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The Old Ways TLTC Jump Start Fall2009

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Presentation on participatory learning for Texas Tech University Teaching Academy, Aug 19 2009.

Presentation on participatory learning for Texas Tech University Teaching Academy, Aug 19 2009.

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  • Musician, musicologist, teacher, director of VMC
  • Why choose this term, and what all does it mean?
  • What I teach, where I teach, who I teach
  • What I teach, where I teach, who I teach
  • What I teach, where I teach, who I teach
  • What I teach, where I teach, who I teach
  • This approach is based in my own work as a student in non-verbal situations; learning “on the bandstand” and then, years later, thinking about how to bring those insights from “outside the Ivory Tower” back into the classroom.
  • Recognizing that post-literate classroom students share some key weaknesses—and strengths —with pre -literate learners.
  • [Cite past publications and research; practical hands-on training, ways in which teaching outside the classroom and according to oral/aural methods have been brought back into the classroom.]
  • Interactivity, engagement, intellectual “ownership,” participation, acquisition of skills for purposes of life-long learning, arts as a tool for insight and community as well as intellectual development
  • That the ancient wisdom and oral/aural/vernacular traditions had their own pedagogies .
  • That, like more prose/observation/literary traditions, those pedagogies effectively and precisely conveyed that information which the tradition itself believes to be essential.
  • That, particularly in the teaching of those exact traditions and given their longevity, it would be arrogant not to pay attention to those pedagogies
  • That these pedagogies may provide relevant insights into teaching in very different cultural/historical contexts, and even in other topic areas. These modes of teaching were employed, not only for the “fine arts,” but also for history, medicine, law, theology, and so on.
  • Interactivity results not only from the topic , but also from pedagogical mindset .
  • That student learning modes change; that contemporary students are particularly enculturated toward an essentially post-textual, visual, patterning, observation/imitation cognitive landscape.
  • That student learning modes change; that contemporary students are particularly enculturated toward an essentially post-textual, visual, patterning, observation/imitation cognitive landscape.
  • That, given the very long history of these methods’ applicability in pre-literate cultures, students can still respond viscerally or intuitively even in the absence of prior experience with them.
  • What are the archetypal approaches to teaching? Can those archetypal, essentially “pre-literate” approaches provide insights in our address to an essentially “post-literate” clientele?
  • Strong at assimilation, subjective interpretation, “deep-reading,” visual sources, “collage”
  • Weak at synthesis, understanding differing experiential perspectives, structural understanding, texts, linear progression
  • That we might find it fruitful to employ more nuanced and supple paradigms for “literacy”; that as teachers we might benefit by exploiting “new” literacies even as we consider remediation to teach “old” ones.
  • e.g. “Once upon a time…”
  • Patterns and their power :
  • Oral literature & the vernacular memory employ and depend upon patterns, templates, and consistent procedures. Alfred Lord’s insights regarding Homeric epic based upon observation of Bulgarian singers ( The Singer of Tales ).
  • Likewise, vernacular learning depends upon modeling: “read one, see one, do one.”
  • The power of narrative arcs (chronological or otherwise): “Let me tell you a story”
  • In teaching any cultural expression, context reveals content—content reveals context;
  • This modeling can be extended to teach thought processes, problem-solving, modes of interaction, critical thinking, and personal conduct. And typically all at the same time .
  • Problem-solving and investigative methods: “ Why is it the way it is?”
  • Such demonstration/imitation/critique methods are both ancient and archetypal (and suitable for teaching topics, disciplines or skills that employed such methods), and always “speak” well to preferred multi-tasking, observation/imitation modes
  • What are the unique skills or insights imparted via demonstration/imitation/critique in your discipline?
  • What insights do you consciously convey in your teaching field via non-verbal and/or non-prosodic methods?
  • How can you make those non-verbal, demonstration-imitation-critique methods more intentional, conscious, and effective?
  • How might the structure, outline, sequence, tasks, and lesson-plans of your teaching link your discipline’s oral/aural insights with your students’ unique experience and cognitive preferences?
  • Transcript

    • 1. The Old Ways: Energizing Your Students with Participatory Learning Fifth Annual Jumpstart Program Teaching, Learning, and Technology Center (TLTC) Texas Tech University August 19th and 20th, 2009 Dr Christopher Smith, Associate Professor & Chair of Musicology; Director: Vernacular Music Center & TTU Celtic Ensemble Texas Tech School of Music - [email_address] http://ttuvmc.org
    • 2. Disclaimer!
    • 3. VMC
    • 4. “ Vernacular”?
    • 5. Example West Africa
    • 6. Audience[s]: what, where, and who?
    • 7. Audience[s]: what, where, and who?
    • 8. Audience[s]: what, where, and who?
    • 9. Audience[s]: what, where, and who?
    • 10. The Bandstand & the Ivory Tower
    • 11. Literac[ies]: to be pre-, post-, and/or differently-literate One key insight
    • 12. Knowledge[s]:The world & the classroom One key insight
    • 13. Example West Africa
    • 14. Goals Life-long engagement
    • 15. Intuition The efficacy of vernacular pedagogies
    • 16. Intuition The precision of these pedagogies
    • 17. Intuition The continued relevance of these pedagogies
    • 18. The continued relevance of these pedagogies
    • 19. Premise Topics are less problematic than are mindsets
    • 20. Example North India
    • 21. Premise Teach to students’ expert learning modes, ancient & post-modern
    • 22. Premise Teach to students’ expert learning modes, ancient & post-modern
    • 23. Premise Trust the visceral and intuitive
    • 24. Premise Trust archetypal teaching modes
    • 25. Premise Recognize student strengths
    • 26. Premise Recognize student handicaps
    • 27. Premise Exploit “new” literacies
    • 28. Exploit ancient literacies: “Once upon a time…” Premise
    • 29. Patterns & their power
    • 30. Patterns & their power Exploit memory, orality, recall
    • 31. Patterns & their power “ Read one, see one, do one.”
    • 32. Patterns & their power “ Let me tell you a story…”
    • 33. Patterns & their power Context & content & their interplay
    • 34. Patterns & their power Extending these usages
    • 35. Problem-solving Why is “it” the way “it” is?
    • 36. Demonstration/imitation/critique Ancient, archetypal, post-modern
    • 37. How do YOU employ demonstration/imitation/critique…already? Questions for YOU
    • 38. Questions for YOU What are your OWN discipline’s “archetypal narratives”?
    • 39. Questions for YOU How could your usage become MORE intentional, conscious, and effective?
    • 40. How to link your teaching, your discipline, and your students ’ experiences? Questions for YOU
    • 41. Thank you!

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