Head Over to My New Website

If you are an old reader of bgblogging posts, you might be interested in heading over to my new blogsite, attached to my consultancy, Community Expressions, LLC. I hope you will visit me there and put your two cents in about my thoughts and work. While the writing I do there isn’t necessarily directly related to the formal classroom, much of what I experience in my work in community-building efforts around storytelling has clear and interesting applications in formal learning contexts.  Of course, I welcome you as well to Open View Gardens, the blog I keep with my daughter, filled with stories about the earth, the food we grow and the meals we make.

Yes, it’s about learning–lifelong learning!

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In case you’re wondering…

I’m moving (mostly) to a new blog, to a new chapter in this post-school journey.  Finally I think I’ve discovered how to weave together the various strands of my interests and abilities as I grapple with the relationship between the local and global: through a new LLC, Open View Gardens, I’ll be combining writing, photography, storytelling,–and my two other creative passions: cooking adventures and gardening.  Please visit me at Open View Gardens–I’d love your feedback, your conversation, your wisdom!

So This Is What It’s Like… Sort Of…

With a less than a week left of the Motley Group reading of Joyce’s Dubliners, I am lingering a bit too long, I realize, mid-collection, thinking about what I’ve read, how the stories talk to one another, undercut or intensify each another. I get pulled out of the book altogether for a few days at a stretch by the other calls on my time.  I have to get going here…onward into “Clay” and “A Painful Case” today. I might even have to set a reading schedule to make sure I have enough time to hang out in “The Dead.”  I can’t remember when I have ever read a collection this slowly, with breaks, and rereads, and trips out to my fellow readers’ blogs and to this site.  And I know I have not walked down the long driveway in search of the mail with such anticipation in a long long time.

remnants

This is as close as I have ever come to what I asked of my students and their blogging back in my teaching days. Yes I blogged with them, but never on equal terms, at best as guide. In fact I stayed off our class blogs for the most part, posting on my own blog in meta-reflection so as to keep their conversation open, playful and free between peers instead of performance for the teacher, something I’ve written about many times over the years here, including the final paragraph of one of those long-long posts of mine from 2005 (with lots of broken links):

“And it is the Motherblog that keeps them linked within a community–they venture back and forth onto one another’s blogs, taking comfort in their peers’ experiences, pushing one another, and learning from one another. And I’m rarely on the blog at all. Isn’t this what we’re after in a liberal arts education?  The students naturally, on their own, gravitate towards the learning ecology.  I’m keeping these second-wave bloggers in mind as my young first-years wonder aloud why we’re doing this public blogging thing.  I want them to read the Blogging-the-World blog, and I want them to look down the road at where they might be in two years.  If I teach them the grammar of the blog well, and they take to it, they can use the medium (or whatever other tool will be in play by then) to make their learning real, active, and worth crowing about.”

as if

I’m realizing that this Motley reading experience is as close as I’ve ever come to being absolutely inside classroom blogging–as a reciprocal apprentice.  I see the personalities come into play–who likes posterous, who their own blog, Flickr, postcards.  Who dropped out, never started, is still thinking about starting, is on the fence about continuing, is doing her own thing with responses.  Absolutely fascinating.  I’m learning more about my own inclinations as a reader as I hear Lanny’s puzzlement over the postcard I sent him, and how the image is linked in any way to the reading experience. In learning about how the others are approaching and responding to the stories, I think more deeply about my own readings, my own way of reading.  I really don’t think I did that enough as a teacher.  I see now how much I continued to dominate my classes even when I tried my best not to, even though I believed that students would learn how to think and communicate if they had to rely on one another as  much as on me. This experience almost has me hankering over another go in the classroom.  Almost.

