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Extraordinary Heroes

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We are surrounded by extraordinary heroes. Here are mine. Do you recognize their names? 

Ramsey Orta

Feiden Santana

Jamil Dewar

Karina Vargas

George Holliday

Darnella Frazier

No, these are not names of unarmed black men killed by officers of the law. Every one of these individuals was behind a camera photographing a black man, woman or a teenager being beaten or killed by police officers.  

  • Randy Orta captured the choking death of Eric Garner in 2014. 
  • Walter Scott’s murder was photographed by Fieden Santana in 2015. 
  • Jamil Dewar and Karina Vargas shot videos of 22-year old Oscar Grant in 2009 when he was killed at Fruitvale Station.  
  • George Holliday’s video captured Rodney King’s beating in 1991
  • Seventeen-year-old Darnella Frazier took the footage of Derek Chauvin pressing the life out of George Floyd in May 2020. 

I believe that these individuals are heroes.  With courage and composure, not certain of their own safety, they recorded events as they transpired — for others to see and maybe for justice to be done. If it were only so simple. 

Watching these videos should sicken us. The video of the the casual evil that we see in the George Floyd’s killing shines a glaring light on the use of police powers on unarmed black bodies. This imagery has enraged millions of people who have viewed it.  Are these videos so powerful because white people are seeing the violence for themselves, as if Black witnesses to these daily onslaughts are not to be trusted to articulate their own experiences?  

And, as compelling as these videos are, they don’t tell the whole story.  I would like to challenge filmmakers and truth tellers — ordinary heroes — to create and chronicle compelling accounts of other tools of oppression, just as powerful, just as corrupt and perhaps, even more effective as tools of subjugation and marginalization. 

Where’s the Money? I am arguing that we need compelling videos of board meetings where bank presidents plan to hide drug money, fueling not only the delivery of drugs into poor neighborhoods but also enabling the War on Drugs targeted at these communities. I also want to see how banks and financial institutions loot black neighborhoods.  I want footage of the ways in which generations of policies—corporate and governmental — have robbed Black families of opportunities to create wealth.  I want to watch the way payday lenders congregate in these neighborhoods and how banks serve communities of color so poorly. I want to watch the mechanisms that work to pay black men sixty-seven cents for every dollar a white man earns.  I want to see the STOP those stark differences in wealth where the typical white family holds $171,000 in wealth and the typical Black family owns $17,000 come from.  We know that without wealth, families and communities are bereft of safety nets of their own, relying on inadequate, ineffective, and punitive streams of public and private assistance.


Democracy under attack. I am also looking for a video that shows clearly the instruments in place for denying and suppressing the right to vote for people of color.  We need to cast a bright light on town halls and city meeting rooms and sessions of law makers for that video. As dull as gerrymandering may be to examine in process, I want to see the “room where it happens” where voters are sidelined into voting districts that work to undermine the principle of one person, one vote. I want to see it in full color how publicly elected officials undermine the democracy they are supposed to uphold. I want to see how a made-up threat of voter fraud masks the work of taking away a central right of citizenship. 

Ideology. I have been thinking about the genealogy of ideas in America.   What does our family tree of ideas about race look like in America? What is the root of all the ideas we have about race? About people of color?  And what do those ideas begat? And what actions? And what narratives? How do understand our own minds, our biases, our baked-in-the-cake regimes of superiority and inferiority. The hardest footage to capture is those stories and narratives put in place by those in power, our nation’s creation myths, that suggest that the status quo is the nature of things. That hard work makes you successful. That we are playing on an equal playing field. That white folks earn everything they get. Those powerful ideas that explain to us why some of us are at the top of the hierarchy and others at the bottom. White folks can’t understand what it is like to be Black in our nation; we hardly appreciate what it is to be white. 

We need ordinary heroes to tell these stories and others about housing and health care and criminal justice and education. To be sure, we need new tools to fight this fight. We need Oppression Impact Statementswhere we carefully critique and understand the impact of our laws and policies on vulnerable communities of color. We need to understand that even if our ancestors didn’t hold slaves, our ancestors benefitted from programs that advantaged whites and sidelined Black opportunity. And to be sure, white guilt is not the key here. Taking responsibility is—for creating a complete accounting and imagining how we address the wrongs that have created our present. 

