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Thoughts on Gendered Language Use in the Classroom

October 22, 2024 in Education, Feminism, Gender & Sexuality | No comments

Two gendered restroom signs, slightly askew in space

I try to create an inclusive space when I teach, and that means everything from learning my students’ names (even when there are a lot of them!) to not having policies that would make people feel unwelcome (like, I don’t require students to ask me to leave the classroom for any reason; I figure they’re adults, I should treat them as such, plus such a policy might single out students with a disability or medical condition requiring them to stand and stretch their legs or visit the bathroom regularly).

This sense of trying to be an inclusive teacher also extends to how I use language, and how I encourage my students to use language in their writing and speaking. And here, too, my goal of teaching critical thinking skills creeps in, as it often does, because it turns out that being attuned to social justice concerns (those foregrounded in inclusivity practices) also correspond with acknowledging the complexity and diversity of the world around us, and responding with curiosity and empathy rather than trying to wedge everyone and everything into narrow boxes.*

All of this is why I don’t use “male” and “female” as nouns, and why I’d encourage others to give it some thought as well.

 First, the history of these words makes it clear that they have a very specific meaning and narrow usage, which I don’t think should be generalized to “hello, I am addressing a group of humans outside of a medical/reproductive context.” According to the Oxford English Dictionary, “female” popped up in European languages in the 1300s to mean “A person of the sex that can bear offspring; a woman or a girl.” In addition to the noun usage, female also has an adjective meaning: “That belongs to the sex which can bear offspring (contrasted with male); characteristic of or relating to this sex.” And while I’m less upset by the use of the word as an adjective, it still has that icky reproductive-connotations thing going on. And for what it’s worth, I’ll point out that there are way more entries under the adjective section of the word than the noun section of the word.

Second, I believe addressing people as males and females is potentially exclusionary. I look at all the wealth of information we have about different genders (there are more than two!) and sexes (also more than two!) and I think, why would I address people using binaristic language that’s bound to leave someone out? Maybe someone in my classroom is intersex, trans, or non-binary. Remember, according to some research estimates, around 1.7% of people have an intersex condition and around .5% of the U.S. adult population is trans so combining those facts and knowing that if I teach around 100 students every semester means I’m gonna choose less exclusionary language, even if it only helps one person in one hundred. Not all of these identities are visible to the naked eye, either, so it’s entirely possible that there are others in my classroom who don’t know they’re intersex yet (I mean, I haven’t had karyotyping done, have you?!), or they’re exploring their gender identity, or…there are so many possibilities, I’d rather err on the side of being more inclusive.

Third, as Carrie Cutler points out in a Slate article, “female” is often an adjective used to manage the meaning of a noun…when it’s assumed the noun is a broad category that usually includes men. So we’d say “female scientist” because upon hearing “scientist” one might assume we were talking about a dude scientist. And something about that just sets my teeth on edge, that we have to keep specifying that it’s a woman doing the job that used to be only done by men, and we still need modifiers to do this work instead of just assuming that women can be included in the catch-all profession of scientists.

Fourth, there are some, uh, connotations. In the Slate article linked above, the author points out the use of “female” in song lyrics (which I shan’t reprint here) to refer to sexually available women. And I think this is an equity issue: women are often discussed in terms of their sexual availability and desirability to men (let alone how we might feel about ourselves or one another!), and until men undergo the same level of objectification women do, I’m gonna be a little prickly about it. Not that feminism should be a tit-for-tat leveling of the playing field so everyone gets equally dehumanized, but these discrepancies bother me, since I don’t think any gender is more sexually anything than another.

As one researcher in STEM writes, this has professional implications too: “In a work setting, would you refer to the Vice Chancellor as a girl? Probably not, because we are accustomed to being respectful to people in senior positions. So should we extend that respect to women in other roles as well? (hint: yes)”

Some scholars go so far as to argue that gender difference (often expressed in terms of sex difference) exists in the first place to police who has access to power, and honestly, I’m not far away from this stance myself. In Sex Is As Sex Does: Governing Transgender Identity by Paisley Currah, for example, it’s argued that:

In European, and, later, American legal traditions, gender difference was codified in laws designed to limit the rights and resources available to white women. From coverture to inheritance laws to the inability to vote to exemptions in the criminal sphere for marital rape, the law’s distincions illustrated how deeply patriarchal norms were incorporated into state structures. (20)

Oh, but that’s all changed, we’re sooo much better, yay feminism has done its job, you say? Currah (and I) would disagree: “gender subordination remains one of the organizing principles of domestic life, the workplace, and cultural production” (24). Why on earth would I use binaristic language that supports this historical and ongoing suborbination?!

