I imagine the classroom as a drama of pedagogy. This drama of pedagogy happens on the stage of life and representation. The stage of life is the period of realized spacetime that I, as a teacher, share with my students. It is a momentary stage, a stage that we are all role-playing in, a stage that extends into the shared moments of the classroom and beyond wherein I imagine teaching as a performance and living as an artform. Here the audience – whether knowingly or unknowingly – are understood as entangled with us, the actors on the stage; we are all engaged in the art of living. Thus, in the classroom, from within this stage of life, we engage in the drama of “learning.”
On the first day of class, one notices that there is a wall between teacher and the student. The teacher is imagined into a role. The students are too. The teacher appears to be there, in the words of Paulo Freire, to "deposit" new information into the minds of the students. The students are in class ready to learn and be taught. The teacher is in class ready to teach and instruct. My framework for teaching understands these prior knowledge conceptions of the role and function of the Teacher and the Student to be historical and mythical–bound up with representation. Part of the reason it was important to me to understand this for myself going into the classroom was because I had to be aware of the truth of the fact that I, myself, did not represent, for the majority of my students, their normative representation of a Teacher.
I am a Black male teaching in the University, being aware of this dissonance between what the student’s expect a Teacher to be and who I am made for productive pedagogical tension in the classroom. A productive pedagogical tension that worked to move the student’s past the “known” and towards “knowing anew.” In my role as teacher, I am not THE TEACHER; I am Black creative intellectual and I attempt to explore a series of questions, possibilities, facts, evidences, and ideas alongside the other creatives with whom I have entered the stage of Life.
Song brings this stage presence to the learning environment. I open class with mumble rap and soundcloud rap–each song connecting us to the lesson we explore for the day: "How High" by producer-rapper-artist Pierre Bourne and Loic Wacquant’s essay “From Slavery to Mass Incarceration." Song that functions as memoir. the lived experience of black people during the Life and Times of Mass Incarceration. Pierre’s song alludes to being a college student and communicates how Mass Incarceration, criminality, and racism are structural issues that break into the lives of Black people in every sector of American society, even those sectors where they are considered to be “exceptional” (which thereby means that it breaks into every sector of America society period). The students were able to relate to the experience of being a college student, even some of them jokingly alluding to having shared “similar experiences as Pierre” but it is then that I return to Wacquant to accentuate the structure which cohered this experience for Pierre. The result was papers stemming from an interest in trying to understand “what else I’ve been lied to about,” as one student asked me with a smile.
One of the course requirements was to teach metacognitive skills. I interpreted this requirement as “reflections upon reflections” and “reflections beyond their immediate classroom generated value.” I tried to be a teacher that taught my student’s how to teach and (un)teach themselves and then, vicariously, to express in their writing and reflections what have learned to and for others. I tried to introduce my students to the way the world gets fabricated by expectation, replication and representations so that they may come to see the world as one that is sculpted by actors and actants, invented by engineers and artist, and constructed by humans and nonhumans. To see the World as a stage that they had a role to play in, not as subsidiary bystanders who needed to wait patiently to receive their degree to understand themselves as participating in the stage of Life and Representation, but as persons with a place, purpose and possibility to sculpt, invent and construct something onto this stage today that they might be proud of, that they might feel was worthy of their time and consideration.
The best way to say this is to say that I tried to open my student’s eyes to the artist within them. To initiate this opening was a process, one that was motivated by process pedagogy and notions of evolving over time through writing, re-writing, and re-flection. Following in the trend articulated by Chris Anson wherein “teachers everywhere were creating invention strategies to help students explore and expand their ideas…” (Anson 219). Drama and performance, imagination and learning, reality and entanglement. For me, to learn is to become equipped with a fuller imagination, an effectual imagination, an imagination that can have an effect on reality and its necessary entanglements. In other words, learning happens at the intersections of science and art; and imagination is reality at the intersection of science and art. In the words of the German Fluxus Performance Artist and Pedagogue, Josef Beuys, “my idea is to declare that art is the only possibility for evolution, the only possibility to change the situation in the world. But then you have to enlarge the idea of art to include the whole of creativity. And if you do that, it follows logically that every living being is an artist – an artist in the sense that he can develop his own capacity” (Beuys 26).
In the end, I hope that my classroom is a place where my students can come to have a complex meditation and interrogation on capacity and incapacity, life and restriction, time and its ticking, care and incarceration, writing and imagination, research and argument.
Note: this article is an edited version of a post of the same title on john's blog, mumble theory
Beuys, Joseph. Joseph Beuys in America. Edited by Carin Kuoni, Four Walls Eight Windows, 1990.
Bourne, Pierre. How High. Released June 2019, track 8 on Life of Pi’erre 4 (Sosshouse/Interscope Records)
Freire, Paulo. Pedagogy of the Oppressed. Edited by Translated by Myra Bergman Ramos, Penguin, 1993.