Something else has me stumbling over my departure from the classroom. My old student, now my good friend and teacher, Stephanie Saldana, has been visiting for the past couple of days as she tears about the country on her first book tour.  Yesterday she gave a splendid, moving reading at the college. Four former students were in the audience: three still at the college and another, Stephanie’s best friend here fifteen years ago, another gifted writer, who drove over from Maine.  Stephanie read to an audience made up of townspeople, students and her former professors–a reading that showed her big heart as well as her considerable intellect, a reading that allowed us to glimpse her struggle with a broken world from the vantage point of living in the Middle East.  I thought, how brave, to come back here where you were a star poet/scholar and read from a book so human, so real, so true.  Later, a young Palestinian remarked to me that this was the first lecture/reading about the Middle East he’d been to here that hadn’t been dissecting, theorizing, and/or intellectualizing the trauma.  There was no sense of the personal, the lived in those other lectures and readings as though problems could be understood and solved purely from knowing enough. Stephanie’s reading and discussion gave him the space for his own story.  There it was again, the heart, the heart.  Later that evening, my two old students and another grad from that time sat on the floor of my livingroom and shared how they felt that their undergraduate classes had been far too much about the intellect.  Where was life in the classroom?  How did community outside the school have anything at all to do with what was going on in the classroom?  Where were the hearts of their teachers?

If I could do it all over…I would have been a more radical teacher than I was, and isn’t it too bad that I have to say that teaching from the heart in a liberal arts college is radical?  For a moment, I wanted another chance…but no, I am getting another chance…this way: with Motley readers, with my students turned teachers, with my messy work with storytelling in communities (ALL about heart), with my fumblings with camera.

It’s funny how I’m coming across this reminder repeatedly this week.  This morning,  I opened T.S. Eliot’s essay on Dante to find:

“In my own experience of the appreciation of poetry I have always found that the less I knew about a poet and his work, before I began to read it, the better.  A quotation, a critical remark, an enthusiastic essay may well be the accident that sets one to reading a particular author; but an elaborate preparation of historical and biographical knowledge has always been to me a barrier.  I am not defending poor scholarship…At least, it is better to be spurred to acquire scholarship because you enjoy the poetry, than to suppose that you enjoy the poetry because you have acquired the scholarship.”  (“Dante” 1929 Essay p. 205 in Selected Prose of T.S. Eliot)

That’s what I so like about writing and receiving postcards as well as posts–they feel like little bursts of felt response–by readers who love to read and love to feel the pen on a card, having to move within the confines of that small white square, and caring enough to take the time to find a postcard, a stamp, go to the post office after engaging with the text.  Bound together by a love of reading, the freedom to come and go as we wish, the playfulness of responding however we like, and, for me, a commitment to speaking from the heart as well as head and to stick with it even if I don’t have time, love all the stories, or feel I have anything useful to say.  You just never know when you’ll stumble upon the new, or touch someone, or learn something you thought you already knew.

Alan's Mount Fujiaraby

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Learning from Writers, Learning from Readers: Hearts and Minds in Balance

What an interesting time.   As I continue to shed my classroom-teacher identity, I am learning more and more about the imposter syndrome and semantic gaps in our culture between professional expert and layperson, and about the power of reciprocal apprenticeships.  And the delights of mixing heart and mind.  I am learning from young writers I know, and all over again from writers long gone, and from readers engaged in this fascinating un-book group, Motley Readers of Joyce’s Dubliners.  I’m learning ever more about myself as a writer and thinker as I finish a position paper for Orton Family Foundation (on why community storytelling is essential for the health of rural towns), in which I must balance knowledge and passion.

beneath the facade

Hearing from some of my fellow Motley readers about how they feel vulnerable posting their “unschooled” thoughts about Joyce’s stories bothers me.  Not because I wonder why they feel this way, but because I know all too well that they feel this way for good reason. It is similar to what I hear in communities about ordinary people participating in planning processes:  they often don’t feel welcome because the gap in language between professional and nonprofessional is so difficult to straddle.  It’s something that storytelling works at bridging in rural communities.  And here, in social media spaces, we must work at those bridges as well, even in a reading group.

Literature should grab us by both the heart and the mind, I think, and not let us go–to help us to articulate why it does so, sure, we want to learn more about how it is that language and narrative work.  Some of us want to know about the context in which the writer was working–and certainly what was going on in Ireland and in Europe and in Joyce at the time of his writing has quite a profound impact on our understanding of the collection.  This is all good.  Great books should, I think, lead us to other books, to other learning, to other thoughts.  And then we should have our own.   My father used to urge us to read from across the political spectrum before we entered the daily dinner-table debate over current events.  It makes sense that we need to hear a variety of views from across the spectrum of experience and knowledge. That’s one of the beauties of a diverse physical community–coming into contact with all sorts of life views, understanding, knowledge, expertise, taste.