Finally, there’s the question of audience. When I’m addressing my college students, I don’t really need to say “Greetings, males and females, today in class we’re going to read…” because drawing attention to my students’ (presumed) biological sex is simply not relevant in most if any classroom settings. Is it relevant in other settings? Gotta say, I’m drawing a blank. The 2024 Paris Olympics brought the debate about biological sex traits in elite sports to the public stage, and I mostly don’t feel qualified to weigh in on it (see my response here); yes, there tend to be some distinctions between the bodies of cis men and those of cis women in terms of muscle growth, metabolic functioning, and so on, and in certain sports those differences may matter. However, I know from research (and honestly, having a lot of trans friends, whom I appreciate sharing their experiences with me) that the human body is extremely malleable and responsive to hormonal interventions, so I don’t see it as my place to weigh in on this except to urge us all to remember that bodies have so much diversity and variation beyond the element of sex, it just doesn’t make sense to me to make it a really rigid distinction unless the athletes in that sport agree on it. (and please recall, one of the boxers who fought Imane Khelif was basically like “yeah, whatever” when her biological differences were brought up, so if athletes within the sport aren’t bothered by it, I don’t see why non-athletes should be bothered by it).

Hm, okay, when are other contexts where we might wanna say “males” or “females”? Do I ever want to signal something that feels very womanhood-specific to my fellow females? Not really, because I don’t care to enter any debates on how we’re defining femaleness and womanhood. For example, if the connotation of female relates to reproductive bits, are we still calling cis women who’ve had hysterectomies females? What about trans men who started out with that kind of anatomical equipment but ditched it? I don’t see a need to get into the weeds with this sort of thing, so I’ll say what I mean: “Ugh, I’m on my period and it sucks, who can relate?!” and that gets the job done in my opinion. Or if I want to talk about experiences of having my worth tied to my perceived beauty or sexual availability, then I’ll address fellow women, noting that this leaves room for people to weigh in whether you’re cis or trans, because trans women are women and they’ve had many of the same experiences as me, whereas some people who started life with XX chromosomes and a uterus might have had similar experiences at first which then diverged if/when they transitioned to something less binary or something more masculine. I think my choice of language lets people opt in or out of these kinds of conversations as they choose, and I’m okay with that.

At the end of the day, I’m not the language police. I’m not here to grade you on every single aspect of language use, though I will point out places where I think there’s room to grow in terms of word choice, nuance, and so on. If this is a language choice that you are consciously making and you’re aware of all its implications and you still want to run with it…you do you! We can have one conversation about it in class (which has already happened this semester) and that can be it.

Also, language is constantly evolving! Maybe in 5 years this conversation will be completely irrelevant for whatever reason. That’s fine too. I’m going to make the choice that makes the most sense to me right now, based on what I know and on my desire to signal to the broadest audience possible that yes, you belong here in my classroom, and learning is for everyone.

Defending gendered language that reinforces a binary is a weird hill to die on in my opinion, but whatevs.

 

*Bit of a rant here and I didn’t want to derail myself while still getting to my main point, but holy crap, fascist and bigoted and authoritarian belief systems are so lazy. Like, they are utterly devoid of both critical thinking skills and empathy, both of which absences annoy me to no end, I mean, at least pick one of the two to go with?! Every -ism or -phobia out there is rooted in essentialist thinking, generalizations, and stereotypes that are simply not true, and if the people believing these things took like 2 seconds to look at history or at the variety of cultures and human variation around the world they’d see the mounds of evidence disproving their irrational and mean-spirited beliefs, but I guess they’re not gonna do that because a) it’d take some effort and b) they’d have to admit they were wrong, and nobody likes that, especially when you’ve made your whole identity into hating some group you think takes away your power. Oh honey, late-stage capitalism has already done that, you really think we queer people are somehow outdoing corporations in making your life miserable?! There would be far more sparkles involved if we ran this shitshow!

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Stop Asking Teachers When School Starts for Us

August 29, 2024 in Academia, Education | No comments

A stick of books by a beach shore.
Photo from Unsplash by Link Hoang.

We get it. You’re a well-meaning friend, acquaintance, or family member who is curious about how our lives are going or wanting to know when we’ll be more or less available to hang out. Perhaps you’ve got your bowl of popcorn out, preparing to watch the demise of American education (especially higher ed) and you want to know when it’s okay to tap out for a bathroom break, so you don’t miss anything spectacular.

But please, stop asking us when school starts. It’s tantamount to a personal attack at this point.

See, for many of us teachers, summer break is when we can relax and breathe again. I know I went a bit feral this summer, letting my side shave grow out and barely wearing makeup (which is worth mentioning since, without makeup, my face looks like that of a hungover 15-year-old; hardly ideal for a college professor).

Many of us are returning to hostile work environments: we can’t say gay, we can’t respect students’ pronouns and nick/names, we are told to arm ourselves because gun violence is *shrug* inevitable in schools. Granted, some of us face hostile environments at home as well, so I suppose for some teachers, returning to school in the fall is a relief.

Plus it’s not like I laze around eating bon-bons in the summer; first of all, they would definitely melt all over me in the Indiana summer heat, which is made both worse and weirder by global warming. Second, I’m pretty much always working (writing, dancing, etc.), I just get to eat lunch at home instead of meal-prepping for a week’s worth of lunches, and that is a special summer-time joy for me, since I also delight in visiting my local farmer’s markets to pick out fresh produce to cook throughout the week.

The rhythm of summertime life allows many of us the rest we so desperately need, as so many teachers are teetering on the edge of burnout. It’s been worse, of course, in the pandemic, with the pivot to online teaching (and I swear, if anyone says “pivot” to me in a regular conversation I might just scream, that’s how sick of it we are), along with the larger emotional loads we carry when our students need additional help figuring out things that are more intuitive in IRL settings, and the expectations that we do more with less that, well, teachers have basically always had put on us.