Post-script. Darnella Frazier was issued a special award and citation by the Pulitzer Prize board for “courageously reporting the murder of George Floyd, a video that spurred protests against police brutality around the world, highlight the crucial role of citizens in journalists’ quest for for truth and justice.

Why Martin Luther King, Jr. never gave his I Have a Business Plan Speech

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Unless you put yourself on news diet in higher education or have tossed out all the emails from your university, you’ve been deluged with news about the new kids on campus, innovation and his big brother, disruption.  The innovation movement influences the naming of buildings, the funding of new initiatives, the design of curricular offerings and the branding of programs for our students. What I want to address here is not technological innovation, machine intelligence nor the rise of the robots; I want to address social innovation.  As a twenty-year student of civic engagement on campuses, I’ve been tracking the introduction of programs in social innovation and social entrepreneurship across the country. As chronicled by Ashoka U, more courses are being taught, more faculty are on board, more programs of study are being created and more campuses are signing up to be Changemaker campuses, forty-five universities here and abroad. All to the good. That is how programs are created and make their way into the academic mainstream. Like any new program or discipline that aims to make a place in higher education, problems are framed, claims are advanced, journals are founded, organizations are created, and work begins to establish a presence on campuses.

What is so new about innovation? In some flavors of social entrepreneurship, there is a claim that social entrepreneurship is the panacea we have all been waiting for, that it is new, that it is distinctive and that is far superior to other approaches to social change. In 2015, McBride and Mlyn offered their critique of social innovation’s embrace in higher education, privileging new ideas that will be birthed by our students, instead of carefully teaching them the skills that it really takes to put sound ideas in place—those civic skills and community organizing strategies. As they note, “Engaged citizens know the roles of public, private, and nonprofit sectors and the tools that leverage their work together”.

A recent article in the New York Times takes the recent batch of entrepreneurs to task for solving all wrong problems, those that address the lives of the privileged and connected, paying lip service to social improvement in a cynical use of the term “changing the world”. In Design: The Invention of Desire, Jessica Helfand berates the impulse to destroy, creatively or not. Is “nothing worth saving…is it necessary to start from scratch every time?” According to Helfand, the principles that should guide innovation are not clever branding schemes or the launch of programs that affect people’s lives with the idea that we should fail fast and fail often. As she argues, the values most important for innovation include “empathy, humility, compassion and conscience.” I just looked it up in Google; there is no app for that.

When we think about educating our students for lives and work in the 21st century, we must not neglect their lives as active members of their communities, whether they become volunteers, board members, teachers, social workers, philanthropists, artists, activists, opinion leaders, public officials or other roles.  In a recent issue of Humanities, Danielle Allen reminds us that we ignore our job to nurture “participatory readiness” in our students, preparing them for lives of civic and political participation. The role of arts, humanities and social sciences is particularly important here, although as scholar and teachers, it is also our job to create new tools that fit new social, economic and political challenges.

Fifteen years ago, at the behest of the leadership of the Campus Compact, I co-taught a year long course titled American Traditions of Philanthropy with Brown University Professor Ann Dill. We enrolled students from elite schools, from the public university, four-year college and community college, as well as a private college whose focus was business education and another private Catholic college. After a year’s worth of lectures and an end-of-the-semester community project, we asked students to article their philosophies of doing good. The students from the public four-year and community colleges stipulated that their obligation was to give back to the communities that had nurtured them by becoming teachers, social workers, and health professionals. The students from the business college believed that their role was to apply their management skills to direct nonprofits, which they believed were poorly managed. They contended that doing so would go a long way to changing the world. The students from the private Catholic university saw themselves empowering community members as citizens. Their role was as community organizers. Finally, the students from the elite universities characterized their role as thought leaders and organizational founders. They saw the current landscape of nonprofit organizations and government agencies as inadequate to serve and change communities; new organizations needed to take their place. These differences in how these students saw their roles in the world were striking—some as direct service workers, others as community organizers, still others as managers and finally others as founders and innovators. We need to be sensitive to the ways in which we empower our students and help them understand their agency in the world.

