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A Dramatic Pause: Silence in the 21st Century Classroom

5/13/2017

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Image by Kristina Flour, Sourced from Unsplash
When studying threshold concepts for my Theology studies last semester I stumbled across a substantial body of research around the importance of silence in the classroom. As I was reading this material I immediately thought of my year 9 class. This mixed ability class of 27 students is my most challenging class, difficult to settle at times and often unfocussed, (or they were, before the silence project!). I made a decision in that moment to introduce silence as a daily practice into my classroom.
 
This is what I did. Try it, you can thank me later. :)
 
The Research
An excerpt from my essay on threshold concepts summarising the research around silence in the classroom:
Meyer and Land (2013) adopt the imagery of a portal to illustrate threshold concepts opening up “a new and previously inaccessible way of thinking about something” (p.3). This imagery aligns directly with Berryman’s (2006) description of silence. He writes, “Silence is present as an opening and as a waiting for knowledge” (Berryman, 1999, p.258).  The journey from noise to silence in the classroom is profoundly transformative, troublesome, irreversible and integrated, particularly in the current climate. Berryman (1999), Haskins (2010), Kessler (2000), and Stanley (2011) all highlight the ‘noise, speed and unceasing interaction’ of modern culture resulting in a loss of silence. The introduction of silence into the classroom can therefore prove challenging as it can be disorientating and uncomfortable for students. Kessler (2000) reveals this troublesome element noting that, “Students are so underexposed to silence that some have come to be afraid of any experience of emptiness” (p.38).  However, it is in this emptiness that students become transformed as their connection with ‘God, others, their deep self, or nature’ is heightened and their creative energies are ‘refreshed’ (Berryman, 1999). Furthermore, Kessler (2000) describes silence as a ‘gateway’ that leads to “…deep connection to the self, transcendence, creative expression or the search for meaning and purpose” (p.36).
 
Anthony of Egypt advocated for an authentic spiritual life; a “life lived in an intense awareness of the present moment” (Bright, 2008, p.172). Silence places students in that present moment allowing them to open the doorway inward (to self) and outward (to others) by processing the constant external stimulus that they are bombarded with.  However, the challenge for teachers lies in the culture of the school. Haskins (2010) argues that, “Teachers who are persistently pressured to improve test scores will find it difficult to honour slowness, stillness, and silence” (p. 16).  Teachers have a responsibility to make time for silence even if they feel they are crossing a dangerous boundary. Building moments of silence into the day to day running of a classroom is not impossible. Teachers could introduce the Examin to the daily classroom ritual, build opportunities for reflective journaling or artistic expression into lesson plans, allow students to ‘go solo’ mid-class, or provide reflective spaces for quiet meditation in the physical classroom (Bright, 2008; Haskins, 2010; Kessler, 2000; Mudge, 2007). These moments of silence should be seen as opportunities rather then wasted time. Mudge (2007) argues that priority should be place on ‘slow, meditative thinking’ in order to complement ‘fast, linear thinking’ and cultivate wisdom, for it is in these moments of silence that students are truly transformed (p.25).
 
Similarly to apophatic knowing it is difficult to formally measure and assess the extent to which students have crossed the threshold from noise to silence. However, informal assessment is not impossible. Teachers can use direct observation to monitor the effects of silence in their classroom. Students may demonstrate increased connectedness, joy, calm, wholeness, sense of self, wonder, defined purpose, confidence, creativity, attention and a shift towards the ‘second naiveté’ (Berryman, 1999; Bright, 2008; Haskins, 2010; Kessler, 2000; Miller, 2006; Mudge, 2007). There may also be a decrease in anti-social behaviour, depression, lethargy and anxiety amongst students. Student journaling or artwork can capture some of the transformational benefits of silence and the individual growth of students. However, due the immensely personal and liminal nature of silence the full extent of the transformation and irreversible effects it has had may prove too expansive to fully measure. 
 
The Experiment
I decided to introduce a minute of silence to the beginning of each of my lessons with my challenging year 9 class. They were told that I was experimenting with an idea. If they were keen to embark on this journey with me we would trial it for 5 weeks and they could then decide whether or not we kept it as part of our classroom practice.  They agreed and so we added a minute silence to the beginning of our lessons.
 