And I’m in higher ed, where at least I don’t have to buy crayons for my students out of pocket (but I’ve watched my mom and countless other teachers do so over the years). We have, however, been informed that due to budget cuts we will be responsible for moving the trash from the bins in our offices to designated trash cans around campus. This is not hugely burdensome – which I can only really say because I have minor invisible disabilities, which is not true for all my colleagues – and hopefully this new policy will lead to many riffs on the “taking out the trash” jokes; maybe while taking out the trash we can also take out neoliberalism and the eagerness to embrace AI? (my new fave rant on the matter is here, I don’t know who this person is other than a data scientist but I love their brain)

Thus, any reminder that school is starting soon is also a reminder that we teachers are tasked with the gigantically important job of helping guide our culture’s young, while not given adequate pay or supplies or support to fulfill said task. It’s a reminder that our time without grading papers and checking for plagiarism is over, and if there were ever an onerous task, trust me, it is having a policy stating that AI use in the classroom is plagiarism, but still knowing I’ll need to enforce this policy, which both is an energy drain for me and something that feels like quite a failure, given how I try so hard to give extensions on papers when requested and assert to my students that I want to read their thoughts, not stolen words that have been sifted through a mediocre sieve, like the crappiest confectioner’s sugar to go atop the world’s worst cupcake. That I still have to eat, because it’s my job.

You could contribute to these reminders, or you could just say that you hope the semester starts off well for us, and perhaps leave some wine and chocolate at our doorstop while you’re at it, since between the low pay most teachers see and the continuing attacks on academic freedom at all levels of teaching, we’re gonna need it. I’m not saying I’ve been having increasing panic attacks leading up to the start of the semester, but I’m not not saying it either.

So, thoughts and prayers please…or not, because I’m an atheist-voting, agnostic-leaning Jewish-flavored human. Let’s go with tots and pears instead, because I am a very food-motivated critter, like many both domesticated and undomesticated creatures.

Or, maybe things will be okay. I lost my ID on campus a few days ago (darn those dresses with pockets that are not very deep!), and was emailed the next day to let me know that someone found it. I met some of our incoming students and they are inquisitive, lovely humans. I am working with colleagues to design some new courses that will address lesser-known aspects of history and culture while teaching critical thinking skills, and those are some of the things I love most about my job, seeing the students reach those “aha!” moments about how complex culture is, how important it is to do good research, how much we all have yet to learn about this ridiculously cruel and and wondrous and multi-layered social world we inhabit.

In case you’re wondering, today’s the first day of classes for me. So wish me luck (and again, not gonna say no to wine), and wish all the other teachers and learners and support staff and really everyone in education good luck as well. Help us do our jobs by not traumatizing us with reminders about our jobs, maybe instead using that energy to vote in people who trust teachers and understand that there is something worth saving here.

See you on the other side of the semester, and solidarity to you, my fellow teachers.

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Folklore and “The Original” Version

December 15, 2015 in Folklore | 1 comment

An illustration from a 1912 publication of the Grimms’ tales in English.

A conversation with speculative fiction authors Max Gladstone and Michael Underwood got me thinking about the importance of the “original” version of stories and other expressive culture to people. Gladstone wrote this blog post about how the Star Wars Expanded Universe is essentially a folkloric variation on a narrative, in the same way that the Greek classics displayed variation even when they were written up into plays and other literary (hence fixed) forms. Underwood, who also has folklore training, leapt in, and the discussion veered into intriguing territory, such as wondering how a version of a text becomes associated with concept of the “original” in someone’s mind.

However, as a folklore instructor, I’ve grown to loathe the concept of the “original” when it comes up in my college classes. This is due to two conflated meanings that I’ll unpack here.

The first – and incorrect – way that references to the “original” crop up in my classes is as an assertion of origin. As in, a student saying that the “original” Cinderella was dark and gory.

Um, no. First, that’s usually a reference to the Grimms’ version of Cinderella, in which the stepsisters cut off toes and/or heels to try to fit into the shoe, and get their eyes pecked out by birds at Cinderella’s wedding to the prince. But even then, are we talking about the 1812 version of Cinderella, from when the Grimms first published their collection of tales, Kinder- und Hausmärchen (Children’s and Household Tales), or from the 7th and final revision which appeared in 1857, or any of the intervening revisions? And then what about translations? We know from various folklore studies that Victorian-era English translators changed bunches based on social norms and ideas about acceptability for child audiences.

Between publication and translation issues, it’s difficult to talk about the “original” version of a fairy tale, even when someone has a specific version in mind. Then you throw in the fact that it’s incredibly difficult to determine when the first existing version of something from oral tradition came into being, and yeah… it’s hardly worth talking about. (for what it’s worth, though, the oldest written version of something resembling Cinderella comes from 9th century China, which means it was likely circulating in oral tradition well before that)

See, I’m not drawn to the pursuit of the origins of older folklore. It might be an intriguing research question, for some people, some of the time… but it’s not why I’m here. I’m in folklore studies because we have our scholarly fingers on the pulse of what people (consciously or not) find relevant enough to transmit, perform, and enact.