As we consider which students and campuses are in the community engagement and social innovation fields, we can ask which of our students are truly empowered to be social entrepreneurs? Which are delegated to do more direct service without much access to take up leadership or management roles? We should be clearer about these differences and understand to role of campus culture in citizen making.

Great examples of programs on some campuses aim to marry skills in developing and organizing resources, in working with teams, and with critical analysis. Students don’t create new enterprises until they have worked in the problem space. Students and recent graduates whose goals are social entrepreneurship need time “apprenticing with a problem” as Papi-Thornton characterizes it, understanding how organizations already in place define the problem and their theories of change. Working with others and against the current model of the entrepreneur as a single heroic individual develops the skills and orientations citizens need to truly make a difference.

Paul Light’s Driving Social Change reminds us that transformational change never employs such one tool. Advocacy without the passage of laws gets us nowhere. Volunteerism without a larger conceptualization of the roots of the social problems may be short sighted and misplaced. Without those who are preserving the social safety while others are creating new organizations, many would suffer. No question, we do need new blood and new thinking that addresses problems with which we have become too comfortable. I would argue that we should help our students understand that an array of tools is required for social engagement that improves the lives and communities. Students should understand the role of important books, films and other media that have brought issues to the fore, the role of the civil and the public sectors, the history and life cycles of social movements, and when and why a new organization should be created. Importantly, they can appreciate that a business plan is not a social movement. The anchoring of social entrepreneurship in some business schools has tied them to the business plan as the way to organize for social change. Business thinking that points to ramping up and scaling projects may not the best fit given the complicated nature of social problems. Context matters. Echoing many calls for increased civic education, students need to better understand the tools of citizenship and advocacy. We need to expand the tools students master for involvement in the community, not shoehorn them into narrow views of how change happens.

Dodging silver and other bullets

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Today, I nearly walked into the path of a car that was entering traffic from a parking lot. The driver was edging into the road and had carefully scoped out his exit. I am certain that he had looked up the street and down. I was the surprise—a blind spot—in his field of vision. He was moving south; I was headed east. One half-second earlier and I would have gone sailing over the hood. I am a small woman, somewhat fit and maybe athletic. I saw myself arcing in a gymnastic tumble, except, unlike those tiny bouncy teenagers who would land on their tiptoes, I imagine that my head would have hit the pavement first, a non-sanctioned Olympic move called The Double Concussion Flip and Fall. Moby’s Wait for Me was playing in my earphones and I was over-dressed on this sixty degree spring day.

To break my fall, I stretched out my hands. This failed and my chest hit the hood of the car; my head whiplashed back. I tried to resettle myself: What was I doing before I slammed onto the hood of this car? Where were my thoughts?

The driver waved his hands in apology; I waved back. It was like a silent movie. All gestures, no talk. I wanted to dance a bit, maybe skip in front of the car as I left the scene, just like Charlie Champlin would have. It was a magic moment. A minute before we had been invisible to each other; now we separate with a little memory, a shared story, and maybe a wee lesson, depending on our temperaments.

This encounter put my mind on the path of other near misses—a series of events that could have led to some serious trouble. I have sped through a stop sign late at night, distracted and tired. I have twice driven the wrong way down a busy street at twilight.. Earlier in that day, I would have without doubt faced a series of quickly moving cars, zooming up the hill. I would have been like a little cat facing the running of the bulls. We could all have been seriously hurt.

I have been in cars that have spun out, flipping on their heads in slick Alabama clay. I have been held up in Texas on a little walk in the good part of town. The man who did this looked upset enough to hurt me. I have dodged so many medical scares, that I am pretty certain that my health insurance company thinks that I messing with their premium calculation algorithm. I have had so many tests and been diagnosed with so many wrongly accused major illnesses,there must be a office pool somewhere betting on my demise. I could go on and on here but it seems with every incident I recount here, I am feeling both dizzier and bolder. With so much good fortune, a karmic calculation would have me dead pretty soon. As they say, I may be running out of good luck. Or maybe in that cosmic computation, or my good fortune comes at the costs of another’s unearned bad turn of chance.

