Tag the soul of teaching

Remarks for 2014 HerStory dinner: Four steps to living a life of purpose summarized in eight minutes

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First, I am delighted to have the honor to speak to you this evening. Friends, faculty, staff, family members, our leaders, President and Mrs. Machtley. This dinner is one of my favorite events here on campus. I leave here feeling recharged and reminded of how blessed I am to be in the company of such exemplary young women and the brilliant, talented and dedicated staff and faculty that bring us all together. Thanks from all of us for the tireless efforts of Toby Simon, Carolina Bogeart and many many more people who make this event happen.

So, I am going to take advantage of this opportunity to share with you, for the first time ever on this stage or any other, my four-step formula for living a good life in just under ten minutes. Based on a lifetime of research and reflection, I will lead you quickly through these steps and hope that you find something valuable and true in what I have to say.

To me, living a meaningful life is more important than anything else we may achieve or possess. My four points are to imagine, to contemplate, to visualize and to reflect. So, let’s get right to it.

STEP ONE Imagine all your possibilities. Living a life where you follow someone else’s dream cheapens the whole enterprise. You may have heard it a million times but it bears repeating again. Life is more amazing than you can plan for. As Alice Walker wrote, “Expect nothing, live frugally, on surprise.”

Don’t put off doing good or following a passion until you are rich and your children enter college. In my life, I have owned a computer consulting business and been a humorist and comedian. It is true that when I was 45 years old I debated whether to chase a career as a stand up comic or to pursue a PhD. To the great relief of my best friend, Tina Fey, I went the professor route and well, she went her own way. I still dream of being a back up singer in a girls group–think of the Supremes, the Shirelles, Destiny’s Child. Check this out—and sing along if you’d like—– ShooBop, ShooBop. I dream of being TechGirl, a superwoman in a cape who would arrive at the scene when your cell phone is dying and your computer seems to need an exorcism.

I have been a construction worker, an aide to the Governor, a child welfare worker. I worked at the state prison. I didn’t know that I was called to teach until I was in my mid-forties and didn’t understand my own sexuality until I was in late thirties. As I said before, one never knows.

But I have a strong creative spirit and I haven’t for a minute thought that I should drown these other interests so that I could be fully a professor. It doesn’t work that way. You are so much more than you know yourself to be at this age.

Of the life we may live, Marcel Proust wrote,

The only true voyage would be not to visit strange lands but to see the universe through the eyes of another, of a hundred others, to see the hundred universes that each of them sees, that each of them is.

Unlike many of your advisors, I will urge you not to focus too soon or too narrowly. Be everything. Pursue much. Think right now of something you have been passionate about that you have let go studying in school or moving down a narrow road. Go down that other path and embrace it. It’s what makes you special. In his lovely poem, Langston Hughes wrote,

Hold fast to dreams

For if dreams die

Life is a broken-winged bird

That cannot fly.

 STEP TWO Contemplate your galaxy and your orbits. As a sociologist and by temperament, I see the multiple ways that we are connected to people across the planet and back through generations. I think of everything that makes us what and who we are. I think of the people in my personal orbit and how they have influenced me. The steady hand of my now deceased mother who, as proud as she was that I graduated from college, would pull me back into her orbit when she thought I was wandering too far from my working class roots. Or the influence of my oldest friend in the world, a Trappist monk, who reminds me of how distracted my life can be, how far I can range from being fully alive. I think of my friends who have rescued me from deep dark depressions and those whom I saved from other tragedies, an attempted suicide, an abusive husband. I think about the mothers in prison that I’ve met and the children in foster care I have encountered who have fashioned my view of justice and right and wrong more powerfully than have my education and religious training have. These people are all treasures in my life. Think carefully about whom you allow to serve as your guide, as your northern star. Put people in that galaxy who can make you a better, more authentic, more compassionate person who can be challenged to do better.

And think about the gravitational force you exert on others and how you make them better and more loving, more caring, more cared about—or just the reverse. Be always on the search for inspiration; for people and books and ideas that feed your curiosity and push you away from complacency and self-satisfaction.

