my own practice, when I was dancing to pop music, it was easy to take it in a direction that wasn’t jazz, but when you turn on jazz music, there’s something else that comes from there that will keep you tethered to that essence. So in that similar call, we hope that people will take that step back into the studio and look at their practices. I hope that we return to just celebrating the music that gave birth to the form.

Rebecca: Thank you so much for sharing some of the history of jazz and your stories around the book. I know there’s a lot of valuable information within our conversation for people across a wide variety of disciplines.

Wendy: Thank you for having us.

Carlos: Thank you very much. This has been a joy

Lindsay: Thanks for the invitation.

John: Well thank you. It’s great talking to you.

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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 Anna Croyle, Annalyn Smith, and Joshua Vega.

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203. Critical Race Theory

Multiple states have introduced legislation banning the discussion of critical race theory at all levels of public education. In this episode Cyndi Kernahan and Moira Lynch join us to explore what these bills actually say, the motivations behind them, and the impact this has on teaching in higher education. Cyndi is a Psychology Professor and the Director of the Center for Excellence in Teaching and Learning at the University of Wisconsin at River Falls. She is also the author of Teaching about Race and Racism in the College Classroom: Notes from a White Professor. Moira is an Assistant Professor in the Department of Politics, Geography, and International Studies, also at the University of Wisconsin at River Falls.

Shownotes

Transcript

John: Multiple states have introduced legislation banning the discussion of critical race theory at all levels of public education. In this episode we explore what these bills actually say, the motivations behind them, and the impact that this has on teaching in higher education.

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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.

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Rebecca: Our guests today are Cyndi Kernahan, and Moira Lynch. Cyndi is a Psychology Professor and the Director of the Center for Excellence in Teaching and Learning at the University of Wisconsin at River Falls. She is also the author of Teaching about Race and Racism in the College Classroom: Notes from a White Professor. Moira is an Assistant Professor in the Department of Politics, Geography, and International Studies, also at the University of Wisconsin at River Falls. Welcome Moira, and welcome back, Cyndi.

Cyndi: Thank you.

Moira: Thanks for having us.

John: Our teas today are…

Cyndi: I’m drinking blueberry green tea.

Rebecca: Oh, that sounds good!

Moira: I had English breakfast and I left it downstairs.

Rebecca: Oops. [LAUGHTER] I have Earl Grey although Moira, don’t worry, I came initially with just a cup of hot water and I was like, oops, that’s not tea.

John: And I have ginger peach green tea. Is your blueberry green tea the Tea Republic one?

Cyndi: It is, I love them so much.

John: I do too. It’s really good.

Cyndi: And I took a page from you guys. I have to say we’re opening our CTL space officially next Tuesday. We were supposed to open last year but pandemic, and I took a page from y’all: I bought a kettle and tea because you guys inspired me. {LAUGHTER] So we will have a tea maker at the UW River Falls CTL space.

Rebecca: Representing, awesome!

John: Nice! We actually, I should note, have three. We have two tea kettles and we have a Breville tea maker, which will set the temperature and the strength of the tea for each of the major types of tea.

Cyndi: Of course you do.

John: We’ve been doing this for a while now.

Rebecca: Yeah, hashtag tea nerds.

John: We’ve invited you here, to talk about a column you wrote for the Cap Times on a bill that would ban the discussion of critical race theory in K-12 and higher education in the state of Wisconsin. What has happened with this bill? Has it passed or is it still under discussion?