Anyway, in folklore studies the question of the “original” is essentially a meaningless one, unless you’re working with a phenomenon that is so recent or so thoroughly documented that you can, in fact, point at the first instance of something. But usually it comes together from a swirl of existing cultural material that get remixed in just the right way to cohere and resonate with people.

The second meaning that the “original” can have in folklore studies (and one that bugs me far less, though I wish we had better language for it) is meaning the first version that stuck with you. So it’s a more subjective meaning, and therefore can’t really be debated in the same way as the first meaning. Which is fine – but people need to realize that the first version they were exposed to isn’t necessarily going to be the same for everyone.

In Fairy Tales and Feminism: New Approaches, Donald Haase covers reception and reader response approaches to fairy tales in his introductory essay. One of the scholars he mentions, Kay Stone, has done pioneering work with women’s and children’s memories of and responses to gender roles in fairy tales. Among Stone’s findings is the impressive insight that women selectively remembered the heroines of fairy tales, sometimes making them more active and heroic than passive, even when their roles in the text seem largely passive. Otherwise, there hasn’t been a ton of work in this area that I know of (at one point I was going to do a study, but the IRB permissions were complicated, given that I wanted to work with children).

For fairy tales specifically, yes, we can blame Disney and their aggressive copyright laws for a lot of the hype around the “original” version of something, down to the color and cut of a princess’s dress. But we should also take into account the intellectual fascination with morphologies and genealogies dating back to the Romantic era and the philological foundations of modern literary, historical, linguistic, and anthropological studies. I’ve got a rant about authenticity, and how every cultural tradition is invented, that I’ll get around to writing up eventually, which would tie in nicely here.

If we each have our own personal first-exposure version of a text – whether a tale type, or a custom, or a proper way of preparing a holiday food – then that can be a potentially interesting avenue of study. When was someone first exposed to the text? By whom? Which facets of it stuck with them (motifs and themes; structure; context) and which are more malleable? How does this color their interactions with other versions of the same plot, text, or tale type?

The personal-first-exposure meaning (we need to find a better term than your original version) is intriguing and grants that our unique life experiences shape our interactions with cultural materials. This is more empowering – and more accurate – than trying to determine which version of something came first, since that’s often a question that leads back to historically privileged individuals and groups (e.g. those with literacy, the power to record their lives, and so on).

So please remove the “original” from your vocabulary when in a folklore context. And check out my other folklore pet peeves, too, such as when people assume we write children’s books, or that all folklorists are obsessed with origins, or that everybody already knows everything there is to know about folklore.

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Teaching, Touching, and Pleasure

June 9, 2015 in Academia, Dance, Gender & Sexuality | No comments

Teaching a belly dance workshop. Photo by Pauline Shypula.

Teaching a belly dance workshop. Photo by Pauline Shypula.

I just got back from the annual conference of the American Association of Sexuality Educators, Counselors, and Therapists (AASECT). Since I’ve started doing more work as a sex educator, it made sense for me to go, and while I learned tons about sexuality, it also provided me with valuable opportunities to reflect on the connections between teaching, touching, and pleasure.

There’s a lot of concern in sexuality fields (particularly counseling and therapy) about maintaining ethical boundaries when practicing with a client. Obviously the same concern applies to sex educators too, but it seemed less pronounced. I attended one panel on the ethics of touch, which focused on touch-based practices like sex partner surrogacy and sexological bodywork. There’s so much ethical grey area around these professions that long-time AASECT board members were dodging the question of whether an AASECT certified therapist can even ethically recommend these kind of hands-on treatments to a client (even when it seems like the best modality to help that client). I listened in on related conversations, too, and those helped me put into context the real fear of bodily connection that many people in the sexuality field seem to have, because of how connecting through touch is seen as dangerous both since it risks intimacy that can compromise a professional relationship, and because it just looks bad to an erotophobic culture like ours (plus there are potential legal ramifications, because getting paid to touch people in certain ways is illegal in many parts of the world). Touch – especially sexual and/or pleasurable touch – is incredibly suspect to people today, and that’s a shame in my opinion, because it can definitely be healing.

The two main venues I teach in – the academic classroom and the dance classroom – allow me to handle connection in different ways. In the academic classroom, it’s rare that I have a reason to touch my students, which is fine by me. We do, however, spend a lot of time connecting intellectually. I believe that face-to-face conversations offer hugely important ways of conveying both information and critical thinking strategies, and I think my teaching would suffer if I had to give up the live, face-to-face component.

Unlike touch, I do try to incorporate pleasure into my academic teaching. I let it show when I’m excited about a topic. I praise students when they pick up a concept quickly or bring a pertinent example to class, knowing that many will receive a compliment with pleasure. I try to make things “fun” without capitulating to an all-play, no-work atmosphere. Pleasure is a frequent guest in my classroom, and I like it that way. If teaching and learning weren’t pleasurable, I’d wonder where I was going wrong. I think this helps in the creation of a safe space: my students trust me not to drag them through unnecessarily tedious or unpleasant stuff all the time, and to make topics fun and exciting, and so that when we do have to buckle down and do the hard work, they’ll be ready to come with me on that journey (at least, that’s what I like to believe is happening).