STEP THREE Visualize the person you would like to be. Even at my mature age, I think about all the potentials we are, all the projects we could begin, all the interests we can pursue. I must say that in many ways, the days that you are living now can be the most challenging times in your lives. We say that these are the best times of your lives but people your age face so much uncertainty. Whom will I marry? What will be I do for a living? How will this all turn out? This uncertainly was true when we were young and it is certainly true now. It is simply a stage of life.

Live your life so that when you are a bit older you can say that I gave it my all, that I was never bored, that I lived my life as if it were a profound gift, that I made beautiful use of the talents, all of the heart, all of the love that had been bestowed upon me. At the end of the day, I can solve that big equation and see that I gave away much more than I took.

STEP FOUR Reflect upon our bounded fates. I am certain that you have heard of Lean In by Sheryl Sanberg of FaceBook. What she means by leaning in is to take up challenges, to put yourself forward, to show them what you’ve got, girl! I’ve been thinking that leaning in is not sufficient if we really want to make a difference, so I tell a short story here. In my mid-twenties, I accepted a position at the state prison where I was the only professional woman in a decidedly male and macho environment. Six months into the job, it was time for my performance review, which determined whether I would keep my job or be asked to leave. My boss said, “Sandra, you’re well liked here; people find you easy to work with; you are very pleasant person; you are an excellent writer.” My gosh, I thought, this is going well. But then he said, “The BEST thing about you is that you think JUST like a man.” Amazed I was to hear this. Actually, I was so young and so undeveloped in my feminist thinking that I took it as a compliment, as a testimony to my, I don’t know, clear thinking, my lack of drama, my ability to understand sports metaphors? I don’t know really. But I know he meant it as a good thing, something that distinguished me from the rest of the women he thought he knew. And while I accepted the complement and was promoted soon after our conversation, I did nothing at all to convince him that I was NOT the exception, that plenty of women thought as clearly as any man, were as smart, and as capable, and in some instances, doing their work in more exceptional ways, just to be considered average. I regret my actions that day—leaving that “compliment” on the table and not making the situation right.

So, I want to propose is that you lean together, not alone; that you don’t just make the mark for yourself, but strive, as you move along in your careers and lives, to advance the case for other women and for others that you believe don’t benefit from easy privilege, and are not part of the insider group. You are old enough and savvy enough to know what I am talking about here. You know in your heart that some of us just don’t get the breaks we deserve–some of us don’t have access to the golden rings. And if you don’t know that, if you don’t feel that, if you think everything that you have you have earned entirely on your own merit, if you feel no obligation to others who have less but deserve more, then we have failed you in your education and I am sorry about that. In this world, it is impossible for us not to make a difference, good or bad. Martin Luther King, Jr. said this beautifully, when he suggested that we are tied together in the single garment of destiny.

As members of this generation, you have been given opportunities that are unprecedented in our history. With so many possibilities and so much promise, we expect a great deal from you. We want you to be happy, to put your talents to good use, and to see the world for what it is, a place of great magic and mystery and fun and hard work. You will be blessed with many gifts and more importantly; you will face challenges that without doubt will reveal your deepest character. You cannot escape this life without ecstatic joy and unbearable pain.

For the seniors in our audience, you know that we love you, that we will miss you for everything you have contributed to Bryant, for lighting up our lives, but more importantly, for the spirits that you are.

May all of your paths shine brightly and may you light the way for others. Thank you very much for your kind attention.

Speech delivered at Bryant University, March 31, 2014.

Imagine.Engage. Reflect. Repeat: Forty years of civic work

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An anniversary is always a good time to take measure of where we have been, where we are and where we might go. So, when I look ahead, Compact’s thirtieth anniversary next year provokes me to consider the arc of the work we do and to consider my own path within this larger story. Next year, I also mark a personal anniversary. In 1971, I joined VISTA, finding my way to southeastern Alabama for a year of service–a short 45 years ago. This year turned out to be the most determinative event of my life. From that year, I can trace an unsteady path from my sojourn in the south to my early career in child welfare and corrections to my later time at the Compact’s national office twenty years later to my current position as a faculty member. Throughout all of this work, one question has haunted me–whether working in the state prison or behalf of foster children or building houses in Alabama or teaching sociology at a private university: how do I understand what I am doing when I aim to be of service? And after decades of being in the company of some people who I think are the finest I will ever meet, I think this question haunts many of them, as well.

