Article
Comment
Education
Leading
5 min read

Why I teach over my students’ heads

Successful teaching is a work of empathy that stretches the mind.
A blackboard covered in chalk writing and highlights.
James's chalkboard.

I’ve been teaching college students for almost 30 years now. As much as I grumble during grading season, it is a pretty incredible way to make a living. I remain grateful. 

I am not the most creative pedagogue. My preference is still chalk, but I can live with a whiteboard (multiple colors of chalk or markers are a must). Over the course of 100 minutes, various worlds emerge that I couldn’t have anticipated before I walked into class that morning. (I take photos of what emerges so I can remember how to examine the students later.) I think there is something important about students seeing ideas—and their connections—unfold in “real time,” so to speak.  

I’ve never created a PowerPoint slide for a class. I put few things on Moodle, and only because my university requires it. I’ve heard people who use “clickers” in class and I have no idea what they mean. I find myself skeptical whenever administrators talk about “high impact” teaching practices (listening to lectures produced the likes of Hegel and Hannah Arendt; what have our bright shiny pedagogical tricks produced?). I am old and curmudgeonly about such “progress.”  

But I care deeply about teaching and learning. I still get butterflies before every single class. I think (hope!) that’s because I have a sense of what’s at stake in this vocation.  

I am probably most myself in a classroom. As much as I love research, and imagine myself a writer, the exploratory work of teaching is a crucial laboratory for both. I love making ideas come alive for students—especially when students are awakened by such reflection and grappling with challenging texts. You see the gears grinding. You see the brow furrowing. Every once in a while, you sense the reticence and resistance to an insight that unsettles prior biases or assumptions; but the resistance is a sign of getting it. And then you see the light dawn. I’m a sucker for that spectacle.  

This is how the hunger sets in. If you can invite a student to care about the questions, to grasp their import, and experience the unique joy of joining the conversation that is philosophy. 

Successful teaching is, fundamentally, a work of empathy. As a teacher, you have to try to remember your way back into not knowing what you now take for granted. You have to re-enter a student’s puzzlement, or even apathy, to try to catalyze questions and curiosity. Because I teach philosophy, my aim is nothing less than existential engagement. I’m not trying to teach them how to write code or design a bridge; I’m trying to get them to envision a different way to live. But, for me, it’s impossible to separate the philosophical project from the history of philosophy: to do philosophy is to join the long conversation that is the history of philosophy. So we are always wresting with challenging, unfamiliar texts that arrive from other times that might as well be other planets for students in the twenty-first century.  

So successful teaching requires a beginner’s mindset on the part of the teacher, a charitable capacity to remember what ignorance (in the technical sense) feels like. To do so without condescension is absolutely crucial if teaching is going to be an art of invitation rather than an act of alienation. (The latter, I fear, is more common than we might guess.) 

Such empathy means meeting students where they are. But successful teaching is also about stretching students’ minds and imaginations into new territory and unfamiliar habits of mind. This is where I find myself especially skeptical of pedagogical developments that, to my eyes, run the risk of infantilizing college students. (I remember a workshop in which a “pedagogical expert” explained that the short attention span of students required changing the PowerPoint slide every 8 seconds. This does not sound like a recipe for making students more human, I confess.) 

That’s why I am unapologetic about trying to teach over my students’ heads. I don’t mean, of course, that I’m satisfied with spouting lectures that elude their comprehension. That would violate the fundamental rule of empathy. But such empathy—meeting students where they are—is not mutually exclusive with also inviting them into intellectual worlds and conversations where they won’t comprehend everything.  

This is how the hunger sets in. If you can invite a student to care about the questions, to grasp their import, and experience the unique joy of joining the conversation that is philosophy, then part of the thrill, I think, is being admitted into a world where you don’t “get” everything.  

This gambit—every once in a while, talking about ideas and thinkers as if students should know them—is, I maintain, still an act of empathy.