In the dance classroom, I do touch my students. I try not to do it very often, and I certainly keep it appropriate. I ask consent very frequently, even though they sign waivers before stepping into the studio with me. Here, as with the academic classroom, I believe it’s important to establish a precedent that involves a fair bit of trust. I think they need to trust that I won’t unexpectedly come up behind them and touch them without warning, which carries over from social norms in the rest of life. As in other areas of life, I try to model good consent practices, in part because lots of people don’t get this information elsewhere, and in part because it’s central to how I choose to live my life.

Pleasure also figures significantly in the dance classroom, especially for my main style of dance, belly dancing. It’s pleasurable to learn to skillfully move your body, and to adorn yourself to practice. I make a point of complimenting students when they do things right. The thrill of learning to improvise, as we do in American Tribal Style® Belly Dance, carries its own unique sense of enjoyment. As a dance teacher, I try to harness these modes of pleasure and give my students multiple opportunities to explore them.

Learning can be plenty intimidating: fear of failure, feeling stupid, not getting things right, feeling overwhelmed, ramifications for failure (like with grades or wasted money on a class), and so on. Having solid boundaries around touch (when it has a role in that kind of classroom) and incorporating pleasure can both be ways of engaging students and making them feel connected. I don’t think my use of touch or pleasure in either context is inappropriate, but the more I get into the sexuality field, the more I see people scrutinizing – and in some cases fearing – touch and pleasure. In these cases, I want to figure out what’s really going on, and then continue to do what I pride myself on: putting the students first.

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The Pros and Cons of Small Classes

April 29, 2015 in Dance, Education | No comments

In both the academic classroom and the dance classroom, I’ve noticed that small class sizes present unique challenges and rewards.

Benefits

  • More time to engage with each student. In dance, this means more posture and technique corrections for everyone. In college, this means getting to interact directly with each student more.
  • The class material can be paced and arranged differently if it suits everyone. Due to the fractal nature of American Tribal Style® Belly Dance, it’s possible to alternate between focusing on the individual movements or on the group structures of the dance in a given lesson. That gives me a lot of flexibility as an instructor, and with a small class of students, I can tailor the lesson to their level and their needs. Similarly, I can redirect a lesson plan in the academic classroom if a small-ish group of students has done the prep work and is ready to go to a new place.
  • I get to know each student better, both as individuals and in the context of their needs in the classroom. In dance classes, this means I can keep track of who has which injuries, who needs special attention to posture, and so on. In the academic classroom, this helps me remember everyone’s disciplinary background and call on them by name (because learning a new class’s names at the start of every semester can be tough!).

Challenges

  • When people don’t want to participate, a small class can stall. This is worse in the academic classroom than the dance classroom, I think, because in dance classes I can always come up with more drills and more ways to practice. In the college classroom, it’s hard to get people to talk if they don’t want to talk, and if there are fewer potential talkers, well, it’s more likely that there’ll be awkward silence.
  • Sometimes I talk too much. Because of the above point, where a class can stall if there are fewer people contributing, I might get nervous and go off on a tangent or rant. In my Trust and Teaching post, I talk about how teaching should always be about the students’ needs, not mine, but I sometimes lose sight of that in anxiety-inducing situations.
  • It can feel like there are too many possibilities for what to cover, and then I feel paralyzed with indecision. If I’ve got a small, smart group that’s doing the work, and we can talk about anything, then how do we choose what to talk about?

Overall, I enjoy teaching small classes, even though they present some distinct challenges. I feel like the personal engagement between instructor and student is part of the reason why face-to-face education (as opposed to online education) is effective. Small classes afford more of that engagement, so I’ll usually take a small class over a big class, challenges be damned!

***

Well, between this and my Taboo Topics in the Classroom post, that makes 2 teaching-related blog posts this month! I guess with the semester winding down at my university, I’ve got teaching on the brain. I had a really wonderful class full of very bright and engaged students this semester, so maybe this is my way of processing some of the learning I did alongside them.

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Taboo Topics in the Classroom

April 23, 2015 in Academia, Education, Gender & Sexuality | 1 comment

This file was shared under a Creative Commons Attribution image from Wikimedia Commons. Thanks to user Stefan-Xp for sharing it.

Over at my sex education blog, Sex Ed with Dr. Jeana, I have a post called Syphilis in the Social Sciences Classroom. In it, I describe the ways in which syphilis has proved to be a relevant STI for me to bring into my anthropology and gender studies classes.

For all the silence around STIs today in the U.S., you’d think STIs were a taboo topic – and for many they are. As I’ve already discussed, teaching sex education is not the same as encouraging sex, despite the claims of those who believe that teaching about something is the same thing as endorsing it. Add in the (unwarranted) shame and stigma of admitting that you’ve got an STI, or are even interested in learning more (“for a friend,” right?) and it becomes clear that simply talking about STIs is a revolutionary act in many contexts.

