Teaching The Story From Day One

I’d like to share with you what I learned from teaching a middle school class called ‘The Story From Day One,’ which integrated mindfulness, visualization and inquiry exercises with the language arts curriculum.

We often teach myths as merely literature, divorced from the cultural, spiritual, and historical context. But we pay a price for this approach. It limits the depth of meaning students can derive from their study.

Combine this with the narrow focus on the now that social media can foster, and students easily feel isolated on an island of self, cut off not only from their contemporaries, but from a sense of the continuity of life. They have little grasp of how their lives today emerge from yesterday.

Kieran Egan, educator and author, advises in his wonderful book Imagination In Teaching And Learning: The Middle School Years, to design lessons with a narrative structure, understanding not only the skills and knowledge we want to develop but the transcendent qualities in the subject studied.

To excite students, especially middle school students who are still close to, if not seeped in, this age of magic, and who have a natural yearning for adventure and awe: Use stories of facing the extremes of reality and limits of experience, of heroes braving dangers and encountering wonders, to connect to and utilize students’ romantic imagination and emotional awareness to better understand course material.

A good way to begin is with Gilgamesh, the protagonist in the first written epic story, recorded sometime around 2100 BCE. Gilgamesh is the first literary hero, actually the first greatly flawed superhero. The story also introduces a precursor to the biblical Noah and the flood, as well as central themes that have filled literature ever since.

First There Was Breath, Then There Were Words, Then There Were Stories.

The first step in teaching mythology, literature, and language is to create the space in the classroom so language comes fully alive to students. Where they feel as well as examine what they say and read.

 

To read the whole post, click on this link to the ImaginEd website which published this piece.

Engaging Students’ Imaginations in Their World: Some Features of Imaginative Ecological Education

A Guest Blog By Gillian Judson

 

Imagination and Place are two concepts that are rarely given the educational importance they are due. Each is often considered, for different reasons, peripheral to “real” learning and the work of mainstream schools. And yet, it isn’t difficult to stir up support for either one. There are obvious benefits of imagination for learning and many teachers are open to learning more about how to connect their students to Place, because, among other reasons, they see the value of developing students’ ecological understanding—a sense of connection with and concern for the natural world—or, increasingly, because they are being mandated to do so as part of their teaching. In addition to being of interest to teachers, if one knows where to look, there is theoretical and practical support for centralizing both of these neglected educational concepts in one’s practice.

 

Dr. Kieran Egan’s (1997, 2005) theory of Imaginative Education (IE) provides a theoretical framework and rationale for incorporating students’ emotional and imaginative lives in teaching and an extensive range of resources to translate this into practice. In IE, content is shaped in ways that connect to the imaginative and emotional lives of students. Imagination is acknowledged, thus, as one of the main workhorses of learning and not just a “hook” for grasping students’ attention. Similarly, there is an increasingly broad base of literature indicating the theoretical importance of Place and Place-Based Education (PBE) for cultivating ecological understanding and practical means for doing so. Bring imaginative engagement and an interest in Place together and we enter the new pedagogical terrain of Imaginative Ecological Education (IEE).

 

Three principles—Feeling, Activeness, and Place—guide an imaginative and ecological approach to teaching (Judson, 2015).

 

Feeling

In order to know how to imaginatively engage their students with a topic teachers must, first, be imaginatively engaged themselves. This puts a spin on the idea of creating “wonder” in the classroom. Indeed, what it suggests is that teachers find, first, what it is that evokes their sense of wonder. This is the emotional connection that will then inform all subsequent planning for teaching. This is the source, often of “the story” on a topic, the emotional and imaginative insight that will inspire the way the teacher shapes her teaching. What the teacher’s initial engagement does is allow for the introduction of the topic to the student in an emotionally and imaginatively engaging way. The teacher’s role in choosing what aspects of a topic to introduce—when and where—is part of all classroom teaching. An IE approach simply makes the teacher’s decision about where or how to begin be informed by emotional and imaginative interests first. From here she uses her knowledge of the ways her students engage emotionally and imaginatively with the world around them, to shape her teaching in a way that leaves students feeling something about it. She employs tools of the imagination—what Egan (2005) calls “cognitive tools”—to engage her students in discovering the wonder in the topic.