​I told them,
“You may use this time to clear your mind, or to notice what you are feeling and thinking right now, or to digest what happened in your last class. You might use this quiet time to pray, list what you are grateful for or to set a goal for our time together… or, if you need to, to rest.”
 
Lesson 1 –
Excerpt from Teacher Reflection: To be honest I didn’t really expect what came next. They were silent, but I could honestly say I could see them thinking. One of my most academic students decided to take a large walk around the room (which is why I will now insist on stillness) as it was very distracting and she became a focal point for some. I also realised I didn’t encourage them to close their eyes if they wanted to. It was like they were performing. They had to do something. They didn’t know how to do nothing. The minute went very quickly, which was odd as I had timed a minute before the lesson and felt like it went forever. I wonder if I have to make it 2 minutes to give them a chance to really stop. I have also asked five students to reflect on the process and will use their reflections to help inform my practice as we move forward.
 
Student Reflections – I chose five students with differing needs, abilities and personalities across the classroom to reflect on the process.
 
Student 1 - Ms Gill, I’m not really sure what brought this on, but personally, I don’t think the pause was useful. For me at least. Drama is already a break from all the busy stuff we do (that’s not to say that Drama is a super-easy subject that I think of as a break, because it’s not!).
 
Student 2 - I think the idea of the exercise was good because it gave me time to just not have to worry about everyone else but instead do what I want to do not what anyone has to do. It gave me time to be contained in myself and do what I felt I needed to do. I think that it does need to be longer though because by the time I decided what I wanted to do it was already over. For me I am not a sentimental person and didn’t want to pray or anything so instead I had a staring competition with the timer.
 
Student 3 - When Mrs Gill told us we were going to have to do this I was a bit worried because I talk A LOT but when we did it, it wasn’t that bad. I actually enjoyed doing this exercise as I get quite stressed and then to come into drama and be able to just have some time to think. I think it needs to be longer then one minute.
 
Student 4 - This is a good way to start the lesson. I used this time to listen to my breathing and relax. However, I think there should be more time, maybe 5 minutes because 1 minute was to quick.
 
Student 5 - I liked that. I liked watching what people do when they’re given free range and a basic guideline. Some people take it as a challenge and they try to out do something out of the box that they overthink it a bit, some people flick a switch and shut themselves off to the world like that. I liked feeling other peoples presence, then taking some time for myself. Today I didn’t want to think, so I was just there, being.
 
Lesson 2 –
Excerpt from teacher reflection-  So today was ok. I set it up a bit better and asked the kids not to over think it this time. I also asked them to stay where they were. Some of them told me they would prefer to sit or lie down. I let them do this as it is their experiment too. About 10 students sat or lay and the rest remained standing. The time seemed to go slowly today but I wonder if that was because they were more settled and hence so was I. I felt like we were stiller and silent. I am going to increase it to 2 minutes when we do it next though, as it does feel short. A teacher walked past our classroom as we were doing it and I am sure she was thinking what the hell is happening in there! Wonder what our third lesson will be like…
 
Student Reflections – ​
Student 1 - Ahhh… Once again, I don’t feel any different from this exercise. Talking to other students, however, I think it may be because I don’t need ‘time’ to ‘prepare’ for a lesson. I’m already calm and relaxed, and therefore, for me, the one minute is just a time-passing exercise
 
Student 2 - I don’t think it is long enough still, I didn’t have enough time to settle down. Today I decided to lie down and I thought about the air conditioner. I felt different and more calm, but I think it is only good for a small percentage of us. Those who are more creative then others and it’s a bit hard to think about what to think about, I am still unsure how I would like it to be.  See how it goes.
 
Student 5 - I really needed that. It feels like this whole week has been non-stop and that I’ve just accumulated tension in my body for 7 days straight. Taking two minutes to stretch and reflect was amazing. My body felt loose and light afterwards and I was the most relaxed I had been all week. I felt like I had been weighed down by an anchor before, but now I am floating.
 