We could consider this question as a standard reflective practice—a way to understand our experiences—but I think it is much more important than a learning exercise to tick off as end a particular project. I think of questions like these as our life’s work, creating and calibrating the compasses we use to steer our hearts, minds and souls. I think about how the purest of intentions have formed some of our local, national and international efforts to do good and I have to consider why and how these so often go awry. I think about how those of us who do this work appear to those whom we aim to help. In my own experience, I think about how a ragtag group of twelve long-haired young people from the north looked to the poor black folks in rural Alabama when we showed up to “help.” I reflect upon what their white neighbors may have made of us and our intentions. So many decades later, I can still hear the echoes of those conversations when my host family asked, “Didn’t your family need you at home?” or when the waitress at the restaurant said to us, “Things must be very bad down here for you to trouble yourself to come all this way.” All those misunderstood motives for our being there put me on a path to question my own reasons and purposes for service.

That year of service taught me many things, most of which were most likely not the part of any administrator’s strategic plan. Our planned projects—building houses, organizing the community improve the distribution of commodity foo, extending family planning—became so complicated and difficult that I finally understood that the art and science of helping and bettering the world was much more complex than simply planting that disposition in one’s heart. The challenge was to not allow those difficulties and complications to stop us from doing what we believe ought to be rightly done. This is as true on our campuses today as it was in rural Alabama forty years ago.

There are many benefits to being a member of service-learning and community engagement communities. I have never worked in a field where there are so many individuals to emulate. I find myself taking on mentors who have no idea I have chosen them to guide and enrich my work. One of my heroes, Ira Harkavy quoted Chilean sociologist Eugenio Tironi in a recent speech.

The answer to the question “What kind of education do we need?” is to be found in the answer to the question, “What kind of society do we want…If human beings hope to maintain and develop a particular type of society, they must develop and maintain the particular type of education system conducive to it.

This point is a critical one if we in higher education believe we have something to offer to the public, as a public good, well beyond career training and a narrow agenda. And, I would argue, well beyond mandatory community service projects and days of service. What I have learned after two decades in this field is that we need to be both ambitious in our aims and humble in our approaches. I will try to make these points as clearly as I can. First, I have been thinking deeply about what we need as citizens and members of our communities to be full-fledged members of our community. In teaching sociology at Bryant, I try to help students understand all the ways that their lives are implicated in the lives of others. So, we think about ways to be more conscientious in what and how we consume, to be more thoughtful about philanthropy, to be better informed about public events, to be careful researchers, to design new approaches to social problems, and to be accountable for our actions, especially those meant to do good. This is what I meant about ambition or maybe, more correctly, vision. It is just too easy to keep doing what we have been doing without considering how we might take on more. As Tompkins reminds us,

 The classroom is a microcosm of the world; it is the chance to practice whatever ideals we may cherish. They kind of classroom one creates is the acid test of what it is one really stands for.

Onto my second point. The lesson here may seem remote. A recent article in the New York Times traced the impact of the campaign to distribute millions of mosquito nets to eradicate malaria—an effort that has had multiple unanticipated negative consequences. Play Pump met with a similar fate. Great excitement over a cool idea. Millions of dollars to ramp up and spread this innovation. Six months later, most pumps were out of service and residents were left with less access to water than they had before the pumps were installed. We don’t have to go to far off regions to find other instances where our own intentions went away. As I wrote earlier, these issues are complicated. This is not to say that we are not obligated to do much better and bigger than we do at doing good; the second lesson suggests we be as careful with the lives and life-spaces of others that we seek to help as we would be of our own lives and communities.

