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Playing and Learning

At our STEP meeting on Creativity, we did a movement exercise involving “passing energy” around and across a circle, receiving and playing and passing it along.  When I asked students about it the following week, one of them described it as “juvenile.”   I didn’t have the presence of mind to say, “that’s not a bad thing,” so lost an opportunity to challenge a dismissive attitude.

On reflection, though–and partly because of the next session on leadership–I started wondering whether movement and play shouldn’t be a regular part of the STEP meetings.  Not because everything has to be “fun,” but as a way to ground learning in the body, and to provide room for integrating thought.  The idea that being playful and receptive is undignified indicates a will to maturity and self-possession that can raise a barrier to understanding.

In the movement exercise, energy is empathy, and creativity becomes collective: it’s a practice of attunement.  It’s a way of getting a group to work together, in preparation for a collective task.  Because we had framed creativity largely in individual terms (and maybe because the circle was too big, and there was no debrief). ), we weren’t able to process the effects of the exercise fully–in terms of the larger whole being created out of individual parts.  But having that experience of coming together in a group adds an important dimension to learning, giving permission to make a contribution, to see oneself as adding something. This can be especially valuable for those who feel themselves eccentric, or have unusual interests.

Being in the “supportive” quadrant–Blue, in Color theory–my overriding concern is connecting with individuals, and trying to ensure an authentic experience in the group.  Not all the students recognize or value that quality, so can hold back and remain skeptical.  Keeping that difference in mind, I want to create a space that allows them to acknowledge and value that quality, in others and themselves, so they can access and work with it.  This fits with my notion of “flexibility” in the face of challenge, increasing capacity. The challenge for me is finding ways to integrate other qualities and values.

At the core of the STEP experiment is the notion of “experience”–the basis of autonomous learning.  Yet the capacity to have experiences (and to learn from them) needs to be cultivated. Just as you can’t order someone to “think independently,” so you have to develop the space of experience, and the habits of thought that support it: it is a practice of self-formation, now seen as a container for classroom-based/academic learning, rather than a spontaneous product of it.

So just as we’ve encouraged everyone to experiment with thinking of themselves as creative–translated as flexibility and responsiveness–so we’ve suggested that everyone is potentially a leader–translating that as value and initiative.  Everyone, too, can be a researcher: what’s needed is curiosity and discipline (a passion and a practice).  It’s easy to label these virtues; the trick is to find ways they can be experienced and embodied.

 

 

 

An Insight: Giving the A

$2000 to spend is a gift.  It does not have to be earned. It is a doorway into possibility.  How can we help students walk through the doorway?

In The Art of Possibility, Ben and Ros Zander talk about being stuck in “measurement-mind,” where everything is compared and competitive.  The practice they recommend is to ask oneself, “How are my thoughts, right now, a reflection of measurement-mind?”  Practiced honestly, recurrently, the question releases possibility.

Ben Zander, who teaches music, writes about giving his students a pre-emptive A at the beginning of the term, provided they can write him a letter, post-dated to the end of the term, about what that grade has meant to them.  It seems to act as a release from performance-anxiety, giving students the lift needed to enjoy their own practice.  Rather than performing for an external judge, they are free to enjoy their mistakes.

One reason this works is that these are, already, gifted and committed musicians, who need, not additional motivation, but a sense of ownership.  They are practitioners, ready to be released into practice.

Reading this, I realized the difference between being an instructor and being a mentor. My role is not to be in an evaluative relationship with a student, to judge their performance.  My role is to give them permission to challenge themselves, to give them a chance to discover what they want to do.  Beyond the minimal criterion of writing a good proposal, they do not have to jump through hoops for me.

That does not mean: no structure.  It means:  find a structure that enables, a context that supports imagination, experimentation, discovery.

Planning the Year (First Semester)

Scarlet (Red) House Leaders met Thursday 8/22 to talk about how we want to structure the year.

Here’s what (I think) we talked about. We want the students, by January, to come up with three possible experiences.  Some of us may ask the students to keep a portfolio and/or reflective journal.

Aug 29: First meeting with our cohorts.

Sept 5:  All House meeting to talk about Creativity (see notes below)

Sept 19:  All House meeting: Leadership Development

Oct  3:  All House meeting:  Research (w/ Julie Lipphardt?)

Oct 10: MIDTERM WEEK?  Debrief from Research meeting by talking about proposal writing

Oct 17: All House meeting: Service-Learning (w/Ola Ahlqvist?)

Oct 31: All House meeting: Study Abroad:  Not just mechanics, but what do you want to get out of the experience?

Nov  14: Internships

Nov  28  Thanksgiving break

Dec  5:  All House Ice Cream Social (or Such)

Dec 5 – 11:   Exam Week

Jan   9:  THREE POSSIBLE EXPERIENCES

We talked about sorting the students into proposal writing groups of 3-4.

Once they have a draft proposal, we’d circulate them for feedback to another cohort–maybe at an all-House meeting?

Final proposals would then be presented to the whole home cohort.

Model proposals could be posted to the STEP website.

It would be nice to have a (or several) STEP Poster Day next year, where students could show off some of their projects.

CREATIVITY

Our first all-House meeting: how can we make being in a group of 100 count for the students?

We wanted to start with Creativity for two reasons: 1) to get the students thinking creatively about all the experiences, i.e. provide some basic strategies for expanding their thinking; and 2) to illustrate that “Artistic/Creative Endeavors” is not only about the Arts.

Let’s make sure, though, that we don’t lose sight of “Artistic/Creative Endeavor” as a possible experience in and of itself.  We need to mention some good examples of A/C projects. 

ASSIGNMENT:  We will ask the students to watch a TED talk on the subject of creativity, and (possibly) to bring one item that represents them in some way.  I’m trying to think of some way we could use these items to create a “Coat of Arms” for Scarlet House.

http://www.ted.com/playlists/11/the_creative_spark.html

http://www.ted.com/talks/jinsop_lee_design_for_all_5_senses.html

http://www.ted.com/talks/karen_thompson_walker_what_fear_can_teach_us.html

http://www.ted.com/talks/charles_limb_your_brain_on_improv.html

FLOW OF THE SESSION (90 mins):

 

 

 

 

 

 

 

 

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