Other feedback on the lessons that followed:
“I love having the two minutes to reflect on things on my mind, then prepare for the lesson. I like to stretch, because it feels I am physically getting rid of the pressure in my body. I feel relaxed and ready afterwards.”
 
“I liked the two minutes of time because I was able to reflect and wind down about the day. I think it is important and helps me throw everything out the window. “
 
“I liked it today as we are getting our exams back and finding out some results and I took some time to reflect. I am very negative. To take time out of talking is good.”
 
“It makes me look forward to Drama even more (if that’s possible)”
 
Students were also asked what they did with the time:
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 Decisions Made By The Class After The Five Week Experiment:
  • One minute was too short and two minutes was too long, One and a half minutes was just right.
  • Some students preferred standing, others sitting, some lying down. The choice was theirs but it was decided they must stay in a circle and remain relatively still.
  • 95% of students wanted to keep the ‘dramatic pause’ as we now term it!
  • Student 1 (from the reflections above) now uses the time to set specific learning goals for our lesson or for the week. She is highly academic and needed an additional challenge.
  • 80% of the students would like to see this practice used in their other classes.
 
The Conclusion
I noticed, after just one week of the experiment, that my students were more settled, focused, calm and creative as a result of the silent time at the beginning of the lesson. Instead of taking close to ten minutes of my lesson to really settle them, it was taking me one and a half! The research was right - I witnessed increased connectedness, joy, calm, wholeness, sense of self, wonder, defined purpose, confidence, creativity, and attention. I also noticed a decrease in anti-social behaviour, depression, lethargy and anxiety amongst students. My anxious kids were less anxious, my extroverted kids were quieter, my ADHD kids more focused and my academic kids more determined. 

There were also many added benefits I didn’t expect.
  • Students who are late to class do not disturb the lesson… they notice it is silent time and just quietly join the circle.
  • I have an opportunity to guide their thinking as they enter into a lesson. For example, we are currently studying playbuilding at the moment in year 9 and I have asked them to use part of their silent time to think about what they are going to contribute to the group in the lesson to follow.
  • Furthermore, they are more comfortable being silent on stage and this has influenced their performance work greatly.  We have spoken about the importance of silence for playwrights and practitioners in their work. For example, Pinter -  “Pinter’s pauses and silences are often the climaxes of his plays, the still centres of the storm, the nuclei of tension around which the whole action is structured” (Esslin, in Ganz, p.56 1972). Additionally it has given my year 12’s a greater understanding of Lecoq who writes, “We begin, with silence, for the spoken word often forgets the roots from which it grew, and it is a good thing for students to begin by placing themselves in the position of primal naivety, a state of innocent curiosity. In any human relationship two major zones of silence emerge: before and after speech. Before, when no words have been spoken, one is in a state of modesty which allows words to be born out of silence; in this state strength comes from avoiding explanatory discourse. By taking these silent situations, and working on human nature, we can rediscover those moments when the words do not yet exist. The other kind of silence comes afterwards.” – Lecoq, The Moving Body
  • In a crazy five period day, with rehearsals before school and lunch, with meetings and everything else that goes with teaching, I have a moment to catch my breath. Well actually a minute and a half every lesson! I force myself to stop with my students and take the time to process what happened the lesson before. I am much more present at the start of my lessons and more relaxed by the time we begin. 

​This is now my practice in everyone of my classes. You should make it yours too. I promise you will see the effects immediately and I am 99.9% sure it will increase educational outcomes. As Mudge (2007) argues priority should be placed on ‘slow, meditative thinking’ in order to complement ‘fast, linear thinking’ and cultivate wisdom, for it is in these moments of silence that students are truly transformed (p.25).

References
​Berryman, J. W. (1999). Silence is stranger than it used to be: Teaching silence and the future of humankind. Religious Education, 94(3), 256-272.
 
Bright, P. (2008). Ascending to wisdom: A Christian pedagogy. In M. Ferrari and G. Potworowski. (Eds.). Teaching for wisdom. (pp. 163-176). Dordrecht, The Netherlands: Springer.
 
Haskins, C. (2010). Integrating silence practices inside the classroom. Encounter: Education for meaning and social justice, 23(3), 15-20.
 