One of the beauties of great writing is that it can also move us and speak to us without all that knowledge of theory or history.   I love reading Joyce, 100 years after he wrote those stories, for what they tell me about beauty and life now.  They’re timeless.  I don’t think we should close ourselves to expertise, but it shouldn’t be our only guide. It isn’t heart or mind, feeling or learning, but both.  And unfortunately, school is really trying to educate the heart right out of us.

In a postcard I just received from Chris Lott (more about the Motley reading postcard experience in another post soon), I love how comfortable he is in both the poet’s skin and the scholar’s (and believe me, he’s one of the most learned, brilliant guys out there)  as he expresses the heart-rending beauty of reading Joyce:
chris
He weaves his learning in, his passion–without feeling bad about it.  Balance. I’m learning about balance from all of these Motley Readers, the ones who have a background in literary studies and those who do not.

I’m also learning about heart and mind from one of my former students.  As her first book hits the bookstores, I am bursting with excitement.  She did it.  Anyone who knew Stephanie Saldana during her college years knew she would publish, but in those days we thought it would be poetry.  Her nonfiction book, The Bread of Angels, brings her poet’s heart and eye, and her scholar’s training and knowledge into unusual balance.  A bit like how Chris does in his Motley posts and postcard.  It’s a beautiful book, a book that takes us through layers of life in the Middle East as it brings us along on the journey of one young woman on a Fulbright in Syria.  I learned a great deal about the common ground between Christianity and Islam, the beauty of daily life, Stephanie herself (and I thought I knew her and this story well), and about the power of mixing poetry and scholarship.  Wow.  What a teacher.

I’m also learning more these days about weaving together the parts of oneself from my daughters.  Talk about reciprocal apprenticeships. My daughters teach me all kinds of powerful lessons about life, about art. The one who lives in New York writes gorgeous songs. When we talk about them, I learn ever more about the ways rhythms and sound intersect with words, about how silences work with sounds.  My other daughter has long had one foot in the writing world, with several articles published about her travels. Now she is pulling together her love of food, photography and writing on her new blog and in an internship with an Italian food magazine (real incentive for me to stop pretending I speak and read Italian and learn).  I’m learning from watching her thread her various passions together.

This is one heck of a classroom.  The further away from school I get, the more convinced I am that this is the most powerful kind of classroom of all: the messy one engaging in learning relationships across group, network and diverse community.

Tacit and Tangible: Two Sides of the Creative Teacher

“…I think of how much beginnings have to do with freedom, how much disruption has to do with consciousness and the awareness of possibility that has so much to do with teaching other human beings.  And I think that if I and other teachers truly want to provoke our students to break through the limits of the conventional and the taken for granted, we ourselves have to experience breaks with all that has been established in our own lives; we have to keep arousing ourselves to begin again. ”

(Maxine Greene p.109 Releasing the Imagination)


in the belljar

I’ve written here before about struggling for balance between tangible creative output in the form of art: short stories and now photos and multimedia narrative, and tacit outcomes through raising daughters and mentoring young writers in the college writing classroom and now rural-community storytelling projects.  I’ve written about how I firmly believe that teachers must be practitioners of what they teach, and yet for years, the best I could do on that score in my creative writing classes was to keep a writing notebook with bits and pieces of conversations, character sketches and snatches of scenes.  Later on I did the same with image/text and digital-story fragments and shards.  Nothing complete, though.  Nothing finished, very little put out into the world except through the personal space of my blogs. Academic thinking/writing/presenting, on the other hand, was easy to do from inside the walls, and is much more challenging now.  I am sloughing off my academic self for someone who works in the unpredictable, shifting spaces of local community and personal creativity, and some days I’m just plain old nowhere.

last flight2

I envied colleagues who went on publishing creative works through those years of teaching and child-rearing–I just couldn’t sort out how they did it all.  (How do they do it?)  I tried, believe me, but failed.  I’m slow. I wrote a novel during the year I spent on sabbatical in Ireland, but at the end of the year, the demands of full-time teaching and parenting re-focused my creative energies and the novel slipped under.  I felt acutely what an old Irish farmer said to me one time during my daily run past his farm: “We’re putting our energies to different ends.”  Writing a novel felt incredibly self-indulgent, whereas helping students stay connected with their imaginations felt significant and way more than I could ever do on a page. How silly to be running just to run, to stay in shape, but not actually to go anywhere that needed to be got to.  (Sometimes it’s how I feel about hopping on my bike in the middle of the day just to ride–how privileged–versus commuting on it or using it as part of my livelihood.)