Moira: This is a bill that… there’s actually two parts to it… There’s a Bill 409, which is targeting universities and colleges in Wisconsin. And then there’s a Bill 411, which is targeting K through 12 schools. And it hasn’t passed. It was proposed in June, just this past June… 2021. And then they only recently had a public hearing, a pretty divisive and rancorous public hearing, on August 11th on the bill, but no, it hasn’t gone to a vote yet. So the bill, basically, is banning particular concepts from the classroom. That’s its intent, including ideas like that one race or sex is superior to another, a person is inherently racist by virtue of his or her race or sex, a person should feel guilty for past acts committed by people of his or her race or sex. And there’s a few other pieces of language, but also it includes language that schools that would engage in instruction, that aligns with these ideas, would lose 10% of their annual state funding. There’s a couple other pieces to the bills, too, that are important to mention about ideas around educators publishing their curriculum, making it public and that being monitored in some form if this bill should pass. And that would be at the college and university level, but also at the K through 12 level. It also has some language on training. So institutions that are training on diversity and inclusion, for example, would be subject to some of these same ideas about what they can and cannot talk about in their training.

Cyndi: EDUCAUSE is keeping up with this, a lot of places are keeping up with this, I think the Chronicle of Higher Ed has a map as well. And there are 12 states that have passed something like this. And they all look a little different. So, Wisconsin’s looks very similar, I should say, because there’s a strategy here, but there are 12 states who have passed things like this, and there are variations on them. There’s more that seemed to be focused on the K-12 system, but many of them are focused on higher ed as well, like Florida really stands out as being very focused on their higher education system. So you can go and look, I think the EDUCAUSE article is really good, I can send that to y’all, but it sort of shows you like the map and where each state is in terms of where these bans are at. So this is a pretty serious issue going into the Fall semester.

John: We can share a link to that in the show notes. This has been a phenomenon we’ve been seeing a lot recently. We saw it over the previous four years in the White House with many federal agencies and we’re seeing it again in lots of red states, it appears. Why is this happening?

Cyndi: Yeah, I can start. I don’t think it’s any accident that a year ago, we were still talking about… I mean we still are talking about… the protests around George Floyd and the summer that we had that was so remarkable in terms of how many people went out and protested. So I think this is a response to that. That’s what it feels like to me. And it’s an ongoing response. We see this when you look at the history of race and racism, where there’s movement and backlash, movement and backlash. Carol Anderson writes about this really well. Many people write about it well, but that book in particular, White Rage, is a great source where she talks about that sort of movement forward and the backlash, and so I think it’s part of that. I think it’s always been part of a larger political strategy too, which I know Moira can speak better to than I can around using this in terms of gaining votes. I know you can speak to that better than me.

Moira: Yeah, I would agree with Cindy, that I think there’s a lot of backlash against the Black Lives Matter movement. And a lot of times the legislation even brings that in to the conversation or you hear that at school board meetings a lot in terms of what people perceive that movement to be, and whether they see it as a threat or not. And that often goes along with what people are speaking about at school board meetings and in college university settings around this type of legislation. But it is definitely stemming from a political strategy, in the sense that a Conservative activist, Christopher Rufo, spoke on Fox News last summer, talking about critical race theory in particular and how it was kind of this insidious element or form of indoctrination that was really moving through the education system. And that got the attention of President Trump. And he wrote a new Executive Order in which you can see much of the language in the legislation across the states, as Cindy described, taking their language directly from the Trump executive order, making sure that this was prohibited as much as possible in the educational setting. Biden has since rescinded that Executive Order since coming into office. But this is definitely a strategy that Conservative activists acknowledge and others also acknowledge ahead of the 2022 elections and beyond. And so there are different folks who are… you’ll see in conservative political party members… that are making statements, people who are interested in running for president eventually, that are definitely taking a stand on this and making sure that their voice is heard on this legislation in their own state or in other spaces. And so it’s definitely kind of part and parcel of how cultural wars have played out in the past in politics in which parties use a particular cultural hot point hot button issue to rally voters and constituents toward them on a particular cause.

Rebecca: In the past year, we’ve seen many campuses really pushed towards diversity, equity and inclusion initiatives, whatever those are, and whatever those look like on a particular campus, they’re different, but there’s definitely a movement in that direction throughout higher ed. how is this impacting that movement? What are the long-term implications of this kind of legislation happening across multiple states in these moves to really have equity in higher education, and really, in K-12, too?

