Category Archives: Sociological Imagination

Beyond Final Papers, Beyond the Classroom

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In the past few years, I’ve invested in assigning creative final projects for my upper division classes. Across the three institutions I’ve taught at as a tenure-track professor, the risk is high (because students loathe group work so they’re always giving me side-eye for assigning a group project as a requirement and sometimes it ends up the evals) and the outcomes of the projects vary wildly. The range of quality in the projects can be attributed to the fact that I don’t teach an art or film editing course—I teach sociology. But also because students have varying abilities in creating finished and polished projects whether they be visual graphic posters, videos, art, etc. The final product is not my main concern though—really, its the process students undertake to create their final project that is important to me.

This Fall semester, I had the privilege and pleasure of starting a TT position at my alma mater (San Francisco State, go Gators!) where I knew I could really push students to do something other than a final paper, and where I knew that my department would recognize an “alternative” final assignment as a pedagogical strength (I mention this for those of us on the tenure-track who might want to try this method but ya’ll got to take into account the context of your institution). I taught a Families and Society (SOC 464) class and the students were amazing from jump. They were all open to challenging their own ideas and embodied identities. They were down to be co-teachers/co-learners in the classroom with me, taking on discussion activities through reading groups. I mean. They were great. So I thought that these final projects might be good.

But y’all. They were AWESOME.

I structured it like this. After the mid-term, I had them focus their energies on the final creative project which set up the final project grade with a process-oriented assessment instead of assessing the projects as a final product. I had four assignments due before the in-class screening during the final exam period:

  1. Progress report with research topic, research questions, methods, concepts
  2. Storyboard that outlined a vision of what the 5-6 minute video would look like
  3. In-class Pitch of their idea and what they had collected already
  4. Reflection essay on the course concepts, experiential learning and reflexivity on their roles in the group

I provided at least 2 class sessions where they would only work on the project assignments in terms of brainstorming and collective concept development. For their assignments, I gave detailed feedback to the groups via iLearn (SFSU’s instructional tech management system). I also checked in with groups via email periodically, perhaps in the future, I’ll set up some office hour appointments too.

Here are some course structural things that I want to remember for future courses:

  1. Scaffold the assignments: Every assignment (short papers, free writing activities, group formations) should lead up to preparing them for this final assignment. I know. DUH. But I didn’t set up the class like that this time so I had to play catch up mid-semester; creating assignments along the way. Start at the beginning of the semester!
  2. A Paradox: We already engage the construction of the “normative” in the class, why not have them identify a paradoxical normative narrative in the class as it progresses and have them juxtapose that with their own experiences or better yet, other people’s experiences? That could be the “data” in their final projects.
  3. In-class Tutorials: I should bring an instructional designer in one or two times in the semester to show them iMovie or another PC-based software.

On to the good stuff—the perfect storm: students, the past election season and the medium of creativity produced amazing results. I think partly this was because the students at SFSU are really plugged into political discourse but I also I think they create amazing things when they come together.

With the consent of my students and the consent of the people that they included in their projects, I want to share some of the creative final projects with all of you.

In this short video entitled, “Never Meant to Survive”, students explored the “possibility of queer kinship as the site of political resistance” as Christopher Dokko, one of my students writes. Their group interviewed Queer Folks of Color (QFOC) about chosen families and Queer kin in a time of Trump. They begin with an Audre Lorde poem and splice in interviews with QFOC’s over the realities of living under a Trumpian administration. Important to note that this group decided to switch the direction of their whole project when they met up the morning after the election of Donald Trump as president. The students in this group described their change as a way to heal and wrap their heads around what our lives were going to be like.

This video entitled, “So Who is this ‘Muslim’ the Media Keeps Talking About?” was born out of a critique of my syllabus. I did not have a reading on the families of South Asian or Middle Eastern families or families that practice Islam. Although, we discussed Asian American families and media frames depicting the “model minority, the students in this group wanted to fill in that gap with their work. Students in this group sought to debunk the media narratives circulating about Muslims and Muslim families.

I especially liked this video project entitled, “Creating New Endings,” because the students in the group were what I like to call the “ratchets” of Earth with a play on Frantz Fanon Wretched of the Earth. These students were always quick to reference their epistemologies as women of color, working young women and Bay Area representatives in class and it showed through the song choices and creative turns in this video.

I share these 3 projects not because they were my favorites over other projects but the students accomplished what I had set out the final project PROCESS to be.

  • They translated the academic debates, scholarship and concepts from class in their own words to their people, peers, communities, friends, families to collect data.
  • They internalized the importance of challenging normative ideological codes that circulates about families in the US.
  • They flipped the script and used their own experiences and emotions as the guiding analytical lens to create this projects that will go beyond me reading it in my office and assigning a grade to them at the end of the semester.

For these reasons, I feel really proud to be a part of their learning process.

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What do you write after a 2-year blog silence?