And so, I turned my classrooms into disruptive creative studio spaces.  We were going to do something, go somewhere, explore, experiment, create against the grain, to put our ideas into contact zones, to adopt a practice, to commit to that practice.  As my students went on to pursue creative lives that included writing, teaching, mentoring, activism, I told myself that whatever loss I felt at not being in full touch with my own writing was more than made up for by the magic going on in class.

But now, a year out of the classroom, I feel new and shiny in my creative skin, somewhere between tacit and tangible creativity, between searching for form and having to conform to forms already given, between mentoring and practicing.  I’ve had photos accepted in a show and now one (“Heading Home” just above)  in an online annex to another show; I’m deep into short stories again, even experimenting with sharing drafts on bgexperiments–I’d love to have your feedback) while writing a white paper on storytelling and participatory planning, and continuing my work with rural communities and storytelling. I watch Laura working on a book, Jen writing like crazy, Keira dreaming up learning parties–all women who left the higher ed scene; all mothers; all still sharing knowledge, connecting, mentoring, teaching, but just look at them finding deep pleasure in their creativity.

Sure none of us is raking in the dough. And it’s easier for me as I’m a bit older than they are, with children in college and beyond.  I don’t have the same pressures of saving up for tuition, much less paying the rent or mortgage. When I was in that position, I was teaching.  I didn’t have the courage and will that they do.  They are my heroes.

here the morning

So maybe I still don’t have the mix down,  and I’ll continue to struggle with the balance, but being in this disruptive space sure feels good.

Resurfacing

A couple of recent comments–one by the inimitable Joe Lambert to my husband about missing “bg’s blogging days” and the other made both by @jonmott and @tuchodi on Twitter about whether a show I’ve landed some photos in could be viewed online–combined with a sense of missing something in my writing and connected life, have sent me back here. I haven’t stayed away all these months due to boredom or new avenues of reflection, but because I’ve really been at a loss as to how to write about my new work.

without peer

My storytelling work in small rural towns feels like such a gift to me, a chance to help communities recognize one another and their future in their stories. It’s really something to be in the presence of their story sharing. The participants in these towns are taking some real risks in putting themselves out there, giving of their own story, extending a hand, engaging in the storytelling work. Every time I see it, I am blown away by the power of story to build bridges within even a deeply divided town by identifying common ground but also by sharing a bit of the self, one’s own story, townsperson to townsperson. Life slows down for a moment; people look at one another and are no longer strangers–they live Bahktin’s words:  “Truth is not born nor is it to be found inside the head of an individual person, it is born between people collectively searching for truth, in the process of their dialogic interaction” (Bakhtin, 1984, p.110 as quoted here).  But precisely because of that, I don’t yet feel as though I can narrate or reflect upon much about the particulars in such a public space as this–some of these communities are not really into the Web due to a lack of broadband access and practice, mostly, and I would never wish to jeopardize the new relationships and the efforts being made.  It isn’t necessarily my story to tell.  Not yet.  And so I stay a bit quiet over here.

tracking time

But I can share my own personal creative work, my photography and fiction, something I’ve mostly done over on bgexperiments and Flickr.  I’ve been sharing lots and lots of photos this past year, thanks to the 365 group.  Today on Twitter I shared my news that three of my photos were selected to be part of a juried show, opening this evening.  I feel shy about this news (almost didn’t tell anyone here) because thinking of myself as a visual artist is new.  I’ve never seen my photos hung in a gallery, or had people look at them in that kind of formal space, or indeed had them juried, or had people consider buying them.  But hearing back from my Twitter network soothed my jumpy nerves.