Cyndi: I think it complicates it, and anybody who reads the Chronicle or Inside Higher Ed on a regular basis knows that there’s always been backlash against higher ed, the idea that what we’re teaching is indoctrination or somehow wrong and brainwashing students, liberalizing students, that that idea is not new. I think what this does is it just sort of raises the stakes even more. As someone who teaches about this and works on initiatives like that on my campus level, I’m very involved in all of that work. And so it feels like we’re under even more scrutiny. So there have been incidents on this campus. For example, over the summer, there was a website that was inadvertently linked to our website, and it generated a lot of controversy on the right. And there was a lot of pushback. And so there were people calling the campus and saying, why are you linking to this website? We shouldn’t have necessarily been linking to that website, and again, it was an inadvertent mistake. But it was so clear to me over the summer, when this happened, like “Wow, people are really watching closely.” And so I think that’s part of what complicates that work is that there’s just going to be a lot of scrutiny, a lot of watching what we’re doing. And we already know, and this happens on a lot of campuses, that campus web pages are looked at closely, what instructors are teaching are looked at really closely. I thought the situation at Boise State was really instructive. If you all followed tha, where the Idaho State Legislature took funding away from Boise State and gave it to another Idaho college because allegedly there was this incident where a white student was shamed in an online class around racism. But when you actually dug into it, that student was not shamed by the instructor. There was some back and forth between the student and other students in the chat. It was a synchronous session, but the instructor actually handled it beautifully. The instructor checked in on the student to make sure they were okay. She saw that there was some conflict between students and handled it really, really well, I thought, from my read of the reporting of that. But that incident of allegedly a student being shamed was sent to a legislator who then, just based on that hearsay, said, “Okay, we’re taking $400,000 [I think it was] away from the school.” So I think the scrutiny is part of what really complicates this and makes it harder to do that work.

Moira: I think one of the problems, to your question, Rebecca, about what kind of impact too, is the critical race theory has become this catch-all term for anything that is taught in K through 12 settings or colleges and universities that’s related to race, anti-racism, systemic racism, racial injustice. I mean, the list goes on and on. And as Cyndi has said, these courses have existed for a long time. There’s a lot of work on this in different settings and different forms. So there’s a lot of confusion about what critical race theory is, and is not. And most of the laws that have been passed and that are even being considered don’t even have that term in the law, or if they do, it’s not accurately characterized. So it’s become this vessel to control how race and racism is taught in these settings. And that’s a very powerful instrument. And I want to give you an example, there’s a website called criticalrace.org in which Conservative activists are basically keeping tabs on everything that they can find that colleges and universities teach or had programming on or training related to race, anti-racism, etc. But when you go through different colleges and you look at what they take notes on, it’s not critical race theory… Is there a course? Yes or no? They actually just list anything that has race or anti-racism in it. So it could be a speaker that spoke two years ago, it could be a program for first years on anti-racism, it could be a lecture, it could be training, you can see it’s just this catch-all list that they are collecting to identify a problem. But what’s not clear is what the problem is, in terms of collecting this list of information from a college or university. It’s not clear in this website, for example, what is problematic about any of this programming or how it fits into this larger narrative of it being indoctrination.

John: Is there any evidence that critical race theory is actually being taught anywhere in the K through 12 environment?