Which gets me into the meat of what is really on my mind. Earned and unearned good fortune. the movie Funny Girl when Fanny Brice finds early renown, she says to her lover and supporter that she can’t be famous yet because she hasn’t suffered enough. I understand this feeling. It is that sentiment that much of what we have is unearned. I have unearned good health, undeserved energy, unnatural optimism. I don’t know if others feel this way about the gifts they have. I think we mainly focus on what’s missing.

It seems to me that most of us have experienced good fortune we have neither earned nor merited and of course, the reverse is true. The Just World hypothesis suggests just the opposite, that what we get is what we have earned. People are rich for good reasons, not trumped up excuses. People suffer in poverty because of bad choices. When we think about who is rich and who is poor, who enjoys good health and who falls to early disease, we frequently resort to this idea. We typically see great justice in the way of the world. It is comforting and somewhat cruel to believe that we get what we deserve. This is especially true if we believe in the power of individuals more than we do that of systems and structures. If we believe that through individual pluck and drive that the poorest child who has gone through worst schools can make it to Harvard and lead the world, we tend to be judgmental when they don’t. If we cannot see the advantage that birth and family and neighborhood bring to us, we probably believe that we are playing on a level playing field.

Twentieth century philosopher, John Rawls, suggested that in considering systems of justice, we imagine that we don’t know where in a social system we may stand. When we are making rules for running the world, we should evaluate them outside of our own interests. We should create systems that don’t favor or disfavor individuals because of race, gender, social class, national origin, cultural differences and so so. If a thought experiment like this were possible and if it could influence social policy, we would have be to convinced that we actually could stand in someone else’s shoes and represent their position fairly and respectfully. Hale doubts this can be done because of what he calls the veil of opulence—the blindness that we all have to the privileges of birth and position. We fall victim to the comfort of believing that if we fell on hard times, we would work our way out of it. The veil of opulence works like the Just World Hypothesis. It creates that delusional narrative that we are self-made, deserving human beings whose unearned good fortune insulates from caring more deeply from others who we see as not as worthy or deserving of what we have. Lots of us dodge bullets thinking we are lucky and blessed; not imaging that the cards are stacked in our favor.

From Penguin to Oblivion

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This essay was written at the end of June 2013 as the culmination of a course in creativity and play for professors at my university. As faculty development seminars go, this was certainly longer and much more engaging. If ever there was a teachable moment, this was it.

From the Penguin to Oblivion:
A Journey through the Creative Process

Introduction

“Wherever you are, there is somewhere further you can go.” Ingold

In this essay, I will redraw the path I took during the academic year (2012-2013) tracing a journey from teaching to play to creativity and back again. As Ingold (2007) observes, some journeys don’t simply take the traveler from point A to point B. Indeed, this story tracks a wayfaring walk where the sites along the way tell the tale as much as does the wayfarer’s scripted walk. This is not a journey limned by a GPS device. In fact, it is much the opposite. It is a walk that doesn’t map clearly or coherently. Until the end, perhaps, when the hero (me) understands the purpose and portent of the trip in the first place which is to take a different journey the next time and to have my students along for the walk. We could take the car or the bus with a guide setting out on a prescribed tour but that would be a different journey with another professor.

This is also a journey of discovery as a professor. Renowned educational philosopher, Parker Palmer, argues that we cannot teach without courage (Palmer 1998). In The Courage to Teach, he argues convincingly that professors need the courage to be ourselves in our teaching–no more, no less–but deeply ourselves. In taking up this challenge, he asks the most important question, “Who is the self that teaches?” He notes that many of us who choose to teach carry in our minds’ eye the image of “the” professor we wish to become—a brilliant lecturer, a compelling storyteller, the captivating theoretician, or the Socratic genius. However, as Tompkins (1990) notes, a focus on performance is on what sociologists call impression management can get in the way of student learning. Balancing those images with the mandate to be truly ourselves can set us on a journey of creative self-making and refashioning. It is hard enough to appear in front of a class of thirty young men and women, who are tamped down in the expectation of “another boring class,” determined to be more confident, competent and well-organized. To be more alive, more mindful, more fully realized, more authentically ourselves–maybe, that’s just too much to expect. As she writes,

The classroom is a microcosm of the world; it is the chance we have to practice whatever ideals we may cherish. The kind of classroom situation one creates is the acid test of what it is one really stands for (Tompkins 1990, 656).