Kessler, R. (2000). The Soul of Education: Helping students find connection, compassion and character at school. Alexandria, Virginia: Association for Supervision and Curriculum Development.
 
Meyer, J. H. F., & Land, R. (2013). Threshold concepts and troublesome knowledge: An introduction. In J. H. F. Meyer & R. Land (Eds.). Overcoming barriers to student understanding: Threshold concepts and troublesome knowledge, (pp. 3-18). London & New York: Routledge.
 
Miller, J. P. (2006). Timeless learning. In Educating for wisdom and compassion, creating conditions for timeless learning. (pp. 3-14). Thousand Oaks, CA: Corwin Press.
 
Mudge, P. (2007). Meditative thinking and ‘dwelling upon’ – A perennial challenge for the religious educator. Journal of Religious Education, 55(2), p.20-27.
 
Mudge, P. (2009). Towards a reclaiming framework of ‘knowing’ in spirituality and education for the promotion of holistic learning and well-being - kataphatic and apophatic ways of knowing. In M. de Souza, L. Francis, J.O’Higgins-Norman, and D. Scott (Eds.). International handbook of education and spirituality, care and wellbeing. (Chapter 32, pp. 611-629). Two Volumes. Dordrecht, The Netherlands: Springer Academic Publishers.
 
Mudge, P. (2013). ‘Crossing frontiers without a map’ – the role of threshold concepts and problematic knowledge in religious education and spirituality. Waikato Journal of Education, 19(2), 51-67.
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'Thank You For Failing'

8/18/2015

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Picture
My students gather around a piece of butcher’s paper. We have been studying a text and I want them to engage with it on a deeper level. 

“On this piece of paper, I would like you to all draw in silence a series of symbols that fully embody the themes and issues presented through the text.” 

They begin drawing. One girl jumps right in and draws a love heart - (The title of the play has ‘love’ in it). One girl writes some numbers - (The title of the play has the word ‘information’ in it.) Slowly another draws a puzzle with pieces missing; one draws a persons head with the tongue rolled out like a sheet of paper and numbers, symbols dripping out of the mouth; one draws a human being using binary code. More images flow and then they stop. We discuss.

“What images attract your attention? Engage you? Evoke emotion or cause you to question?”

Immediately students speak of the paper-tongued lady, the missing puzzle pieces and the human made up solely of information. When they were done, I asked,

“And who drew the heart?”

The kid that drew the heart (a bright and intelligent young lady I might add) begins to apologise, make excuses, explaining she can’t draw. She realises the superficiality of her work from our discussion. I interrupt her apology with the following,

“Thank you for failing.”

“MISSSSS!!!”, she declares. 

“Thank you for drawing what everyone else was first thinking. If you didn’t draw it someone else would have and now we can have a rich discussion because you pushed them to think further. We can also discuss why the play isn’t just this (pointed to heart) or this (pointed to the symbols). Thank you for failing, because if you didn’t then I have no purpose in this room.” 

She looked at me confused as my thanks was both heart-felt and genuine. It was not sarcastic or trite. It was warm and comforting. We then began to dissect why it wasn’t just about love or just about information and by the end of the lesson all the students in my class could see the rich layers within the text. 

This is one example of my new strategy - ‘Thank you for failing.’ I have been using it a lot over the last few weeks. At first there is the initial declaration of my name in horror, “MISSSSSS!!!” but when my students realise I am truly grateful for their error they begin to own their mistakes. This is the culture I want in my classroom.

My year 11’s already know my mantra - “If we aren’t failing, we aren’t learning.” They will heartedly joke that it is ok to ‘Fail in Drama’. They twist my words, but they do truly understand my intention. By creating a space where failing is valued, students become more open to taking risks, more likely to have a go answering a question and lastly become more resilient.

We need to change the language around failure to reverse the negative. When a student gives an incorrect answer to a question or makes an error in a practical task, harness it as a valuable learning experience rather than sighing and moving onto the next student. 

“Why did you think this was the answer?”
“This isn’t the answer so what do you think you may have missed?”
“Why didn’t this work out for you today?”
“What could we do better next time?”