Cyndi: Not that I know of, this is just from listening to reports about it, but it wouldn’t make sense for it to be taught in a K-12 setting. I mean, even in undergraduate classes, I’ve never formally taught critical race theory. And part of what’s confusing about it, and I do think it’s sort of useful, I guess, as a catch-all term for the folks who want to stop any discussion of racism, because it’s like this projection screen that a lot of stuff gets thrown on. I mean, really, if you look at the definition of critical race theory, part of what’s so complicated about it is it’s not one thing, it’s really a framework. So it’s a way of looking at things like laws and policies across a variety of domains: health care, education, the justice system, etc., and saying, “Let’s look at where there are racial disparities and disadvantage and let’s try to understand that.” So it’s looking at those things with a critical lens. One example I might give from work that we do is I was thinking about a financial aid policy of verification, I’m sure you all are familiar with this, that ensnares tons of students, including lots of my students, where you have to go through and provide more documentation to be able to receive your financial aid. A critical race perspective on that would say, “How is that happening? How is that disproportionately harming students of color?” …because it is, and there’s research that shows that it is. So that’s what CRT is, is it’s looking at things from a critical framework and saying, “Let’s look at it and see the ways in which racism is operating here that we might not recognize, because that’s one of the sets of assumptions is that it’s systemic, it’s not just individual.” Race is a social construction. Depending on what source you look at, there’s like five or seven different assumptions that are made within the framework of CRT. So, it really wouldn’t make sense for it to be taught to little kids. And then even at the college level, you might not necessarily teach in that way. I mean, I know most of what I spend my time teaching are really those core assumptions, which are understanding how race is a social construction and what that means. Understanding what it means that racism is systemic, and not just individual. And I think when you drill down, I’ve been thinking about this a lot, what I think people really want to ban is feelings. They want to ban people’s feelings around this. So there’s a lot of emphasis, if you listen to the way legislators talk about this, they’re very worried about white people being embarrassed or shamed. And so the idea is, let’s not teach about this in this way in which we think about it as this large encompassing framework, because there’s the assumption that that will make white students feel uncomfortable and embarrassed and ashamed to be white, when I would argue if you’re teaching well, and most people I know who teach this teach very well, that’s not a pedagogical technique that we use. We don’t want to shame people because they don’t learn in that way. And so that’s what’s, at least for me, as one who’s taught about this for so long, is so maddening. It’s like you’re mischaracterizing the way we teach and also mischaracterizing what it is that we’re teaching. It’s not critical race theory. It’s before tha,t just trying to get on the same page of what race is what racism actually is.

Rebecca: It sounds to me like many of the objectives of people who are pursuing this legislation is to just ban discussion of racism, and particular history. And I know that even when I was a student, many perspectives weren’t taught in K-12. So is it a return to a status quo of teaching a particular perspective and only offering that perspective and pushing against other perspectives being offered? Or is it something else?

Moira: I teach international relations and international relations, as a field, was silent for decades on race. So you just didn’t see people publish about it, Textbooks didn’t cover it. It’s just this gaping hole until more recently, textbooks have chapters on race and world politics or more chapters on post-colonial theory, for example. And some of that is also very American-centric. The way Americans taught it in universities was very narrow. However, in other parts of the world race was very much part and parcel of how you would learn about International Relations at the college level. And I talk about that with my students, because when we read about recent world politics, and we look at post-colonial theory, it’s incredibly helpful for them to be able to see historical patterns and systems that have shaped foreign policy decisions, that have shaped why a country’s development has stayed at a lower level as opposed to a higher level. It gives them tools to understand and make sense of some of the outcomes we see that don’t always make sense, especially in places very far from here that are very hard to understand if you have only lived United States and don’t have a lot of context for what’s happening in other parts of the world. So even just being able to explain really diverse patterns of development, conflict, stability in the African continent, is something that the colonial lens, and the colonial period helps them to grasp and make sense of particular outcomes. And we couldn’t do that unless we talked about racial oppression. We talked about colonialization and the slave trade. We couldn’t make sense of that, without that context of institutional racism. To your point about are we going backwards, in that field of international relations, I’m only recently seeing this great movement forward. And actually, textbooks are now a lot more inclusive of these histories than they used to be and so I’m very sensitive to this, because I can see it just moving away. And this omission and this silencing could really have a huge impact on an international relations course.