New York Times columnist David Brooks offers two paths for living a worthwhile life. The first, the well-planned life, is the one we typically suggest to students–that they find their passions and follow these. We argue that it is only when we are deeply inspired by own dreams that we accomplish anything of significance. Brooks suggests an additional path, which he calls the summoned life. In contrast to the first model, individuals drawn to the summoned life believe that, as Brooks writes, that “life isn’t a project to be completed; it is an unknowable landscape to be explored.” And because of this, we have to be open and engaged to pose the questions that Brooks suggests, “What are these circumstances summoning me to do? What is needed in this place? What is the most useful social role before me?” To these questions, I would add, “And what can we do as educators to help students develop those visions, skills, and values that get us closer to the society we want?”

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.
Ingold, Tim. Lines: A Brief History. New York: Routledge, 2007.
Johnson, Stephen L. Where Good Ideas Come From: The Natural History of Innovation. New York: Penguin Group, 2010.
Palmer, Parker J. The Courage to Teach: Exploring the Inner Landscape of a Teacher’s Life. San Francisco, CA: Jossey-Bass, 1998.
Pink, Daniel H. A Whole New Mind: Why Right-Brainers Will Rule the Future. New York: Riverhead Press, 2006.
Scott-Maxwell, Florida. The Measure of My Days. New York: Penguin Books, 1983.
Tompkins, Jane. “Pedagogy of the Distressed.” College English 52, no. 6 (October 1990): 653-663.
Vygotsky, Lev. Mind and society: The development of higher psychological processes. Cambridge, MA: Harvard University Press, 1978.

On Diversity: Lessons from Diversity University

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For several years, I have been involved in the Diversity University event at Bryant University. Led by staff members, this challenge invites students to use creative means to tell a story about diversity that means a great deal to them. Because this university has a business focus, few of our students have any formal training in the arts. Courses that offer training in the arts and creative expression are few and far in between although  faculty members like Terri Hasseler, Martha Kuhlman, and others are making some inroads in our curriculum. The article shown below was printed in the online version of the Archway student newspaper at the end of the 2013-2014 academic year. The published article also includes some images from last year’s presentation of the students’  work at REDay (Research and Engagement Day).

Everything I knew about diversity, I re-learned (and more) at Diversity University

by Sandra Enos, PhD. Associate Professor of Sociology

Diversity can be a loaded term; it can be narrowly interpreted to cover those classes of people covered by special protections in civil rights laws—gender, race/ethnicity, religion, disability, sexual orientation. Or it can be so expansive and superficial that it undermines the real difference that our unique humanity permits and reveals. Similarly, the word tolerance is also problematic. It connotes a begrudging acceptance, “Yes, I will tolerate those people but that doesn’t mean I have to like them.” So, how do we talk and think creatively and meaningfully about embracing our differences and encountering each other as full realized human beings?

One challenge of living in a complex world is the disorienting realization that our lives will be characterized by a constant mandate to reconsider what it is we think we know about whole categories of people. There is a greater chance in this day of globalization and mashups that we will encounter others who may seem quite different from ourselves in culture, language, values, and heritage. And these encounters are, of course, a two-way street; while we are wondering what to make of these “strangers,” we can also imagine what it is they are making of us. And given the great shifts in our worlds, how do we know who we are? How do we remain open to seeing the great and grand differences among us, some of which matter deeply and others not at all?

Bernice Johnson Reagon, founder of Sweet Honey in the Rock and civil rights activist, writes of the difference between the comforts of home and the challenges of coalition building. What she means by the former is being among “our people,” when we can speak our minds, say what we mean with hardly a concern about starting a fight about contentious issues. Think about how freely you can talk about gun control, income inequality with some of our friends, acquaintances and family and how difficult that would be among others. Think of how hard it is to talk about race, sexual orientation, different abilities and social class in certain groups. The ease of being with like others is being a home, in Johnson Reagon’s terms. But little gets accomplished in these silos; it may be comforting but it is no way to get things done. In coalition building, a political act, we cross over those boundaries because we are trying to do something that is important to “our people” and others. We want to change a policy; we want to build a better community and to do so, requires the help and support of others. Reagon acknowledges the difficulty of this but suggests that communities can’t be built without those who can cross over. Some might call this radical empathy–ability learned through the experience of constructive encounters with difference where one’s emotions are raw and unsettled and where we confront beliefs that we may be uncomfortable acknowledging.