My friend Barbara Sawhill tweeted that she sensed a bit of the imposter syndrome stirring.  I think she’s right.  Online, I choose to share my photos on my sites–it’s not as though I’m putting them into an exhibition.   There’s something quite different about this sort of formal publication of my work–I feel exposed, uncertain (I see all the mistakes in the photos)…and yes, well, shy in a way I never do in my Flickr 365group.  I see my work online as in process, evolving, part of a conversation.  If I write something half-baked on my blog or Twitter, or in a comment to someone else’s post, well, the next day I try to think and write better.  It’s all about the communication, the co-creating of  the learning conversation. It’s about stretching, playing, exploring, failing.  When you print a photograph, mat and frame it, then put it on a wall with a price tag, well, then it becomes an object, a thing, and DONE.  Gulp.

mystery framed

But I’m getting over myself.  I’m beginning to put my photos out there the way I do with my writing because I know I will become a better photographer from doing so.  And I like the idea of someone perhaps being moved enough by one of my photos enough to put it on their wall, to live with it.

Now the question is,  will I actually dress up and go to the opening this evening?  Face the public?

(The images I have woven through this post are the photos selected for the show, “Evolving Patterns: In Honor of Darwin’s 200th Birthday.”)

Early July Return–Briefly, Perhaps

I am sorting out whether it’s time to mothball bgblogging as I move into the second year beyond school. Most mornings I think about writing a blogpost, but I want to write about life in a rural community, about my garden and the fields, and about the efforts people are making in their towns to find the balance between the slow and the fast, to relearn some of the oldest lessons of husbandry while also reveling in the opportunities afforded by Web connectivity. But I’m not sure I should do that here, or I even want to do that here.

This is a blog about teaching and learning, mostly in formal contexts. When I look over the many posts since 2004 here and the ones before that on various class blogs with my students, I feel as though I have covered what I have to say about formal learning. What I wrote about blogs and social learning five years ago still stands. What I have threaded through about formal education hasn’t changed. Why repeat myself? Why repeat what others are saying and have been saying for a long time? I understand why each person coming to this way of teaching and learning needs to reflect on it and share it–just as I did–that’s how it will grow and ultimately shift the way teaching and learning are done in schools. My experience giving two keynotes recently brought home my struggle to bring something of value back to school: one keynote was playfully interactive and went over well; the other was neither playful nor well-received–all I managed to do in that one was to scold people for not changing their practices enough in spite of whatever obstacles they face. My impatience was not helpful.

nasturtium gossip

When I told Bryan Alexander this over curry the other day, he –as he so often does–came up with an idea I’m mulling over. “Start a rural blog,” he said. “Chronicle the experiences of rural people trying to stay connected to the land while finding connection on the Web. I’d read that.” And so, this early morning, as I look over the top of my computer screen to the field beyond, I’m thinking I might just do that in the spaces between immersion in Digital Explorations and the book I’m writing. If I do, I’ll let you know where to find me.

so cute but they eat my chard

Dear Charles…

You’ve taken me to task. Rightfully so.

I thought of you yesterday as I spent a couple of hours with a remarkable group of students (some of whom you see here) who touched my life four years ago during the Project for Integrated Expression (PIE), a program I co-created and directed for incoming student leaders and artists, a program cut three years ago. last These final PIE participants, about to graduate, reminded me of the magic that can happen when you put as diverse a group of people as possible together with some powerful creative and intellectual challenges. They made me think of what Cory Doctorow wrote on boingboing a couple of days ago about Daniel Pinkwater’s novel, The Education of Robert Nifkin: “…the slow, delightful realization on Nifkin’s part that learning — especially eclectic, self-directed learning undertaken with your peers and with engaged teachers — is incredibly fun.” They made me think of your response to a recent post of mine:

Barbara,

I hope we all weren’t such acquiescent, diploma hungry minions. You are too hard on yourself. And wrong about us, too. Or maybe just me. Because I’d like to think that my battered notebooks past and present are filled not with the “easy” stuff, but with sloppy helpings of actual sustenance. The napkins are piled up; my belly is still rumbling. The lasting impression you left on me – and I know I’m not alone – speaks not to skinny learning. My time spent in EL 170 and my subsequent follies in writing and learning and teaching (you are an inspiration, you know? a frustrating and disorienting and gleeful prompter of my ideas and my role in the larger communities, personal and professional, I now call home) are more than polite forays from a “nice” Midwestern boy. I look at the relationship and knowledge we built in Rohatyn as a fat (and phat) helping of something real and caloric, stirred from prose and poetry and the interstices in-between. (Perhaps Carver’s slim words were an attempt at a diet…though he only urged me to eat on.)