When I’m teaching, I think of this in a couple of ways. At the same time that I am trying to make core ideas and concepts accessible and understandable, I don’t regret talking about attendant ideas and concepts that will, to this point, still elude students. For the sharpest students, this registers as something to learn, something to be curious about. Or sometimes when we’re focused on, say, Pascal or Hegel, I’ll plant little verbal footnotes—tiny digressions about how Hannah Arendt engaged their work in the 20th century, or how O.K. Bouwsma’s reading of Anselm is akin to something we’re talking about. The vast majority of students won’t be familiar with either, but it’s another indicator of how big and rich and complicated the intellectual cosmos of philosophy is. For some of these students (not all, certainly), this becomes tantalizing: they want to become the kind of people for whom a vast constellation of ideas and thinkers are as familiar and present as their friends and cousins. This becomes a hunger to belong to such a world, to join such a conversation.  

This gambit—every once in a while, talking about ideas and thinkers as if students should know them—is, I maintain, still an act of empathy. To both meet students where they are and, at the same time, teach “over their heads,” is an invitation to stretch into new terrain and thereby swell the soul into the fullness for which it was made. The things that skitter just over their heads won’t be on the exam, of course; but I’m hoping they’ll chase some of them for a lifetime to come. 

  

This article was originally published on James K A Smith’s Substack Quid Amo.

Review
Awe and wonder
Culture
6 min read

A Sky Full of Stars: lessons on awe from Coldplay's concert

Unexpectedly finding herself among a sea of 90,000 people at a recent Coldplay concert, Belle Tindall reflects on what the experience taught her about the nature of awe and wonder.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A singer struts a stage pointing to the spotlight as coloured orbs float down.
Coldplay's Music of the Spheres tour.
Stevie Rae Gibbs, CC BY-SA 4.0, via Wikimedia Commons.

Coldplay are about to wrap up the European leg of their Music of the Spheres tour; their multi year-long and (literally) world-wide spectacle. When I say spectacle, I really mean it. The three-hour long show is nothing short of an audio-visual marvel, one that they’ve played to millions of people over the past year or so, and a couple of weeks ago, I was (rather unexpectedly) one of them.  

Hold your personal tastes for a while, leave your ‘Coldplay make me cringe’ critiques at the door (you can pick them back up at the end), and allow me a moment to paint the picture for you.  

The band adorn alien masks, they duet with a puppet, they dance upon a stage that changes colour beneath their feet, they release a tidal wave of giant beach balls, they dance through a downpour of confetti, and they bring it to an end under a canopy of fireworks. That’s not to mention their most infamous party-trick, the wristbands that turn the audience themselves into the lightshow. The result is, as you can imagine, utterly breath-taking. The crowd become a panoramic murmuration of colour that dances around the stadium.  

Aside from the long queues for the bathroom and the sticky folding seats, the escapism is all-encompassing, it doesn’t falter for a moment. All of it made all the more wholesome for knowing that its being powered (at least in part) by the kinetic dancefloor and the spin bikes towards the back of the stadium.  

And I know what you’re thinking, I haven’t even mentioned the music yet. 

There is something innate within us that is awoken when we are faced with something great, something that transcends us as an individual, that resides outside of ourselves. 

What is there to say? Hearing 90,000 people belt out words as heart-wrenchingly vulnerable and honest as ‘nobody said it was easy, no one ever said it would be this hard’ on a cloudy Wednesday evening was as powerful as you would expect. Strikingly countercultural too, where does all that emotional honesty hide when it is not coaxed out by nights like these? But that’s a question for another article. Watching those same 90,000 people put their arms around the ones they love as they sing the words of the cosmically-minded love song Yellow, and then in the next moment dance with abandon to Adventure of a Lifetime was a joy to behold, a people-watcher’s paradise, a true case study in human nature and emotion.  

And that leads me to the premise of this piece, which is not wholly to gush over Coldplay.  