I haven’t published anything on this blog for a while now. And mostly, it’s kinda like when you had beef with your friend in high school and then you just don’t talk for a long time and then it becomes real awkward to even think about talking and then the distance just grows so you give up on talking. Yes, I likened my relationship to this blog as I would a real person. That’s where I’m at y’all.

So I thought, I’d post an update on my life or what not: baby, tenure-track mothering, sociologizing, organizing but instead I decided I’m gonna write something about teaching to begin with. As summer is gearing up, I’ll try to write more on the other things.

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Background: I am teaching a class of sometimes 90 students at a CSU and many of these students are first generation students, working class, immigrant, working full-time and full-time students. Many are having a hard time keeping up with their classes. Baaasically, many of them don’t get to the reading.

In the past couple of semesters, I have been learning about “active learning strategies” (which I got wind of from Dr. Valerie Futch Ehrlich and was always talking to Dr. Alice Gates about how to do it) and I’ve tried to incorporate it in my classes. For 3 reasons: (1) I want students to engage with the text, (2) research has established that lecture style isn’t really working for students, and (3) politically, I want students to know that they are knowledge-producers in our classroom. It ain’t all about me.

Before I had such impacted classrooms, I relied on a problem-posing pedagogy (a la Freire) with some remix of a Socratic method. But that seems so long ago when I had the privilege of teaching smaller classrooms. Back in grad school, we weren’t really trained in developing our teaching skills and I’ve always felt like I’ve been trying to get a hold of what my pedagogy is as I grow as an educator and scholar. So my objective for this post is to help folks who is googling “active learning strategies” in “large college classroom”, as I was furiously searching on teaching prep days.

Here’s a list of ways that I think students really responded to active learning methods in my class:

(Disclaimer: I’m not formally trained in this method, so these might not even be active learning strategies, they’re just my active learning strategies)

1. Keyword Scavenger Hunt: In the beginning of class, choose 3-4 key words in the reading. Have the class bring text(s) to class and in small groups have them find the key words and discuss what it means in the context of the material.

2. Question Map: To begin the class, write or post a set of questions or just one and ask students to answer that question using phrases and pages from the text(s). You could even do a more directed activity by giving them page numbers.

3. Time After Time: If you’re teaching a text where a chronology or a timeline is key, print out slips of paper with the different moments. Ask the whole class, or in small groups, to organize the slips of paper in the right order. Then ask students to post up their chronology order in the front of the room for discussion.

Okay, so those are a few that worked really well. When I teach my 75 minute class, I like to break up the time into 2 or 3 segments to keep students’ attention. So what’s really key to these activities is that I use them for the time where I’m going over the content that they’ve just worked with.

So for example:

1. For Keyword Scavenger Hunt: the keywords they work with in the beginning, end up on the slides of my PPT. I ask for their definitions and sharpen it by asking other students to share and then proposing my analysis.

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2. I often ask students for the phrases they found to answer the question presented in the beginning. I usually pair their answers with phrases that I find important. And sometimes, when the goddesses hear my prayers, the phrases on my PPT and their phrases match!

3. Dedicated to Cyndi Lauper, this activity works because often students “go slow” (since they aint’ done none of the reading, ‘cept them ones who’s your ride or dies) and you follow behind. As you go through each group, you’ll find that some of them got it wrong so you’ll use that as a teaching moment and ask the next group who has gotten it correct to explain why.

What I’m tryna say is that the active learning strategies help students touch, read, discuss some part of the text. And I feel like that’s half the battle!

What active learning strategies do you do in class?

Filipinos in Costa Rica

While in Costa Rica last week, me and my crew took an excursion to the Manuel Antonio national park to take in the beautiful, lush greenery that is Costa Rica and follow a trail to a popular local beach. When we were walking towards the entrance of the park, we wandered into a souvenir shop. As we thumbed through Costa Rican tank tops, beach towels and locally made crafts, one of the shop workers, Kuya Rudy, walked towards me and asked, “Pilipino?” And at that moment, we began a fantastic conversation with these Filipino migrants who live and work in a small town in Costa Rica called Manuel Antonio. They invited us back to lunch after our short hike and stint at the beach and here’s what I learned about them.

 

Ate Gina is the woman to the left of Kuya Rey. She is his wife but she clearly ran the whole show. The storefront, the kitchen and the finances were all under the reign of this Pinay. She told me her story of migrating to Costa Rica and that her business sense migrated with her too. She hopes that in two years, if they work hard enough, they’d like to buy this building to expand their store, restaurant and bed and breakfast. She gave us all discounts and told us there was no other kind of beauty in the world than Filipina beauty.

Gina and Rey

This is Kuya Reynaldo, the cook, the anchor in this family’s chain migration. He came to Costa Rica as a key cutter and then graduated to be a cook at a bed and breakfast. When his employer abandoned him at his workplace, he decided to pick up the work and run the place himself. He brought his wife and family members. Now, he owns this small souvenir shop and restaurant in Manuel Antonio. He cooked and served us Pork Adobo with plantains.