I am a late career academic, joining the professoriate as a sociology professor in my fifth decade. I have a lifetime of experience in the so-called “real world” behind me, but not really behind but rather infused in direct and indirect ways. These influence my teaching and research, of course. As Florida Scott-Maxwell writes in The Measure of My Days,

You need only claim the events of your life to make yourself yours. When you truly possess all you have been and done…you are fierce with reality (as cited in Palmer, 1998).

Like many things done later in life, I have found learning to be a professor a steep curve. During this last academic year, I have taken the challenge—to bring my creative side to my classroom. This means making deeper and more inspired connections between the work I do off campus in music, photography, creative writing, community engagement, and other pursuits with my teaching, research and service.

As I will discuss later in this essay, I have long tolerated a division between my left-brain and right-brain orientations to the world and have found this a useful conceptualization of how one understands and approaches the world (Edwards 1979; Pink 2006). In the past academic year, I had decided to be divided no longer. Like Whitman’s Song to Myself where he rejects “resistance to the brain that divides,” (cited in Hyde, 211). I am seeking a way to bring a richer way of encountering teaching and the world I teach into the classroom.

In my application to join the Faculty Creative Fellows project, I suggested that I would be good candidate because I considered myself a creative person and was eager to meet with other faculty members to talk about how to be more creative in my teaching. I also wanted to work on a new course in the sociology of creativity, a long interest of mine. Finally, I was interested in developing a proposal to the administration at Bryant University for a commencement award that recognized creative expression, the first such award in the institution’s history. I jumped into this faculty development opportunity without much concern about the design or content of the yearlong commitment. I trusted our leaders, Bob Shea, Director of Faculty Development and Terri Hasseler, Professor of English and Cultural Studies, and imagined that the experience would be productive and enriching.

Jumping into play with one toe in the water
I can summarize my thoughts coming into the Creative Fellows course—happy anticipation. The course presented for me a way to use play and creativity to build a bridge from my creative side to my teaching side and back again. I must admit I have been hesitant to do this in any deliberate or well-considered way prior to this opportunity. My initial definition of play and creativity equated this with stepping out of my routines, my planned day, my left-sphere dominated brain and to let play evolve slowly perhaps, and steadily, or maybe, not at all. I see play and creativity as my counter weight to boredom and repetition, on and off campus. Buddha said that we cannot walk into the same river twice because of the nature of impermanence in our world and in our lives and I believe that this is the case for teaching, as well. I cannot to teach the same class twice—the students are different from last semester’s class; we are living in the world together and have common, yet different experiences; I may have just read an article that has me reconsidering my understanding of school reform, for example; I may be weighing the impact of some new research. I always aim to change the script but increasingly, I am interested in changing my role and my character. In wading through the daily business of our lives, we can play out our roles, superficially and alienated, as if the act of teaching was indeed a performance. Ask anyone who is pretending to be doing something in a half engaged spirit–like teaching–and it is easy (and painful) to feel deadened by a lack of imagination, energy and creativity. The drive to do something new and more authentic may take us back to play as inspiration.

As I participated in the seminar, these themes of divisions, categories, and tensions have reverberated through much of my work created for the course. As I trace my life’s path, I see multiple forks in the road. A sharp turn toward one direction, which in good time and order, sends me back the other way, usually by way of a long meandering, and not wholly conscious choice. In my career, I have had many jobs with few consistent themes. My life mirrors what Mary Catherine Bateson (1989) proposed reflected the lives of women—a composed life, not a straight line stretching from point A to Point B, but rather one knitted together with themes, where each age echoes another. I do see those themes in my creative work and my professional work but my mapping out of these developments suggests nests, networks, cul-de-sacs, dead ends, and tendrils—a far stretch from a planful, left-brained path where one step is a necessary and sufficient precursor to the next stage.