What’s more disconcerting for me is that I now model my own teaching in large part on my Great Teachers, and that means, to a large extent, my experience under your tutelage. I fear to think that you were just scratching the surface. I’m curious: what would’ve the “really challenging spaces” looked like in EL 170? I ask because, shit, if you failed, then I’m doomed. Or maybe this is just another Mad Dog moment, a question and a silence and a chance for me to fill the quiet with my own answer. I’ll speak, but know your voice is speaking too. And that’s no failure.

You’re right. It is another Mad Dog moment. But I’ve been careless, too, perhaps to the point of recklessness in my critique of formal schooling as it is now. You’re not the only one dismayed. School has worked for some, especially for those who now work in schools. Makes sense.

A single experience, one teacher (in school or not), can help a young mind open to the world’s wonders. Absolutely. Some of us have extraordinary memories of teachers and classroom experiences. And it’s enough to provide the spark. We all need such teachers, absolutely. But do we need school?

seven

School as it is– twelve to sixteen years of desk-sitting for the most part, participating (some of us) in largely contrived discussions (I am, of course, generalizing), doing the same kinds of problems and papers year after year? Do we keep kids in school all in the hopes that somewhere along the line, they’ll have such an experience, such a teacher as you? Or two or three? If they’re lucky, or ready to be moved by the potential of that moment when it arrives? Or lucky enough to land in one of those fabulous little schools like Urban or Fieldston? Or like Pinkwater’s Nifkin, who “… is drummed out of Riverview and convinces his father to send him to The Wheaton School, a free-school frequented by beatniks, idiots, criminals, dropouts, freaks, and misfits.”

My loud shouting from the sidelines should not make you wince. We need you, Charles, in our classrooms as long as we have classrooms. We need creative, passionate teachers who can “sing from the chains” as Rita Dove describes the writing of a sonnet. I tried. And mostly failed–but I believe in making mistakes, in errors, in pushing past the comfortable. As long as my students were finding their way and not being dulled or altogether overwhelmed.

When the impact of even a one-week creative workshop such as the Project for Integrated Expression can have such a profound impact as it had on the group of young men and women who returned to my house yesterday–I can’t help but wonder what would have happened if they had spent less time throughout their formal schooling years in conventional classrooms and more time interacting with each other and the world through games and simulations and solving real problems with people of different ages and backgrounds. I love that in Vermont, you can still “read the law.” What if primary school were more like a cross between 826 Valencia and Zeum? Middle School like the North Branch School? Exploration. Collaboration. Communication. High school as a cauldron of problem-solving, a place that invites flops and sustained reflection and study of those glorious failures? And college as a combination of the slow (solitude for deep contemplation and reflection) and the fast (internships/apprenticeships/fieldwork within diverse communities) instead of being a tsunami of readings/tests/papers?
pickled eggs
What if we moved even beyond these modest shifts and questioned formal schooling as the sole avenue to accreditation?
What if we questioned what a teacher is and does? That we based our selection of teachers on curiosity, creativity, caring and sense of humor as much as on scholarship?

bg and students in the classroom, a typical day

Thanks, Charles, for reminding me not to run over great teachers and the positive parts of formal education in my zeal to explore other learning models. I’m now a year out of the classroom and still learning from my students–that’s as it should be! I hope that’s your experience as a teacher, too. Yes, I wished I had shaken things up more in my classrooms. Moved beyond the unclassroom, the unsyllabus, no teacher-grading to active engagement in the everyday world–using the skills we practiced together out in our local community, and learning more about writing and reading from those we encountered beyond the school walls. Adaptive expertise. Writing and reading and conversation and collaboration–way more collaboration–just as the PIE students experienced, to better ourselves, sure, but with the wider aim of bettering the world–now, every day, little by little.