 

Rey

Ate Edna was one of the first to greet us. She gave us a warm smile and invited us to have lunch in their karinderia as she promised us pansit and adobo. She is also the cook of the restaurant and does the books. When I thanked her for our delicious food, she told me how nice it is to speak Tagalog again.

 

Edna

This is Kuya Rudy, a salesman of salesmen, charming and funny, fluent in Spanish, Bisaya, Tagalog and English. He could probably sell ketchup to a man dressed in white. Here he’s pictured with his merchandise mostly manufactured in Costa Rica and some in the Philippines. His humor was typically Filipino, silly and punchy. He made sure he converted all our colones to dollars and all the shoe sizes from 39’s to size 7’s (or something). He told me to come back with my asawa and kids in the future.

Kuya Rudy

 

#migrante #diaspora #globalFilipino #centralFilipinoAmerica #costarica

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Diwang Pinay for academics

In 2009, I had the privilege of being part of a dynamic group of people that did research, wrote and acted in a play and built very strong basis for community-building and migrant worker organizing in New York City. That year, Diwang Pinay as a theatrical production was the first and most impactful way we shared our process. Years later, as the play continues to stay with me, I’ve written about it for academics. The article will be free for 30 days and you can peep what it’s about on Action Research Journal’s blog.

If that doesn’t work, the link is here: http://arj-journal.blogspot.com/2014/01/lights-cameraaction-research.html?spref=tw

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The Presentation of Dave in Everyday Life

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Two nights ago, R and I, along with some friends in Portland, went to go see Dave Chappelle on his new comedy tour. It was my first time seeing a comedy show live. I’d followed Dave’s career from The Chappelle Show and was always inspired by the way he kept it real about race and racism. This show, probably reflective Dave’s whole tour and definitely reflective of Portland’s demographic, was sold out with lots of seats taken up by white folks. At some moments, I felt awkward about white folks laughing at Dave’s racialized experiences (especially went he went IN on Hartford, Connecticut). Then, I felt relieved that Dave was talking about whiteness to white people. I started to relax with the thought that perhaps, Dave way of talking about race, could be subversive. What does it mean for white folks to consume Black culture and Black lives? What does it mean for me, as a Filipino American woman, to be in the same audience? What does it mean to Dave?

He’d probably retort, “I just want a pool, man.”

I’m cool with that.

Pedagogy corner:

As I wrap up my lessons on symbolic interaction and Goffman’s dramaturgical model with my 101 students, I appreciated seeing/laughing with Dave at the front stage/back stage dynamics for all the world to see. For my lesson on social interaction I use The Chappelle Show skit on Vernon Franklin to talk about front and back stage, but also to make clear that those dynamics are mitigated by race, class, gender, sexuality and citizenship.

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C. Wright Mills and The Wu Tang Clan

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 The Wu Tang Clan

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C. Wright Mills

In the first week of my Intro to SOC class, I assigned students an essay called, “Society’s Impact On You” to help them apply what C. Wright Mills calls, “The Sociological Imagination.” Before I set them off to write this biographical exercise in the sociological imagination (teacher note: this was also an excellent way to get to know where my students were coming from, and helpful to remember their names), I demonstrated an exercise of sociological imagination using one of my favorite jamz, C.R.E.A.M. by Wu Tang Clan (rap note: a now infamous rap crew I used to be a part of used another Wu song to help me develop my own sociological imagination. Shoutout to Shorty Rocwell, Sola and Rocky Rivera!)

Many of my students did not know who The Wu Tang Clan was, but they also didn’t know who C. Wright Mills was either. I felt like introducing them together could only add to their magic.

Here’s how it went down:

  1. I projected the table below of the first lines of Raekwon, The Chef’s verse in C.R.E.A.M.
  2. I played the (brilliant sampling and hard knock) snippet of the song as students read along with the words.
  3. I asked the class what types of social, historical, economic forces shaped Raekwon’s biography.
  4. Echoing their ideas, I identified the social institutions and structural forces that shaped Raekwon’s story.

C. Wright Mills and The Wu Tang Clan

The Sociological Imagination

and

C.R.E.A.M.

Cash Rules Everything Around Me

By: The Wu Tang Clan

Verse 1

 

Biography: Raekwon, The Chef

 

 

Societal Factors

 

I grew up on the crime side, the New York Times side

Staying alive was no jive

 

Had secondhands, Mom’s bounced on old man

So then we moved to Shaolin land

 

A young youth, rocking the gold tooth, ‘Lo goose

Only way I begin to G off was drug loot

 

And let’s start it like this son, rollin with this one and that one

Pullin out Gats for fun

But it was just a dream for the teen, who was a fiend

Started smoking woolies at 16

 

 

 

Living in an urban city, neighborhood

 

 

 

Family troubles, poverty, single mother

 

 

Work in the informal economy

 

 

 

 

Extra curricular activity, masculinity, youth culture

 

 

 

 

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