 

Activeness

It is important to consider that simply being outside or doing things outside will not necessarily contribute to learning or to students’ sense of connection to nature (Blenkinsop, 2008; Takahashi, 2004). In IEE the aim is to cultivate what Arne Naess (2002) calls activeness. Activeness describes a profound internal form of relationship we can cultivate with the natural world that has the most potential impact on our understanding of nature. “To do a great many things is not enough; what is important is what we do and how it happens. It is those of our actions which affect our whole nature that I call activeness” (Naess, 2002, p. 76). Rather than a form of physical activity, activeness may be better characterized as “lingering in silence” or as “pause” (Naess, 2002, p. 2-3). Our somatic engagement in the world, the attunement of our senses with our surroundings and the engagement of our sense of pattern, musicality, among other tools of the body, contributes to activeness.

 

Place

There is a rich body of literature in PBE that discusses the educational value of students’ engagement in the natural world for making their learning meaningful. It is also argued that a long-term sense of care for the natural world and a sense of connectedness within it stems from direct, physical engagement in nature as a child. So, unlike most pedagogy created in the current climate of objectives-based teaching, IEE is teaching situated. It is connected to the local natural and cultural contexts in which students live and learn, through engagement of the imaginative means in which human beings make sense of place. IEE also considers place-making in imaginative terms; we are imaginative and emotional beings. We use our imaginations in making sense of the world around us. Through the engagement of place-making tools—the sense of relation, the formation of emotional attachments, and creation of special places—increased knowledge of place (including, for example, knowledge of flora and fauna, geological and cultural history, etc.) is paired with affective engagement.

 

Place-making Tools

One of the imaginative means through which oral language users develop a sense of place is through the formation of emotional attachments with particular features of their immediate environments as well as with particular processes or rituals they experience on a frequent basis. So, for example, the teddy bear or “blankie” contributes to the child’s sense of self and world, offering a needed source of comfort and security. That is, children often grow very attached to objects of permanence in their environments. The young child’s sense of self and place is often blurred, as they experience a highly participatory form of engagement in the world as oral language users. In addition to emotional attachments to objects, shared processes or rituals contribute to the child’s sense of belonging in a place, to the meaning of the place and what sets it apart in the child’s mind. One sees, of course, in the adult world, ways in which shared rituals or customs continue to contribute to the sense of place and one’s sense of belonging (e.g. raising of a flag or customary patterns of interacting).

 

Older students will be imaginatively making sense of a situation in ways that reflect their growing sense of an independent, separate reality. In terms of place-making, one notices more direct attempts by children to create special, and often personalized, places of their “own” as in forts and hideouts, personalized lockers or decorated bedrooms. The creation (or also discovery) of special places support a child’s attempt to deal with a new sense of reality by offering a secure place in which he often has autonomy and from which he can creatively—and safely—explore wider social, cultural or natural contexts. Place-making now seems to coincide with more direct forms of creative engagement in the world. A central premise of IEE is that by employing in our teaching, the place-making tools that students are already using to make sense of their situations, we can engage imagination in place-making as part of any unit of study. [For more information on cognitive tools of place-making see Judson (2010), or Fettes & Judson (2011).]

 

Concluding Thoughts

IEE offers means to teach a rich and varied curriculum in ways that acknowledge and nurtures the imaginative life of every child. I hope this far-too-brief introduction to imaginative ecological teaching principles and practices leaves you curious to learn more. (The IEE website: www.ierg.ca/iee or IEE posts).

 

References

Blenkinsop, S. (2008). Imaginative ecological education: Six necessary components. In G. Judson (Ed.), Imagination 360˚: Effective learning through the imagination (pp. 139-148). Rotterdam: Sense Publishers.

Egan, K. (1997). Educated mind: How cognitive tools shape our understanding. Chicago: University of Chicago Press.

Egan, K. (2005). An imaginative approach to teaching. San Francisco, CA: Jossey-Bass.