During my career and personal life, I have always been blessed by creative ideas, by flashes of work I want to do, of ideas I wish to pursue. In the creative exercises we been assigned, I had no end of ideas but I was always challenged to execute these in a shape that follows my early vision. This play-work to me is similar to the back- and forthingness of any endeavor. One takes a step, is blessed with an insight, sees how one thing leads to another or away from it, and waits for a shout of inspiration while deeply engaged in something else. The essential genius of the Creative Fellows project was that it has presented challenges to us to create something that wasn’t there before—not manifested anyway. Stephen Johnson (2010) writes about the long hunch—the slow evolution of ideas that seem to emerge one day fully formed when, in fact, the mind has been crafting and tooling those ideas on a slow course of development. With the “adjacent possible,” creativity comes with connections and communities, with broadly seeking inspiration and putting one’s toes and eyes in places where the unfamiliar is encountered. This is exactly where the Creative Fellows project brought me.

I loved the purposelessness that was part and parcel of the instructional design in this course and found myself turning toward the projects that Professor Hasseler assigned as a meditative practice—to clear my mind in order to create something that the noise and busyness of faculty work in a complex organization typically drown out. Now, my challenge is turning a richer focus toward teaching and writing. STOP

The source of these ideas has been a lifelong tug of war for me between what some would characterize as right vs. left brain dominance, as intuition vs. rational analysis, as divergent vs. convergent thinking, as expansive thinking vs. more narrow working through. Play and creativity have always been for me a way to fashion projects for myself—inside the classroom and beyond it–that are both creative and intellectually challenging. Play creates the ideas and the insights and the work to get the project organized and moving ahead moves into another dimension.

A few years ago, I became a more serious photographer taking pictures of seaweed that had washed up after southeasterly storms on Narragansett beach. The images were lovelier and more stunning than I had imagined they would be. I decided to make a structured study of the seaweed, researching the genus of seaweed, identifying their characteristics, studying the geology of the sand, the shape of the tides, the lines and whorls of the water at the edge of the beach and writing about the history of seaweed on the southern New England coast. This all come together in self-published books using Blurb software. What was interesting to me was that taking the images AND researching their vocabulary added on a dimension to my experience of walking the beach that made it a richer, more compelling experience. So, although I walked the same walk for twenty-three years, it was by no means the same walk any longer. Experiences like this left me open and excited about play and creativity.

Seeing the forest and the trees
Like most non-artists or even artists who decide to move into another medium, I had a great fear and trepidation of making art. Reframing this as play made this work easier. I see some direct connections between play and creativity and productivity, not in the sense of efficient production of work but instead in the fomenting of ideas I am interested in pursuing. So, the obstacles that I can typically put in my way of doing the work I should be doing can be readily enough managed if I allow myself the place and time for the joy of play.
One obstacle for me is that I seek novelty. I love to learn new things and explore doing something new, with or without guidance, usually without, so I seldom move to a place of mastery in these fields. I like to improvise, to move along my own path of exploration. While I have been playing music for nearly fifty years, I am just now taking music lessons but I am realizing the power of a teacher to guide me through. That is embarrassing for a teacher to admit, I imagine.
Besides the time and place to create, I would add courage, not so much to make, but to share what has been made. Recently, I have shared some writing I have done with colleagues. The courage to fail, or to succeed, is less essential when one is committed to the private making of things and ideas. I think these concerns surface as real obstacles to building creativity into my daily routine. The sharing with a safe community would be a blessing. I know that I have certain creative strengths and struggle to be recognized for those; I also know that my personality keeps me modest and safe and not willing to grab attention for achievements.

Learning a new language to think about process
The projects we did in the course created opportunities to provoke thinking about presenting ideas and concepts. Through the mapping and genealogy exercises, I struggled with using new media (new to me) to tell stories I have telling myself for years. However, with these new challenges, I discovered important insights that hadn’t surfaced previously. My aim in The Begats was to create a structure of lines around objects and people that would knit together a divided self. I have often thought of this with me a central figure framed by two figures that represent that divided self—somewhat linked together with lines of attribution—sort of like an annotated paper doll. I did find to my great surprise that when I went to my collection of photographs for this project, I found huge holes—key events and turning points with no photographic trace.