Cyndi: Yeah, it definitely seems like we’re just getting started and actually including other people in a lot of our curriculum. I think about psychology and the ways in which so much has been left out. And it’s just now starting to be included. So again, I think this is kind of that backlash piece that we see where finally this kind of history and work is being included. And it’s like “No, no, no, wait, wait, wait, we don’t want that.” And, you know, we’ve seen this before. The Tucson School District, they attempted to ban ethnic studies that was ultimately overturned. But it took many, many years to get that changed. So I think that’s what we’re seeing, there’s movement forward, it’s a little bit more inclusive, there’s more focus on it. And it’s interesting, because the backlash is so swift, even to just a little bit of inclusion. We still know… the Southern Poverty Law Center put out a report… I think it’s been a couple of years ago now, looking at the K-12 system showing that really slavery is not taught well, for most American students, it’s not taught particularly well. But even just a little bit of inclusion has sparked this intense backlash. And again, I keep thinking about how so much of it is focused on feelings. It’s very interesting. We don’t want anybody to feel bad. And there’s this assumption that students will feel bad if they learn, essentially, the truth about American history and American present. They just really irks me as an instructor, because that’s not what I see. Students like learning this for the most part. I mean, I have some resistance. But for the most part, students are grateful. The number one comment I always get is, “Why did no one tell me any of this?” And so what I see is that they’re grateful to learn the truth and the flaws and the messiness of our history and who we are as people. They’re grateful for that for the most part.

Rebecca: I would think the most tricky feelings are actually the ones of being betrayed or like, lied to.

Cyndi: Often, there’s a lot of guilt. I’ve talked about that a lot. There’s a lot of guilt, there’s a lot of helplessness. “How do I deal with this?” And so, you know, there’s a lot of management of those feelings. So yeah, that’s a great point.

Moira: I think, too, one of the interesting patterns that we’re seeing with these laws, and it’s the same for Wisconsin, in terms of the proposed bills, is that there isn’t data or evidence of how any of this education that they seem to be pointing to is harmful. They say it’s harmful, and the feelings are being hurt, as Cindy was saying, but we don’t have any data or evidence of harm. And even in the hearing on August 11 in Wisconsin, some of the people testifying, the senators, but also teachers, asked about that. “What is the data? What exactly do you want us to not do? What do you think is harmful?” And it’s difficult for some of the sponsors of the bill to answer that question. They actually couldn’t answer that question on August 11. And I think that’s really telling,

Cyndi: It’s often just all anecdote. It’s just like the Boise State example. It’s like, “Well, I heard someone said that there was this” …and even the thing that kicked part of this off with Christopher Rufo that Moira was referencing earlier was, I believe it was a city worker in the city of Seattle who had seen a presentation and just took a picture of the slide and send it somewhere. So it wasn’t necessarily bad feelings, it was just like, “This could make me feel bad or something,” I think. So it’s very amorphous and there’s a lot of assumptions being made that aren’t well evidenced at all for this.

Moira: And everything out of context.

Cyndi: Yes, very much so.

John: Is this related to a concern about the decline of the white majority that had controlled the narrative for so long, and perhaps a backlash to that, which is showing up in voter suppression efforts in so many other areas?

Cyndi: Yeah, I think the backlash framing is interesting. Right now I’m reading a great book. Ashley Jardina, is a political scientist who wrote the book, White Identity Politics. I’m not all the way through it. It’s really fun to read so far. But she talks a lot about that, about how there’s this salience around white identity that’s happening now, because of this demographic shift. And so that this is part of that larger thing. So there’s this sense of threat. And this is a response to that. So I think it makes our job as teachers, when we teach about this, more tricky and more challenging in some ways, but it’s of a piece with what we’ve always had to deal with. And I think a lot of the techniques for working with it are probably going to be the same. I know at the K-12 level, it’s harder for them, because they have less academic freedom. But I think at the college level, a lot of just good teaching is the way that we’re going to have to continue to work with this backlash and threat that people feel.