Fettes, M. & Judson, G. (2011) Imagination and the cognitive tools of place-making. Journal of Environmental Education, 42 (2), pp. 123-135.

Judson, G. (2015). Engaging Imagination In Ecological Education: Strategies For Teaching. Vancouver, B.C.: UBC Press.

Judson, G. (2010). A New Approach to Ecological Education: Engaging students’

imaginations in their world. New York: Peter Lang.

Naess, A. (2002). Life’s philosophy: Reason and feeling in a deeper world. Athens, GA: University of Georgia Press.

Takahashi, Y. (2004). Personal and social transformation: A complementary process toward ecological consciousness. In E. O’Sullivan, & M. M. Taylor (Eds.), Learning toward an ecological consciousness: Selected transformative practices (pp. 169-182). New York: Palgrave Macmillan.

 

About the Author

Professor Gillian Judson is a consultant, researcher, and educator from Simon Fraser University, teaching courses in cognitive styles, environmental and imaginative education, and the awakening of wonder. She is the author of several books. Her latest publication is a co-authored book entitled Imagination and the Engaged Learner: Cognitive Tools for the Classroom. (Egan, K. & Judson, G. New York: Teachers’ College Press; 2016).

Education as Adventure

As a child, I dreamed of being an adventurer. My parents traveled every year to different places and countries, and this stimulated my imagination. So, for me college was not just a time to learn a profession or for intellectual study. It was an opportunity for the possibilities of life to reveal themselves and blossom. It was a time to take chances, to discover who I am and the type of life I could lead.

 

I celebrated my nineteenth birthday in London. I had decided I would spend four months traveling, mostly hitch-hiking through Europe, with few things pre-planned except the time and place of arrival and departure. I had to depend on myself, alone, to a degree I never had before. And this was 1966, before such traveling was common. The first night, I panicked. What had I done? Here I was in Europe where I knew no one for thousands of miles. The only way I was able to fall asleep that night was by promising myself I would call my parents the next morning.

 

The next morning, I went to a café for breakfast. It was relatively sunny for London. To make a call back then, you had to wait on a line for a public phone with an overseas extension. As I was waiting, I realized—if I was desperate enough to call home my first full day in Europe, I could be courageous enough to befriend a stranger. So I left the line, walked up to a stranger who looked like someone I could talk to, and did just that. We became good friends for a few days and I didn’t call home. I sent a postcard.

 

I think all of us have this yearning to grow, to know we can dare to engage life, to know what calls to us and be able to respond openly to it. And this is what education can be. Each teacher can ask him or herself how learning in their particular subject can be more of an adventure and excite students to learn. This is not just about taking students on trips out of the classroom, although that can obviously be a stimulating way to learn. Nor is this simply a content question. It is not just asking what books or issues or questions might students find stimulating, although these are important. It is also a pedagogical one: what makes any study stimulating and meaningful? What forms of study support a child’s natural curiosity and desire to learn?

 

Having some choice and sense of control in what you study is one factor. The book Flow: The Psychology of Optimal Experience by Mihaly Csikszentmihalyi, examines the “process of achieving happiness through control over one’s inner life.” By documenting the link between achieving optimal experiences and happiness, it gives us clues to motivating and improving learning. Make learning a challenge, something demanding your full concentration, but not so challenging you can’t handle it. Have clear goals with immediate feedback. In some way, involve other people in the work. Get so immersed that you step out of time. While I was in Europe, I stepped out of thoughts of the future and my life schedule, of high school to college to job, and was immersed in now. I think optimal learning often involves working on a skill that you yearn to develop but which you doubt you have.

 

Another way to do this is to ask: What are the emotional and intellectual needs of my specific students? Teaching to the personal and developmental needs of children not only provides necessary cognitive tools but helps them feel recognized and valued. Educator and author Kieran Egan elucidates different kinds of cognitive tools and ways of understanding the world, from the somatic (physical), mythic, and romantic, to the philosophical and ironic. It is important that children develop the cognitive tools appropriate to their stage of development as fully as they can. Two to eight year olds might see the world in terms of mythic struggles of good versus evil. Structuring lessons in terms of such binary opposites will make learning more digestible and exciting. Children from eight to fifteen look for self-definition, detail, standing out. They want to know the limits of experience. Structuring lessons with stories of romance, wonder, and awe, rebelling from the old and breaking free from dependence makes education come alive to them.