I’ve taught plenty of taboo topics (non-monogamy, BDSM, trauma, Freud, feminism) in my college classes, and while there’s no magic trick to getting it right, I’ve found a couple of things that tend to work well for me. Here are some of my favorite strategies:

  • Explicitly acknowledge that teaching about a topic is not the same as endorsing it. This is one example of how I’ll often use verbal communication to the point where it seems way too obvious to even bother saying, which is why I go ahead and say it anyway. I’d much rather sound a tad silly than risk misunderstanding.
  • When introducing the topic, ask students what their impression of the topic is. Perhaps we old fogies are clinging to taboos of our day, while our students might be pretty well over something. Or maybe they’ll shed some light on an aspect of the topic that hadn’t occurred to us.
  • Try to find that balance between acknowledging that a topic is controversial, and introducing it as just another thing people do, hence worthy of scholarly attention. Take, for instance, my approach to kink in the classroom in my blog post And Then I Brought Up Flesh Hooks. Normalizing human sexual behavior – especially when it’s been stigmatized – is a huge mission of mine as a sex educator and an educator in general, and thus I try to talk about things in a not-terribly sensationalistic way. Again, if people are doing it, it’s worthy of study (from the hybrid social sciences/humanities perspective that I’ve come to as an interdisciplinary folklorist and gender studies scholar).
  • Give students time to respond to the topic in a less-structured way, such as journaling, doing an in-class writing prompt, or talking in pairs. Allowing them to process their feelings in some forum other than talking in front of the whole group, or having to answer directed questions from you, can be beneficial.
  • Frame the conversation with a set of rules, boundaries, or guidelines for respectful discussion. I like to remind my students that it’s okay to disagree with me, with the reading/texts, and even with each other, so long as they do it politely. In certain conversations I’ll emphasize that no one’s required to share anything about their personal lives, but only to engage with the material as it’s handled in the class. The way I do this, it’s less about creating a “safe space” where everyone feels 100% comfortable and nurtured all the time, but rather creating a space where people feel supported in speaking up, and where it’s okay to challenge and be challenged.
  • Divide students into groups and have them debate different facets of the topic. Again, this might bring up ideas and issues that I haven’t even considered.
  • Give them an opportunity to make up classroom credit if a topic proves to be triggering or emotionally activating. This might be listening to a podcast, reviewing a blog post, watching a TED talk, or something along those lines. Since I deal with sexual topics a lot in my classroom, I tend to have a lot of these options floating around my brain at any given moment, in case somebody needs to pass on participating.

At risk of being snarky, I’m sure it helps that I have white, middle-class privilege and thus can bring up certain topics without being seen as too offensive. At the same time, being a woman means I probably come across as nurturing and supportive when I don’t necessarily think of myself that way, which may help students feel more comfortable during difficult discussions. I’m not thrilled about these areas of privilege, but I have to acknowledge them, and I might as well try to use my privilege to benefit others, by creating unique educational opportunities.

I’ve never had anyone tell me not to teach a topic, or that I was being too controversial, or that I would be penalized for anything I taught. But I’m sure there’s a first time for everything. In the end, I try to keep in mind that teaching is less about my experience (as much as I might feel like a bad-ass for handling touchy topics with grace) and more about the students’ experiences, and that helps me navigate some of these tricky subjects. In the end, if it doesn’t benefit them, why am I doing it?

What about you? How do you handle taboo topics in the classroom?

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Legends & Fear

January 28, 2015 in Folklore | No comments

As we all know, I’m a fairy-tale expert. But that doesn’t mean I don’t like other forms of folk narrative! In particular, I’ve always loved legends. There’s something about them that captures my imagination, though I’ve not done much original research on them.

In the classroom, however, I bring in legends at every opportunity. I’ve done enough coursework in them that I feel pretty competent explaining what they are as a genre and how we can productively study them (note the “productively” part: spending time debating whether they actually happened is a waste of time, in my opinion, because as students of culture, we’re far more interested in why these stories are compelling enough to tell and retell).

Legends are almost always about fear. Different folklore genres tend to cluster around certain themes and messages, and as I’ve written in regard to sex positivity and folklore, when legends deal with sex, it’s almost always in a negative light.

Having sex outside marriage? You should be afraid that something bad will happen to you. Having sex with a same-sex partner? Likeliness of bad things increases. Performing non-procreative acts like oral sex or anal sex? Be very afraid. Having an affair? More bad news. Masturbating? Uh oh!

The list of sex acts that get demonized in legends goes on and on, and they all link back to one thing: fear. Fear of the unknown. Fear of the abnormal. Fear of social stigma. Fear of disease. Fear of having your privacy violated. Fear of being mocked.

I love that by studying these stories, we can tap into very basic human fears that take particular expression in this day and age. However, I don’t love the fears that are being normalized here. I want to see sexual diversity being celebrated, not stigmatized. I want to see sexual exploration being done safely and consensually regardless of whether it happens inside or outside marriage, heterosexuality, and vanilla life.

Hopefully by studying the fears transmitted in legends, we can counter these broadly conservative social and sexual messages with other messages and narratives that are more broadly inclusive. In other words, let’s learn from these narratives, and learn from these fears, but not let them define our reality.

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An Open Letter to My Dance Students

December 29, 2014 in Dance | No comments

Me performing with my students and dance troupemates at a 3rd Friday Drum Circle at Playground Productions (Indianapolis).