Moira: I would agree. And I think that you hear whiteness and white identity and white privilege more often, I think, in a positive way, in the sense that it’s not these kind of niche areas or people. The good part is that people understand that more. And they understand that white identity is constructed just as much as black identity, just as much as any other racial category, they’re all constructed. And so I think, at least in my experience, when I talk to students about that, in that way, that social construction is this very real phenomenon, not just of identities, but many things. Sovereignty is a social construction. Norms have evolved over time about what states can or cannot do. It becomes something more within their grasp to know that this is a product of social forces that have huge impacts that we take for granted, that we internalize… myself and my peers… that we can dismantle, we can challenge, we can push against in the name of justice, in the name of more equitable outcomes. And I think it’s a tool that can be harnessed in that way. And so that’s something that I think absolutely produces the backlash, to your point, because people understand it as a movement to make people feel bad about whiteness, but actually, we all have constructed identities. And so we all are grappling with the ways in which those constructions are harmful.

Cyndi: And I think that actually gives us part of the way through this as teachers, I would say, because I’ve always thought about these two, sort of broad categories for thinking about teaching about race and racism. But even more so in the face of this, like I’m thinking about them more. So, one is the focusing on that institutional layer of things. We have so much focus on: “Are you a good or a bad person? Are you racist or not?” Particularly for white students. And if we can get beyond that, and really think about, “Yes, there is this individual layer, like the attitudes you hold, the behaviors that you display, but there’s also this bigger institutional part, where, as Moira said, all of our identities are constructed, and all of us are part of these larger systems, that we didn’t really ask to be a part of.” And so in many ways, that’s very freeing and liberating for students to see that, “Oh, yeah, I’m part of this harmful system, but it’s harmful to me, too.” It’s not as harmful to white people as it is to people of color, but there’s harm for everyone. It’s not just about me, it’s about this larger system. And that helps to, I think, get students away from just sort of the feelings of it, feeling bad, feeling guilty. It’s like, “No, let’s look at this in its entirety.” So I think that’s a really important thing when we think about how to teach in the face of this larger layer of scrutiny, is that, actually, that focus on the institutional level is helpful. That’s ironic, because that’s the thing that they want to ban. But I would argue that that’s actually a useful thing if you don’t want people to feel as bad. There’s some level of feeling that’s going to be there. But getting away from that, I think, is really helpful. That, and just creating as much belonging and community in your classes… you need to, that’s the second thing. And one more, I’ll just add, I’m a white instructor, and I’m tenured and all of that… it’s much easier. I think it’s really incumbent upon all of us in higher ed to recognize that this is a lot harder for instructors of color. It always has been and this makes it even harder. And for people who are adjunct instructors, graduate students, people who are not tenured yet, this is a really important issue that I hope that colleagues and administrators are paying attention to, I really do.

Moira: I just want to add one thing about the focus on the individual. The legislation ,even an opinion from an Attorney General in Arkansas recently just lists all these things that she sees as potentially violating anti-discrimination laws. But she only uses the language of the individual, the individual will feel this, the individual will be made to… So I think that, if we just step back for a minute and think about how social studies courses are taught in the K through 12 level, and we talk about how history courses… just very broadly for a minute… history courses are taught at the college and university level, they are never about who in this room is responsible for what happened. “This historical event that we’re talking about today, are you responsible? Are your ancestors responsible?” History has always talked about painful events. History courses, or social studies courses, have always talked about painful events, painful events in our history or others’ histories. And it isn’t about your ancestors’ responsibility or individual’s responsibility in the room. We talk about different forms of oppression. Even if you just think about workers’ rights at the beginning of the 20th century, when we think about who is oppressing or who was not giving a fair treatment to people in coal mines or in factories, we don’t talk about people’s ancestors in the room when we’re talking about those oppressions. We’re talking about that as a historical event that we learn from and that we then think about systems going forward from those events, our workers rights movements, child labor laws, etc. And so I think that’s something that is worth reflecting on, that that is the norm. What Cindy is describing is the norm. And many teachers in Wisconsin also said, this is the norm in terms of how we teach history, but it’s not about individual fault or blame.