 

Analyze what makes learning an adventure for you so you can make learning more exciting for your students. Or, if you’re not a teacher, consider how to conceptualize your work or anything you do as an adventure, so each moment becomes an opportunity to make life more meaningful.

The Natural Process of Thinking Critically and Mindfully: A Workshop.

Children, especially those between the ages of 8 – 15, easily look at the world with what Kieran Egan calls a “Romantic” imagination or sensibility. The world becomes a stage for a heroic struggle. They search for enlarged significance in events. They read and like to watch stories of werewolves and vampires, demons and goddesses, heroes and heroines, struggles against oppressors and evils. They seek the strange and the extraordinary. They want to hear about unusual abilities and intense achievements. And even deeper is the desire for awe, for the sense of a mystery lying just behind what they perceive, for the miraculous just beyond their comprehension.

 

I remember this sensibility as a yearning and maybe never totally grew beyond it. It established in me an early expectation for my life that was almost impossible to achieve. I wanted to be extraordinary. And worse, I did not know then what my yearnings meant. I had few words for it. All I knew was that much of life seemed too ordinary, boring, like I was missing something. So, I searched for what was driving me. I searched out the unusual and extraordinary. What about you? Do you remember this yearning?

 

I started meditating as part of this search, particularly Zen meditation. Some of the Zen teachers I met seemed deep and mysterious. But meditation did not fit the ideas I had. It did something unpredicted; it changed the feel of a moment. Whether during or after formal practice, the moments of life could no longer be dismissed as ordinary.

 

To think clearly requires both understanding and feeling. By ‘feeling’ I mean inner sensation, like in my stomach, gut, or breath, as in “I know it in my gut.” To know what to write or say requires monitoring what feels, in this sense, right and true, versus wrong or false. Study this in yourself. For me, the false feels jittery, my stomach and shoulders tighten. It is like wearing someone else’s clothes or like a bone with no marrow. What’s truthful comes unadorned, raw, full of energy, like it’s been there the whole time but I didn’t see it. Feeling is usually speedier than intellectual comprehension, although they can and must work together, check on each other. In the same way, searching “outside” oneself for wonders creates a false sense of two worlds in conflict, “out there” and “in here,” or one part of myself versus another. If “out there” is not good enough, “in here” is not good enough.

 

When you fight yourself, thinking is difficult. When you understand and work with your natural processes of thinking and feeling, thinking, even critical thinking, may not be easy, but it’s easier. Insight is more likely. What is this natural process of thinking? What part do meditation and mindfulness play in it? How do you practice mindfulness?

 

For those not sure what mindfulness is: mindfulness is both a quality of mind and a type of meditation. As a quality of mind, it is very alive. It is moment-by-moment awareness of how to learn from and then let go of whatever arises. It teaches awareness of the quality and focus of awareness and attention. Because you notice, you have choice. You can let go of what might be hurtful to yourself or others before the hurt fully develops, and so can be kinder, less judgmental. Because it monitors attention, it improves focus and clarity of thinking and readies you to act in a more empathetic manner.

 

 

*If you live in the Ithaca area and would like to attend a workshop on The Natural Process of Thinking Mindfully and Critically: This workshop will be for two Wednesdays, led by Ira Rabois, former teacher at The Lehman Alternative Community School. It will be open to any LACS staff and graduates, parents, or any adult with a serious interest. It was suggested that we meet 5:30-6:30, after LACS staff meeting, starting Wednesday, February 4th. The recommended tuition: $5/ session (or what you can pay, from two-twenty dollars/week is fine). Please contact me if you want to attend or have a question, either by e-mail, note to my website, or phone. If there is enough interest, I will extend the duration of the workshop.