Over the past few years, students have used photography, film, sculpture, script, spoken word, song, music and dance to reveal what couldn’t be expressed otherwise. They have shared their experiences, observations and understandings and have urged us to break out of our bubbles to a deeper appreciation of the diversity around us, which leads me to the importance of enlisting our entire community in diversity. Like the book that inspires the title of this essay, I am going to list just four lessons that I have learned from my involvement in Diversity University over the past several years.

Let’s play: Build opportunities for creativity

I would argue that nothing worth learning can be learned just once. I would also suggest that difficult and challenging concepts like diversity may be best learned through experience and through art and creative expression. That is what I consider the genius of Diversity University, the staff-run event that celebrates diversity by challenging our community to present creative paths to diversity. Create these opportunities and our community, most notably our students, will rise to the occasion and exceed our expectations.

After being involved in this event for many years, I can state without equivocation that our students are hungry for opportunities to showcase their creative abilities and insights. And, as members of the audience, I can also say without fear of contradiction that the lessons that the students impart are powerful and compelling. We have featured these presentations at REDay where we have the opportunity to speak with the students about their work and its evolution. It is clear that students have worked long and hard; that the messages they conveyed were heartfelt and, in some cases, hard and challenging to express.

We are all teachers and learners: Students as teachers and leaders

We are socialized and oriented to do good. We are placed in sensitivity training groups and instructed to be welcoming and open. But, many people hear this as superficial externally imposed “political correctness” when these lessons should be much deeper. These lessons are not academic clinical ones; they are lessons that are about character and disposition. The “faculty members” at Diversity University are students with something to share and the talent and inclination to bring it to the Bryant community. I would suggest here that these lessons may be among the most powerful that our students will hear. Bearing witness to their own struggles or advocating on behalf of others presents our community with an “up close and personal” view of how these students see the world and encounter it. These are not worn out PowerPoints on diversity and why it is good for us; these are powerful expressions of the impact of stereotypes on our self-confidence, of the effect of being judged by others as inferior, and of the feeling of being invisible to others except as a code for “other.” We need to enlist these students and their projects in any of the work we do on diversity; we need to fully enroll them as teachers and leaders.

We are all learning and growing: Fixed and flexible mindedness

Underlying the premise of Diversity University is a belief that we can change and that we are constantly changing. This embraces the idea of a growth mindset and challenges the premise of a fixed mindset. With a growth mindset, we believe that individuals can open their minds, find lessons everywhere, question their deeply held assumptions and learn from failure—all on a path to growth. A fixed mindset suggests that we are stuck with the talent and beliefs that we have, that in-born dispositions prevail, and that one can’t change human nature. The students who present at Diversity University speak eloquently of their own growth, how their ideas have changed and developed, and how their encounters with others have fashioned them into quite different people than they were just a year ago.

We all count: Rendering the invisible visible

It is too easy to see a community like ours as unitary, where the majority rules. Many of the presentations at Diversity University point our attention to the great variety of people in our midst. Images and interviews with individuals who escape the attention of our “official” cameras and press help us to understand that everyone has a story here and that many of those stories challenge the popular premise that Bryant is a business school where students learn to be managers and where few are creative or imaginative. By seeing the creative chops of our students—whether it is Amanda Spaziano’s brilliant spoken word, Kendra Hildebrand ‘s beautiful mannequin sculpture, Rohan Vakij and Benjamin Heineneyer’s compelling Humans of Bryant, Mikayla LaRosa’s provocative documentary or Migena Dulaj’s lovely media assemblage or any of the other presentations we have seen over the years—we affirm a richer, fuller and complicated cultural and social identity for our community.

Diversity University presents us with great opportunities for growth—faculty, staff and students. The call for presentations goes out in the spring semester for an event in late March. It is never too early to imagine what you could do. What does our community need to learn from you? What creative talents are you eager to share? Please join us next year!