John: We’re lucky in New York state that we don’t face this issue. But what can we do as individual faculty members to help push back against this type of thing?

Cyndi: Maybe I’m naive, but I really think teaching well is really important. And a lot of what we all know, in terms of good pedagogy, being inclusive, creating as much community as possible, creating a strong sense of belonging, I think all of that is going to be useful to fight back against the sort of stereotyped ideas of what we do as college faculty, and that we’re not brainwashing, we’re not doing that, what we’re doing is trying to bring students along and help them learn, I think about that Boise State instructor who really did what you should do in a situation like that. And so doing as much of that as possible and being focused on each other and being protective, like what I said before about really thinking about who are the more marginalized instructors on my campus that are doing this work? And do people really understand how hard that is? In my department, we take it for granted that the folks who teach statistics and methods, that’s harder, and their evaluations might not look as good as the folks who are teaching other stuff, like what I teach, social psychology, or things like that, that are more “fun.” I think, as colleagues, being aware how difficult this is and how hard it is, I heard a colleague this morning, say… she teaches about racism as part of a communications course… and she said, “I’m going to be taping my lectures, and not just so students have more access, but also because I am concerned that what I say could be mischaracterized, and so I want to make sure that I have it on the record.” And that’s the thing, that if you don’t teach about this, you might not understand that people are really afraid and feeling paranoid, for good reason. Because there is, like I said, that heightened scrutiny. So I think understanding that heightened scrutiny, pushing back against as much as possible, pushing our legislators to truly understand what it is we actually do instead of what it is that they sort of think that we do, and also being involved in our local communities like the school boards and things like that, because this is, as Moira said earlier, this is strategy, and it’s happening everywhere. So my guess is even in New York State, there’s probably some school districts where this is coming up, I can’t imagine it wouldn’t be. it’s a nice big state, so I’m sure that that’s happening there. So that’s what comes to my mind.

John: Even though there hasn’t been any state legislative motions on this, we certainly have students who will share those views and who will push back. And while I don’t believe it’s happening in our institution, certainly in many institutions in New York, students have recorded portions of videos and posted them and so forth. I think that point you made about an instructor recording their classes to protect themselves is a suggestion I’ve often made to faculty, because people will sometimes say, well, what if I say something that I shouldn’t? I said, “Well, first, you probably shouldn’t be saying things that you shouldn’t.” But they’re concerned that students may take something out of context. And I said, “But if you have the video, you have the context, you’re much less likely to be protected if a student’s there with a smartphone, taking bits and pieces of what you’re saying and then perhaps editing parts of that out of context. It’s much better to have it within the setting.” I’ve actually encouraged people to record their classes to provide that sort of protection, if they’re not discussing really sensitive issues.

Rebecca: One thing that I wanted to ask a little bit about is you mentioned before about how many fields are just starting to be more inclusive in their classes. For example, in our design classes, we actually are providing more examples from different types of designers from around the world. Do you see some of this legislation and this pushback, starting to push back on some of that inclusivity or giving some instructors who are just starting to introduce some of these ideas… where maybe the topic isn’t about race and racism – that’s not the subject matter of the class – but you’re trying to be more inclusive, you’re moving in this direction. What should we be thinking about as instructors who are doing this work for the first time, or we’re just doing it more than we ever had before?

