2. to begin
â˘
what great work youâre doing! itâs a privilege to be able to see
where youâre going, and what youâre seeking to do
â˘
youâre in the middle of a difďŹcult transformation, but at the
growing edge of theological education
â˘
weâve planned a combination of presentation and
collaborative learning to dig further into your work together,
and to help plan for what is next
â˘
in several instances weâll be using techniques that are drawn
from some of this literature, so that my hope is that youâll
come away with some additional pragmatic tools to use
4. What is âensemble pedagogyâ?
â˘
more than parallel play, different from team teaching
â˘
a metaphor for attending anew to the teaching/learning
process in terms of integration, coherence and
resonance
â˘
a set of practices which draw their insight and inspiration
from musical performance and learning
â˘
still emerging!
5. elements of ensemble pedagogy
â˘
adult learning
â˘
shifting paradigms (epistemological, pedagogical)
â˘
learning vs. instruction
â˘
collaborative and integrative learning
â˘
reďŹection vs. transfer
13. Learning about Phillipsâ experience with ensemble
pedagogy: questions to ponder and a process to
try out
14. a conversation process
â˘
core public agreement
â˘
one question in each of three rounds, the fourth round is
one of âgenuine inquiryâ
â˘
brief silence before each round, and between each
person
â˘
3 minutes per question, timed reciprocally
15. core public agreement
â˘
Speak for oneself; Use âI statements.â Own and offer your thoughts and
feelings honestly; avoid grand pronouncements or stating positions of others
â˘
Practice respect in speaking and listening; accept that others may have
different views, without needing to debate or set them straight
â˘
Be brief in comments; honor timeframes and refrain from interrupting
â˘
Listen carefully, especially when something is hard to accept; suspend
judgment
â˘
Respect conďŹdentiality: After the conversation, do not attach names to
comments made without permission
â˘
Allow people to pass, or pass for now, if they are not ready or willing to
respond to a question
Respectful Conversations project
16. (1) what in your experience as a teacher inďŹuences
your perspective on the topic of ensemble
pedagogy? (up to three minutes each)
17. (2) when you think about ensemble pedagogy,
what matters most to you? (up to three minutes
each)
18. (3) within your own perspective, what questions do
you still wrestle with? (up to three minutes each)
24. (1) animating/essential questions
â˘
cause genuine and relevant inquiry into the big ideas and core content
â˘
provoke deep thought, lively discussion, sustained inquiry, and new
understanding as well as more questions
â˘
require students to consider alternatives, weigh evidence, support their
ideas, and justify their answers
â˘
stimulate vital, on-going rethinking of big ideas, assumptions, and prior
lessons
â˘
spark meaningful connections with prior learning and personal experiences
â˘
naturally recur, creating opportunities for transfer to other situations and
subjects
Wiggins and McTighe
25. some examplesâŚ
â˘
does the Bible support slavery?
â˘
how can we provide solace in the face of suffering?
â˘
who is on the Lordâs side (Exodus 32:26)
â˘
can even these bones live? (Ezekiel 37:3)
â˘
how shall this be? (Luke 1:34)
â˘
where do you get that living water? (John 4:11)
â˘
has God not made foolish the wisdom of the world? (1 Corinthians
1:20)
27. (2) differentiate
betweenâŚ
â˘
ideas and concepts
central to
understanding
â˘
ideas and concepts
important to know and
to do
â˘
ideas and concepts
worth being familiar
with
28. what is the âenduring understandingâ or the âcentral
idea or conceptâ that you want students to remember
10 years from now when they think about âvital
communities,â âvital conversations,â or the âpublic
goodâ?
29. (3) use rubrics for
clarity of expectation
â˘
rubric for âsix facets of
understandingâ
â˘
individual assignment
rubrics
â˘
critical incident
questionnaire
30. how do the rubrics youâre currently using support
your essential questions and enduring
understandings?
31.
32. (4) emotions and tensions of learning
â˘
Keganâs â4th order knowingâ: internal languages and
social languages
â˘
Zanders' âart of possibility principlesâ
â˘
BrookďŹeldâs Skillful Teacher : issues of âimpostershipâ and
the tensions of learning and resistance
33. Robert Kegan
â˘
from complaint to commitment
â˘
from blame to personal responsibility
â˘
from ânew yearâs resolutionsâ to âcompeting commitmentsâ
â˘
from âbig assumptions that hold usâ to âassumptions we holdâ
â˘
from âprize and praisingâ to âongoing regardâ
â˘
from rules and policies to public agreement
â˘
from constructive to deconstructive criticism
34. Rosamund and Benjamin Zander
â˘
âgiving an Aâ
â˘
lighting a spark
â˘
being a contribution
â˘
being the board
â˘
leading from any chair
â˘
â˘
rule number 6 (or, âQ-tipâ)
creating frameworks for
possibility
â˘
telling the WE story
â˘
the way things are
â˘
giving way to passion
35. Stephen BrookďŹeld
â˘
ask what happened while you were away
â˘
acknowledge the sacriďŹce and return the favor
â˘
afďŹrm and then share
â˘
ground disclosure in description of your own shortcomings
â˘
use language that is familiar and congenial
â˘
wait to be asked
â˘
ďŹnd a group of peers with whom to practice reďŹectively
41. what markers emerge as evidence of ensemble
pedagogy becoming a shared practice?
!
what structural support is necessary for the cultural
change of ensemble pedagogy?
46. background resources
â˘
Adaptive Action, Eoyang and Holladay (Stanford University Press,
2013)
â˘
Art of Possibility, Zander (Penguin, 2002)
â˘
Art of Teaching Music, Jorgensen (Indiana University Press, 2006)
Teaching Alone, Teaching Together, Bess (Jossey-Bass, 2000)
â˘
How the Way We Talk Can Change the Way We Work, Kegan and
Lahey (Jossey-Bass, 2002)
â˘
The Skillful Teacher, BrookďŹeld (Jossey-Bass, 2006)
â˘
Understanding by Design, Wiggins and McTighe (Pearson, 2005)
47. citations
â˘
illumination to John 1:1-14, St. Johnâs Bible (http://blog.seeingtheword.org/?tag=word-made-ďŹesh)
â˘
photo of the Crosswinds public school orchestra by Katherine Forss
â˘
epistemological diagrams from The Courage to Teach by Parker Palmer
â˘
image of Phillips Seminary (http://www.ktul.com/story/17129628/labrynth-prayer-walk-celebrates-seminary)
â˘
essential questions list (https://www.authenticeducation.org/ae_bigideas/article.lasso?artid=53)
â˘
graphic of enduring understanding (http://chronicle.com/blogs/profhacker/teaching-for-enduring-understanding/35243)
â˘
complementary rules comic (taken from web 01/30/12: http://us1.campaign-archive1.com/?
u=4d03b90f9fff26c211dc4eb54&id=77743fd6c4)
â˘
For better or for worse comic (http://www.fborfw.com/)
â˘
Bishop arrives for Pentecost comic (https://www.facebook.com/photo.php?fbid=396796340435345&set=a.
301206246661022.68971.301201333328180&type=1&theater, 14 May 2013)
â˘
Frazz education comic (taken off the web 050307, http://www.comics.com/webmail/ViewStrip?key=35221698cc6f2f56d7-FF)
â˘
all other photos by Mary E. Hess (http://meh.religioused.org/web/Home.html)