Me performing with my students and dance troupemates at a 3rd Friday Drum Circle at Playground Productions (Indianapolis).

One of the things I’m learning about teaching dance is that while it’s usually full of delightful challenges, there are rougher times too – such as the time when a dance student moves on to another location.

While in the middle of one of these situations, I started reflecting on what I’d like to tell my past and present dance students. I decided to write an open letter to them and post it here, in part so that I don’t have to reiterate it each time this happens, and in part so I don’t tear up by having to say these things in person.

***

To my dance students –

In the time you’ve studied with me, whether it’s been a handful of classes or a couple of years, I’ve hopefully shown you some of the wonders of American Tribal Style® Belly Dance. You’ve studied hard and learned a number of dance movements as well as the improvisational structure of the dance (which reflect one another like fractals do). You’ve experienced how practicing the moves is a fun activity in and of itself, but the movement vocabulary is also an end to a means: the ability to collectively improvise with your dance partners.

Collective improvisation is a unique experience, and one that I hope you’ve gotten to enjoy. It’s one way to get into a flow state, thereby becoming absorbed in the moment rather than being stuck in your head. Most ATS dancers I know describe the flow state in desirable terms, as something that happens when everything clicks and you’re able to let go of conscious thought and just be in the moment. (In case you’re curious about these flow experiences in belly dancing, I explore them in an academic article on the numinous in belly dance, which also includes experiences like trance dancing and spiritual dancing.)

I hope that when you go on to another dance studio, teacher, or style, you’ve absorbed some of the lessons I try to convey in my teaching, such as practicing self-care at all times, and being compassionate with yourself when trying to learn a difficult concept. I also try to teach that simplicity is often best, that form and intention can go a long way in dance.

As you should know from studying the history of ATS, there’s a lot of variation in our dance. A LOT. It’s just like a language that naturally develops dialects over time and space. I hope that when you go on to study ATS under another teacher, you are respectful and willing to learn that troupe’s flavor. There might be more dialect than you’re used to. They angle their Triangle Step differently, or include one more or less floreo in their Strong Arm. Be graceful and roll with it. You might like some ways that I taught things better, or you might prefer your new instructor’s way of doing things. Be okay with these things. While you’re still a student, you’ll accept that teacher’s stylistic decisions and guidance, and if you decide to go on to become a teacher yourself, you can make those calls yourself.

But in my experience, dancing ATS is less about the details and more about the connection with your fellow dancers. It’s about how the movement vocabulary lets you communicate using hand signals and your gaze, and in doing so, create a novel dance experience for all participants.

To wrap this up, I’m honored that you trusted me enough to let me be your teacher. I know that it can be difficult to trust a dance teacher when our culture’s so wrapped up in body image and confidence issues. Indeed, I think ATS is subversive in large part because it lets us access a flow state and thus not be concerned in the moment about how we look, but rather how we feel. And if I’ve helped you achieve that transcendence at all, then I’m thrilled to have had a part in it.

(also, it occurs to me that if you haven’t seen ATS before, watching a performance might help all this make more sense! so feel free to check out this video of me performing with my students and troupemates, many of whom first started to study this dance form under me…and again, this was all improvised!)

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Trust and Teaching

April 11, 2014 in Dance, Education | No comments

Teaching at the Winter Bazaar (March 2014); Photo by Curtis Claspell

I didn’t enter dance or academia expecting to love teaching, but I’ve found myself teaching dance and teaching college-levels classes for almost a decade now each, and enjoying both opportunities a bunch. The more I teach dance, though, the more I find it necessary to reflect on the role of the teacher, and what kind of trust she must build with her students.

Perhaps the academic classroom is so structured that this question didn’t really enter my mind until I began building a dance community that has me teaching and rehearsing multiple days a week. Being in sustained contact with my dance students, both in person and online, has been a unique experience. And it’s not that I don’t adore and benefit from contact with my college students, but there are many boundaries there that don’t exist with my dance students. I socialize with my dance students, and even party and (gasp) drink with them. They’ve been to my home, and I’ve been to many of their homes, for practices, craft nights, movie nights, and so on. We carpool to events. We’ve worn each other’s costumes for performances, and gifted each other costume items and snacks and caffeinated beverages. Very few of these activities would be appropriate for me to pursue with my college students, but I don’t feel they cross a line with my dance students. In part this is because dance in our community is a hobby (whereas one’s college performance arguably has a more “real” impact on one’s life), and in part this is because the student-teacher relationship in a dance context is often less power-laden than the student-teacher relationship in an academic context.

The interesting – and unique – thing that’s happening to me in the dance classroom these days is that I’m having to ask my students to put immense amounts of trust in me, and I’m struggling to prove myself worthy of that trust daily. Belly dance is intimately connected to body image, which for many women in American culture, is a fraught topic. One of the major reasons I perform belly dance is to challenge expectations about ideal feminine beauty. So, the first challenge I face in asking students to trust me is that I’m basically saying, You are beautiful as you are, and you will be beautiful when you dance. We receive so many mixed messages from our capitalist culture that I’m not surprised that this message might be hard to swallow.