As I observed these 90,000 strangers, many of whom had travelled a considerable distance to commune together in this place at this time, I was reminded that humans are made with an inherent need for awe and wonder. There is something innate within us that is awoken when we are faced with something great, something that transcends us as an individual, that resides outside of ourselves – and that is exactly what I witnessed. More interesting than any firework display was the sight of 90,000 people who had pressed pause on the daily rhythms of their lives and gone on a pilgrimage in search of awe and wonder.  

Awe and wonder are admittedly elusive emotions, notoriously hard to define and harder still to analyse. As a result, they have been largely understudied and overlooked. However, the one thing we do know about awe and wonder is that they are among the most precious and powerful emotions a person will experience. Dacher Keltner, a psychologist at the forefront of a surge of research into the complexities of awe, proposes that awe is distinct; it is not interchangeable with joy or fear, ecstasy, or horror. Rather, raw awe is a particular state that comes as a result of experiencing vastness. As Keltner writes, 

‘Awe arises in encounters with stimuli that are vast, or beyond one’s current perceptual frame of reference. Vastness can be physical, perceptual, or semantic and requires that extant knowledge structures be accommodated to make sense of what is being perceived.’ 

In short, awe is an emotional reminder that we are small.  

It is perhaps surprising that coming face-to-face with our minute nature equates to mental and spiritual wellbeing. Our individualistic society would have us believe that such a reality should bring forth feelings of desolation or a fear of oblivion, that awe must therefore be a gateway to some kind of existential crisis. But not so. Numerous studies tell us that is simply not the case.  

Believe it or not, we humans benefit from coming face-to-face with our smallness. It has recently been suggested that cultivating awe on a regular basis can ease stress, depression, and anxiety. It can improve our sleep, increase our creative capabilities, and even reduce inflammation. It is a core premise that underlies the Twelve Step programme, an acknowledgment that there is something bigger than oneself, and therefore stronger than one’s addiction, continues to aid countless people in their recovery. Referring once again to Keltner, he proposes that when awe is notably absent from a person’s routine, narcissism, materialism, and a deep sense of disconnection from anything that resides outside of themselves become its inevitable substitutes. 

And what’s more, we actually enjoy awe. We crave it. We go out of our way to seek it out.  

We build telescopes and gaze into space, we flock to areas of outstanding beauty, we take pictures of sunsets, we visit ancient ruins, we study pieces of art, we sing our hearts out in stadiums brimming with complete strangers.  

It’s fascinating. The more you allow yourself to dwell on the nature of awe, the more interesting it becomes. How remarkable that even in a society which is largely built upon premises such as Albert Einstein’s - ‘everything that is really great and inspiring is created by the individual’ - we seem to have a biological afront to this, something ingrained that tells us that this is not true.  

Of course, I imagine you have been waiting for me to bring God into all of this? To say that any awe the world can offer is but a mere glimpse, to allude to something similar to what C.S Lewis said, that  

‘if you find yourself with a desire that no experience in this world can satisfy, then the most probable explanation is that you were made for another world’

and subsequently suggest that the seen cannot compare with the unseen. 

I suppose it could absolutely be argued that our craving for bigger things is a symptom of our craving for the bigger thing. That our wonder at all things transcendent is a taste of the wonder on offer from the transcendent. And that is certainly an intriguing thought. That’s the kind of thought that has led the likes of Paul Kingsnorth into Christianity, and David Baddiel to oppose it. Do we crave vastness and need awe because we crave and need God? Or do we crave (or as Baddiel would argue, create) God because we crave vastness and need awe? Such a thought could be pondered for a lifetime, and I suppose now would be as good a time as any to start.  

But for now, I shall return to where I started, sitting on seat M22 at a Coldplay concert, just one of a sea of 90,000 people, all listening to a set list of songs that have become cultural artefacts. Each tune that bellowed from Cardiff’s Principality Stadium during Coldplay’s residency there gathered countless individual stories and bound them together into a wonderous collective sound. It both belonged to every person there and transcended them.  

If you ever found yourself in need of a lesson in awe, I would heartily recommend.