Digital Explorations: If you’re looking for me, you’ll find me here

to be a bird here
After months of dreaming, planning and working flat-out with my merry band of advisors, board members and Fellows, and with the encouragement of so many of you, the new nonprofit, Digital Explorations is now officially launched online. What a nine months it has been–the gestation period has seen us immersed in a variety of projects ranging from storytelling in rural communities as a way to engage people in civic life, to helping mentor teachers trying to deepen creative learning experiences for their students in spite of NCLB, to developing our own workshops and taking the first steps towards opening our first Center for Community Digital Exploration.  There’s so much to share about what we’ve learned, to reflect upon, to puzzle over that I hardly know where to begin other than to share our site with you: Digital Explorations.

picture-22

From the website:

We’ve made it–onto our website–after a couple of years of dreaming from inside the walls of higher education about a different model of learning: townspeople coming together online and in person to share their collected expertise, their community-based projects, their processes through connecting, creating, collaborating and conversing–here, in town, online, and all over the country! From talking through the possibilities with The Fab Fearless Five and convincing my fabulous board and staff to join me in this adventure, to securing our first contracts and collaborations, I am thrilled by the response to our vision for bringing storytelling (both old and new), connective strategies (both old and new), and Centers for Community Digital Exploration into the heart of rural downtowns. We’d love to hear your feedback, your ideas, your wisdom. Let us know where you come across like-minded adventurers. We’ll keep you updated as to our news and projects, including our reflections on our work, our discoveries out there in the blogosphere, and our plans for future directions. Please wander about the site, read all about us, and let us know what you think!

Getting Ready for SXSW: Thinking Aloud

disappearing act

This coming Sunday, I will be joining Dave Lester, Gardner Campbell, Stephen Downes and Jim Groom on the Edupunk Panel at SXSW–wow, what a line-up they are–to chime in as one who left formal education to try a different approach to teaching and learning. To prepare, I’m listening to Janis Joplin (childhood), Joni Mitchell and Neil Young (high school) Patti Smith (college years), Ani deFranco (now) –(“i speak without reservation from what i know and who i am. i do so with the understanding that all people should have the right to offer their voice to the chorus whether the result is harmony or dissonance, the worldsong is a colorless dirge without the differences that distinguish us, and it is that difference which should be celebrated not condemned. should any part of my music offend you, please do not close your ears to it. just take what you can use and go on.”)

All offer me lessons in moving across media, across boundaries, across voices while speaking out, while acting.

from inside the barn

In some ways I am an odd duck here as I am no longer edu-anything. I am not working with schools to shift their approaches to teaching and learning–I’m interested in what we can teach-and-learn without schools as we know them now. I’m working with five rural communities to help them design storytelling projects as a way for them to honor and learn from the past, understand the present, and to create actively across community divides, the future. I’m also dreaming up centers for community digital learning as third places where kids, elders, and everyone in-between can offer and take workshops/discussions/seminars–whatever they decide–to explore new media/social media practices and their impact on community life and learning.

winter dream

I spent some 25 years teaching– at the secondary school, community college, and liberal arts college levels. I grew up inside a school. I have children who have journeyed through public and private educational institutions, one who never wants to go back to school now that she has graduated summa cum laude/ phi beta cappa from a prestigious college, and one who attends a progressive college within a five-college consortium and currently taking classes at four colleges. I am passionate about learning. I thought I knew a thing or two about teaching-within-the-confines-of-a-school-as-writing-a-sonnet. Some of the particulars about those years of which I was especially proud:

  • Embracing the creative process as fundamental to deep learning. In creative writing courses, my students would dance or drum their poems, or make play-dough versions of stories, or use color only to plot a narrative, and write image-only stories as well as write multimedia narratives and essays. We talked about writing counter to our well-worn inclinations, as a way to surprise ourselves out of our ruts–clipping bits and pieces of stories to actual clotheslines, for instance, and walking about inside the characters’ lives, for instance. I encouraged students to employ these processes in all of their writing, across the disciplines. I thought of myself as disruptor
  • Believing in less-is-more. To watch my daughter valiantly try to read over 600 pages a week just to fulfill her assignments–and she loves every one of her classes, at least what they purport to be and do–makes me furious. What of all this mass of reading will she think deeply about? Will she retain? She is a docent at one of the college museums, making podcasts of conversations about the works of art, writing the actual catalogues and captions–learning about art through being in art. None of her classes has her engaged in such learning. Not one departs from the read-discuss-test-write cycle. Only one course my other daughter ever took at her college departed from that cycle–the only course she loved. Why do faculty continue to assign ever more reading/tests/writing–now adding blogging, online discussions to the pile instead of ditching this approach altogether
  • Viewing every class group as a community experiment. I put in place the opening strokes of a syllabus and then we built the course together from there–how did I know what they would want and need to learn? How presumptuous and arrogant that sort of teacher-as-sole-course-designer stance is, how infantilizing of our students. In designing the course, they had to think about what it was they didn’t know and wanted to know and how we might go about engaging with those things. Did they like this approach–no way, not at first. Some thought I was out of my mind; others that I was lazy; others that I didn’t know what I was doing. They were placing the responsibility for their education on me. In preparation for them to place responsibility for their towns, states, country and world in the hands of others, yes
  • Grading as an opportunity for the class to come together and decide on how they would succeed in their learning journey–what excellence might look like at their novice level, how they would evaluate their work together and as individuals, and what role I could play to help them
  • All classrooms as having windows wide open. We invited subject-specific experts, casual readers, our families and friends–everyone and anyone– into our courses via blogs. We learned to engage with a range of people on the topics we had set out to explore. We learned to engage with one another intensely yet respectfully under the gaze of the public. Sometimes we failed, and we learned from those glorious failures
  • Indeed, we saw deep learning as willing to take risks, to experience glorious failure. The goal was to try to do things we couldn’t already do.

marvel of nature

Sounds pretty good, yes? I thought so. Ha.

I have never learned so much about teaching and learning; about systems and institutions; about active, deep engagement and participation–about reciprocal apprenticeships and Do-it-Yourself learning ; about the power of less-is-more; about the damaging effects of the cult of the charismatic teacher; about creativity’s role in learning–as I have in the nine months since I left school.

Some early lessons I might offer on Sunday that on surface do not sound edupunkish at all but on closer look are, I believe, profoundly subversive where we’re talking about school:

  • Even less is even more. Slowing down, being playful, laughing, going deep. School has programmed us to expect outcomes, tangible results, blueprints to follow, measurable results. We skim, skate and race across the surfaces. What a waste of time. Effort. Energy. What has happened to common sense, on the one hand, and to a spirit of wandering, on the other. Why do teachers make up syllabi (I do not make up community storytelling project plans)? Why do teachers continue to grade (I do not evaluate the outcomes of the storytelling projects–I evaluate my own work)?
  • Belonging. How essential a concept that is, with its spiral meaning. Belonging to the moment, the group/network/community, the experience; and they belonging to us. Peter Block writes about belonging in his book, Community: The Structure of Belonging: “It is membership, the experience of being at home in the broadest sense of that phrase…To belong to a community is to act as a creator and co-owner of that community. What I consider mine I will build and nurture.” (p. xii) Take responsibility. How can we expect students to do so if we are constantly telling them what to do, what to read, what to think and how?
  • Engage our full creative selves in every learning situation. If we privilege textual expression, we lose fundamental ways of understanding, connecting and bridging. I’ve learned a good deal from watching Nancy White in action, her journey into non-verbal approaches to understanding, communication, and creative thinking
  • Listen. Listen some more. Patience balanced by impatience. Sitting still and moving fast. Daring to try, daring to refuse.

As I deepen my work with communities engaged in the Orton Family Foundation’s Heart and Soul storytelling projects, I see how powerful paths are, and how well-worn paths soon become ruts. And I’m talking about my own approaches here, about moving beyond verbal language to the visual and kinesthetic while refusing to offer easy scaffolds, blueprints, recipes for success.

Here, for example, is the wiki from my most recent four-hour workshop. Note the absolute absence of slides–I never turned on the computer during the workshop–released from computers when we’re together; using them actively when we’re apart.

“What do we know but that we face
One another in this place.”

(from WB Yeats “Man and the Echo” beautifully remembered by Gardner Campbell at the end of the final edupunk-talk video with Jim Groom)

into the snowy curve