Since I’m trying to build a community based on the radical notion that women’s bodies in motion are beautiful, regardless of one’s age or build, I have to ask my students to trust me when I tell them that they can do this. American Tribal Style® Belly Dance is particularly well-suited to making women look good when they dance, in large part thanks to the richly layered and customizable costumes. For some women, just taking that first step and signing up for a belly dance style requires trust. For others, taking classes is fine, but then baring their bellies (which I don’t require) or dancing in front of others is what’s tough. In order to encourage them to take a chance on me as an instructor, I try to cultivate an upbeat, cheerful teacher persona. I encourage questions and I never shame anyone for not picking up on a move right away, or needing to ask the same technique question again, or whatever. Shame has no place in the belly dance classroom, or any classroom, really.

(on a related note, though written in reference to the academic classroom, I agree with this professor’s statement: “Education is about students. It is about caring for them, pushing them, helping them, working with them rather than against them. Take a good long look at your reasons for being in higher ed. If students are not at the center, you are doing it wrong.”

Further, since practicing belly dance often comes with the hope of eventually performing it, I’m having to ask my students to trust me when it comes to evaluating their readiness to perform. This is where it gets really tricky. I’ve hopefully established that they can trust me to be their teacher and to build up their confidence… but now I have to objectively evaluate whether they’ve mastered a certain skill-set enough to confidently perform it on stage. Performing introduces so many variables that dancers must be comfortable with the basic movements. If that stuff isn’t committed to muscle memory, there’s so much that can go wrong. It’s never, like, catastrophic when someone forgets or messes up a move on stage, but I try to prevent that from happening because it can be unpleasant, and I’d prefer for my dancers to associate pleasant memories with dancing.

So the weird duality I’m noticing here is that I have to ask them to trust me enough that I can be responsible both for building up their confidence, and for gently criticizing their shortcomings. I try to approach this tension with an air of humility; after all, I’m not perfect either. Goodness knows I could always use more practice, and when I’m traveling to a city where there’s another certified ATS® teacher, I try to go in for classes so that I can get technique corrections or new ideas.

Hopefully my students recognize my intentions and trust me, and hopefully they understand that when I correct them, it’s all in service of building their confidence back up again when they can grasp a concept correctly. Getting us all dancing together – which takes a ton of work! – in turn builds the community. And the stronger and more loving our community is, the better we are as dancers, and as people. Seeing my dance students flourish in this community is one of the most amazing things I’ve ever experienced, and so muddling through the cognitive dissonance of how to build students up while encouraging them to better is well worth it.

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Organizing Course Learning Goals

January 9, 2014 in Academia, Folklore | No comments

I tried something new in my two classes at Butler in the fall semester, and I liked it enough that I’m going to continue it in my spring classes and also share it with you all here.

Often, when I am writing syllabi and constructing my first-day “let’s all get oriented” lectures, I find myself trying to balance my broader learning goals (instilling critical thinking skills, attentive reading skills, and so on) with my discipline-specific goals. In the case of folklore classes, it’s important to learn what we do differently when studying folklore than, say, literature, but also to learn about the topics at hand, which is more of a methods vs. facts distinction.

Then there’s this issue: articulating a balance of learning goals that is helpful to me when writing the syllabus is a different thing than trying to convey this information to my students, so they can know what’s expected of them. I think the idea I’m going to share here is more helpful for the latter, but maybe it’ll work well when kept in mind for the former, too.

In both of my classes last fall, I told my students that they were going to be learning three main types of things in the class:

  • Objective
  • Subjective
  • Critical

I’ll explain this with examples from my Folklore of the Midwest class.

  • Objective knowledge about folklore in/of the Midwest: we learned how to identify various folklore genres and texts; we learned the terminology used in folklore studies; there IS a right and a wrong answer for this kind of thing (don’t try to convince me that a riddle is a legend; it will go poorly for you)
  • Subjective knowledge about folklore in/of the Midwest: we learned how to identify folklore in our own lives, which would be different for each individual student; here, students might make connections between folklore items discussed in class and items known in their folk groups, ranging from family folklore to occupational folklore; there’s not so much a right or wrong here since this is very personal, but you should still be using folklore terminology correctly
  • Critical thinking about folklore in/of the Midwest: we learned how to apply concepts from class to not only our lives, but also the world around us; this is less easy to gauge than the other two elements, but it emerges when I have students design their own fieldwork projects, and when we discuss current events in class and I can see students making connections between class concepts and superficially unrelated topics

I came up with a similar breakdown of concepts and knowledges in my gender studies class last semester, which had even more of a subjective component to it since we were discussing marriage, relationships, sexuality, and gender, which people often respond to emotionally. Both of my classes seemed to respond well to this paradigm when I presented them with it on the first day of class, and I reminded them of it throughout the semester and at the semester’s close. I suppose this is what’s referred to as “scaffolding” in course design and lesson plan design – having a concrete idea of where the class is supposed to go, and giving your students the support and structure they need in order to think and explore in that direction.

This semester I’m probably going to stick closely to this course concept in one of my classes, and try something different in the other. I may well apply it in my class on fairy tales, sexuality, and desire, since as we all know, things tend to come in threes in fairy tales. I’ll try a different learning-goal paradigm for my class on dance, gender, and the body, and I’ll report back on any notable successes or failures in a few months.

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