Courageous Conversations at Southwestern College

My colleagues and I organized a Courageous Conversations dialogue program recently for all three of the multicultural learning communities here on our campus: Bayan, the Filipina/o American focused learning community; Puente, the Latina/o learning community: and Umoja, the learning community focused on African and African American students and issues. 

We, along with the professional development office  on our campus, wanted to create a space for dialogue about human relations issues that our students face - race, gender, criminal justice issues, internalized racism, colorism, and class to name a few. And we wanted to broaden the circle of safety that naturally develops in a learning community to a wider circle.

We used as our inspiration the book Courageous Conversations About Race by Glen Singleton and Curtis Wallace and a version of a discussion protocol called “conver-stations” from the Cult of Pedagogy website. In addition, I was inspired by a workshop I attended in Spring presented by the San Diego Area Writing Project, revising their program for a student audience. I'm grateful to all our sources for their intellectual generosity! 

Participants at the SDAWP workshop ( K- 16 teachers, professors, and administrators) rotated through three rounds of conversations ranging from sexual orientation and diversity to social justice activism to institutional racism. Each conversation took place at a table with about ten (10) people and a facilitator. After the workshop leader welcomed participants and reviewed communication agreements, facilitators at each table asked participants to introduce themselves and to briefly (ever so briefly!) state their investment in the issues. Then, each facilitator took a brief moment to either share short readings or share a set of provocative questions to get the conversation going. 

Using Music to Distinguish Between "Content" and "Structure"

A major objective in all my classes is for students to distinguish between content and structure, between the meaning of a text and the strategies authors use to construct that meaning. Students typically come into my class with strong summary skills, and they are definitely on the path toward being able to identify an author's main and secondary ideas, i.e., the content. Certainly, they can strengthen those skills - and that’s why they're in my class! 

The more difficult skill to master for practically everyone in my classes is to identify the moves or structures that the authors use to express those ideas. By “moves” and “structures,” I mean what the writer does to express her content: describe, explain, contrast, express effect, tell a story, use dialogue, state a point, or give examples.

Certainly, “meaning” and “moves” are mutually reinforcing, difficult to separate. At the same time, I want students to be able to identify what writers do so they can emulate those moves to express their own ideas. To introduce students to this process, we examined texts students are already deeply invested in: music they love.

Using Comments to Foster Community & Communication

One of the biggest problems I have when teaching peer revision is getting students to comment on each others’ drafts. Student often lack confident enough in their own opinions and reactions, so they believe they have nothing of value to say when giving feedback. So while I’ll never completely prevent their reticence to commenting, I chose to do some work that might warm students up to the task. 

For homework, I asked students to reflect on their time in college. Since most (with the exception of two or three) of the students in my classes are entering freshman, I’ve been assigning reflective writing assignments over the weekend. This particular assignment was the “4S” reflection. Students wrote about what Surprised them about their first weeks in college, what Sacrifices they are making to be in college, what Solutions they are having to come up with for the problems they are encountering, and what they think or feek about becoming a Scholar. Low stakes writing. But meaty enough questions relevant for students transitioning into college.

Low Stakes + Building an Academic Community: Two for One!

Two important lessons I re-learned during professional development last summer was the importance of assigning low-stakes writing tasks and of building community. During the California Acceleration Program’s Summer Workshop, facilitators urged us to consider using low-stakes (sometimes called “writing-to-learn” activities) to ease students into more complex writing tasks. At the UMOJA Community Summer Learning Institute, we reviewed the significance of building communal intelligence, the intentional calling out and supporting of students efforts to build their knowledge base together. 

This last week, I attempted to weave together both these principles in all four of my classes.  We used a digital bulletin board to compile “meaty” quotes from their readings and the reasons they thought those quotes were meaningful. Students are in the middle of composing a synthesis essay based on texts by Paulo Freire, Jean Anyon, and bell hooks - a pretty heady, complex set of readings for first-time freshman. One of the big objectives of this assignment is to give students practice incorporating quotes into their essay. They have to select quotes that support a larger claim, which not only means finding quotes. It means being able to interpret those quotes, explaining to readers how and why that quote supports the student writer’s synthesis. 

Of Queens, Athletes, & Images: Kicking off the Semester

Hank Willis Thomas

The first weeks of school have been about building a classroom culture, about learning how we will learn together. This includes the protocols, practices, and vocabulary (our inside language!) that we will use. One of the practices I use, which I introduced to all four of my classes this week, is called “queening” - a way of reading a text (or set of texts) to make meaning. 

Queening, a process I adapted from the UMOJA Community, consists of four overlapping recursive stages: Quoting, Queezing, Quonnecting, and Queening.

Quoting happens when we observe a text - a poem, essay, book, song, or work of art - and simply identify direct evidence. It’s noting key words, phrases, images, or sounds. In a poem or other written text, that would be an author’s exact words. And just as writers quote each other, artists quote each other, too - think of the way Picasso quotes African art or how Kehinde Wiley does the same with classic art. Musicians quote each other all the time when they sample and remix sonic elements from each others’ music. So quoting isn't limited to what we traditionally think of as texts.