The exercises we did in class–whether it was making pottery or drawing mandalos or map-making or genealogy–really stretched me. I understand that I was more “successful” in some exercises than I was in others. In some, I didn’t understand the instructions as well as I could have; in others, I was hesitant about my ability to draw or add color. The lessons here for me were profound with a link to Vygotsky’s work (1978) on the zone of proximal development work and its implications for scaffolding in teaching. I understand more clearly why and how hard it is for students to understand directions for projects they have never done before. I thought of the craft of learning my discipline of sociology and how so much goes on in learning vocabularies and conceptual organization of ideas. I also learned here that like me, students are afraid to fail. Finally, in terms of my own work with the exercises, I recognized that I create the idea of what I want to do and find it frustrating to understand how I am going to bring that vision to reality. My talent fails me, unless I work it over and over again. Perhaps, we don’t as mature professors and adults believe that we can reach out to new fields of endeavor, experiment, and go beyond our comfort zone, fail, and try something else. And perhaps, in our traditional teaching, we have passed on that unfortunate premise to students, as well.

The courage to change back to me
It is hard to make art when there is so much in one’s mind about the process and the product. This class has pushed me to carefully consider the “monkey mind” and the act of work and play. I have taken several classes on memoir writing and have tried to teach myself to draw, as well. For a while, I was writing humorous pieces and getting them published here and there. I have also recently taken up the mandolin—the first time in my life that I am taking music lessons—and will join an ensemble this summer—screwing up my courage here to show what I have learned and can do.

In the creative process, I work hard to mold and re-mold. I love creative insight when no march down a linear path would have gotten you where you wanted to be—someplace new. As a result of this course, I have more confidence in my creative energy and interests—not necessarily my talent–but instead a deeper focus on the questions and practice around the creative process, not only as it applies to my creative work—poetry, photography, social problem solving–outside of the classroom, but in the classroom, as well.

The whole nature of play with other faculty members was enormously engaging for me. When I had the chance to listen to other faculty talk about their fears of failure, of performance anxiety, it helped me to understand the nature of my own hesitancy to create, think, and act outside the boxes we typically create to manage our self-images as professors, as experts in our disciplines, and as creators of learning opportunities.

The wayfaring way forward
I intend to use a new course (The Sociology of Innovation and Creativity) that I am designing as a touchstone for the lessons I have taken away from this experience. This course will explore how ideas and innovation emerge in social settings examining some texts that trace the conditions that lead to great periods of innovation and creativity. We will also examine the characteristics of groups and organizations that frustrate or enhance creativity and problem solving. Students will develop a creative portfolio, examining how their skills, orientations and dispositions to creative problem solving change over the semester.

As a teacher who considers herself creative, I know I can do more in the classroom to encourage students to be more creative by scaffolding ways for them to develop their “creative” muscles.

I will be applying for a Faculty Innovation Grant to support a new project that develops toys for poor children to address the issue of “toy deserts” (Bellafante 2012). This project can readily adapted to use in my courses, to build creative problem solving skills in students. Finally, I hope that the Creative Fellows can work with other faculty to further build and sustain this work on campus. Can we create some supports on campus that celebrate and push our creative selves? Can we develop a community of practice? A flash mob? A pick-up band? An informal group of faculty that can work across disciplinary boundaries and come together around projects of common interests and new ones, as well? As Ingold noted as the start of this essay, no matter where you are, you can go further. That is the key lesson here for pedagogy and practice that emerges for me in this creative adventure.

Works Cited
Bateson, Mary Catherine. Composing a Life. New York: Grove Press, 1989.
Bellafante, Ginia. New York Times, 2012 8-December.
Edwards, Betty. Drawing on the Right Side of the Brain: A Course in Enhancing Creativity and Artistic Confidence. Los Angeles, CA: J. P. Tracher, 1979.
Hyde, Lewis. The Gift: Creativity and the Artist in the Modern World. 2nd edition. New York: Random House, 2007.
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Johnson, Stephen L. Where Good Ideas Come From: The Natural History of Innovation. New York: Penguin Group, 2010.
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