Cyndi: Yeah, I think it’s a real concern. I always make a distinction between inclusive teaching generally, which isn’t necessarily talking about racism, or systems of oppression. And there’s a lot of good work on that, I would just shout out Viji Sathi, and Kelly Hogan who I know you all have had on and they have a book coming out next year about inclusive pedagogy that I think is gonna be awesome. And so in working on those techniques, and I find a lot working with instructors that you hear a lot like, “I don’t want to talk about that, I don’t know how to talk about that, that’s going to be too controversial and I won’t be able to cover it.” So maybe don’t start there. Instead, just start with some of these inclusive teaching practices as much as possible. And then working into adding that content as much as possible. And just using as many outside resources as possible to make you feel comfortable. So, I always say, “Go look at your professional association, because they’ve thought about this, there’s going to be a diversity committee in the American Chemical Society, I think, is what it’s called, I’m probably getting that wrong. My chemistry friends will correct me, I’m sure. But there’s a diversity committee who has thought about this, like how do you increase representation. So use that and don’t try to recreate the wheel. And also make sure you just start again with those good inclusive teaching practices, which don’t necessarily require you to be talking about really controversial stuff, but allow you to still create as much equity and access. So I know the new center at Uni of River Falls, we’re going to be running some inclusive teaching workshops this year. And that’s part of why is because we want to make sure that we’re giving people the tools to be able to do that as much as possible.

Rebecca: But certainly a strategy we’re using here as well. We had Viji Saffy and Kelly Hogan here right at the start of our semester to kick off some inclusive pedagogy workshops.

Moira: Yeah, I would just add that this is in the frame of mind for inclusive teaching, but also this idea of pay attention to the different experiences in your classrooms, and also look at what kinds of voices are in your readings, who is not being heard, what perspective is not necessarily being heard here. That’s obviously an element of inclusive teaching. But I think it’s something that is easily overlooked. I’m going to speak for political science, because that’s mine, and they are terrible at this. And I’ve just been at institutions where you get a diversity assignment with your course, if you have a certain level of multiple voices and perspectives being taught on your particular international relations topic, for example. And that’s an odd system that many of us universities have, it’s this extra thing that some courses will do to include a variety of voices on the subject of foreign policy, for example, when the norm is to not do that. But if you do that, you will get a designation. And that’s my own experience in political science, I’ll only speak to that. But I think that that’s something to reflect on as a department, whatever the discipline you’re in, in terms of “What do these designations tell us if you have a system like that? What does it mean for what we’re teaching and what we’re bringing to our students in our department? And how could we do better?”

John: We always end with the question, what’s next?

Cyndi: Well, the semester is next [LAUGHTER]… the semester starting next, I’ll just say two other quick things: we’re opening our official CTL space next week, which I’m very excited about, because we have not, at UW River Falls, had a center. Well, we started in March of 2020, which is not a time you should start a center, but we did. [LAUGHTER] So we were virtual for the whole first year. And also I’m working on a research project with a colleague in our sociology department, where we’re looking at how do students learn about structural racism most effectively? And how do they learn it across different sorts of classes? So, intro level sociology versus an upper-level course like mine. So that’s what’s next for me is looking at that data and following up on that to better understand that process for students.

Moira: I’ll also say, no matter what discipline you’re in, what’s happening, this pattern and this movement that we’ve been talking about is something that is worth talking about, with young people at the college level, no matter what discipline you’re in, to kind of pose it as “What do you know? What do you understand about this? What have you heard? What questions do you have?” kind of topic, it could be an icebreaker, it could be further into the term, but just in terms of even just hearing from them about what they think about their own learning at their campus, and how this may or may not affect what they do, and put it in their hands to hear a little bit about what they think you don’t hear a lot from the students in these debates. Obviously, young people, people of elementary school age are not necessarily going to testify at a hearing. But I think that’s an important absence here is that we don’t hear from young college students necessarily all the time about what their interests are, what they understand of their experience on campus.

Rebecca: Imagine that.. asking students.

Moira: Ask the students! [LAUGHTER] That’s a great point.

Rebecca: Well, thank you so much for your insights, and food for thought as we move into the fall semester.

Moira: Yeah. Thanks for having us.

John: Thank you for joining us.

Cyndi: Thanks so much for having us!

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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.

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