And thank them. Thank them explicitly and whole-heartedly for their mistakes because if they were perfect all the time, there would be no need for teachers.

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For The Kid Who Struggles To Face The Day 

7/29/2015

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Hey you,
I am writing because I want you to know this - I see you. 
                                                                                                I SEE YOU. 
You are not invisible although you try to be. 
You are not invisible although you think you are. 
You are not invisible even though I know you want to be.
I see you. 

I see you and I am sorry. 
I am sorry that school sucks.
I am sorry that life sucks. 
And yes some days it does suck.
I am not going to lie to you and tell you that school is great and that everything is peachy. 
Some days it isn’t. 
Hell, some days I don’t want to get out of bed either… but I do.

Do you want to know why? 
Because I understand how our brain works. 
Uncertainty makes us worry, makes us anxious, warps our perspective. 
“She thinks this of me...
I am not going to be able to do this...
I don’t fit in...
What if I fail…
What if I am not enough? 
In fact, 
I am not enough.”

Block out those voices. 

I see you and I want you to know that YOU are enough. 
You are more than enough. 
Don’t believe me? 
Well, listen up.

You are love. When you mother held you in her arms for the first time, her heart exploded with love. As a mother myself, I know this of all things to be true. You did that.

You are joy. When you entered my class today for the first time in a week, I smiled with absolute joy. Absolute freaking joy. And so did your classmates. You did that.

You are hope. When I see what you are capable of, when I see how creative you are, when I see you get that next idea... I have hope. Hope for the future; not just yours, but everyone's. You did that. 

Are you listening? 
Did you hear what I said? 
                                                      You are hope and joy and love. 
                                                                 You are enough.

So here's the deal.
I promise you that every time you rock up to my class I will be waiting to greet you with a smile. 
I promise you that everyday you come to my class will be absolutely worth it because I will give you 100% of my energy and my complete and full attention.
I promise you that you will always be seen, always be heard, always be loved in my class no matter what.
I promise you that I will never let you be invisible no matter how much you try.
I promise you that I will always believe in you, especially when you don’t believe in yourself.
And most of all, I promise you that I will mirror the love and joy and hope I see in you
                                                                                                                                    ...right back at you.

In return, I ask for nothing. 
Nothing except that you get out of bed and face the day.
You will make it through it. Things will improve. 

How can I be certain?
Because you are hope and joy and love.
                                                                    And you are enough.

Picture
Image by Volkan Olmez.
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The Power of Puppetry

2/20/2015

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Puppetry is one of the most beautiful forms of theatre and one of the most freeing. It is the art of giving an inanimate object life. When I taught Year 8 Drama I always used puppetry as my first playbuilding unit. It was a safe medium for my kids. They could hide behind their puppet, but still have a voice. They were able to play without the fear of failing. It is less confronting then standing directly in front of an audience and it is a perfect stepping stone to build presentation skills. 

Puppetry is also transformational. It is not limited to realistic characters. You can be anything... a mythical being, talking tree, a beautiful animal. This means the possibilities for creative expression are endless.

For students with special needs puppetry can be an incredible medium for releasing their voices and creative potential. Students with physical disabilities become less vulnerable. Students with Asperger’s syndrome, autism and even anxiety find safety in the puppet and can really excel on stage as a result. ESL or language impaired students could use a silent form of puppetry such as shadow puppetry to voice their ideas without the pressure of performing vocally. It is an all-inclusive, highly accessible form of theatre making it the perfect tool for the classroom.
  
I encourage all teachers to try puppetry in their classes to give their students a creative voice. I am using shadow puppetry in Religion at the moment to bring the Parable of the Sower to life. You could use mechanical puppets in Science to present research on a particular topic or conduct an experiment. Employ hand puppets to have a global summit on climate change or utilise one of the many puppetry apps to interview historical characters about their contribution to society. Puppetry would also be a great unit to introduce the elements of dramatic narrative in English. 

The students in my class are currently using the PuppetPal app to work on their vocal skills in Drama and explore the structure of a narrative. The kids love it and they must work collaboratively to complete the task. Puppet Pals 2 also has a lot of historical characters to choose from. It would be a great tool for English, Languages, History and Cultural Studies.

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