Rereading Moffett – Month Four

For me, interaction, at least in the way I believe I align with James Moffett, is that space between teacher and student, between the learned and the learning. It is that invisible space that crackles with possibility, like static electricity. It is the strange alchemy that can occur when teaching and learning coalesce and something happens, often expected and sometimes sublimely unexpected. It is synonymous with possibility and hope.

Photo: James MoffettI wish James Moffett was still with us. While his work is profound and revealing. There are still so many questions I wish I could ask him.

The more I investigate his opus Interaction, the more fascinated I become. As far as I can tell, there is just so much genius that unraveled at a moment in time waiting to be revived, renewed, and revisited. While the response in Kanawha County, West Virginia, to what-can-only-be-described as a textbook system proved a harbinger of so many of the kinds of controversies resurfacing in education today, the content also manages to hold an spellbinding prescience. If nothing else, the sheer audacity of the breadth and depth of what was assembled warrants the kind of review it is currently receiving, especially at University of California at Santa Barbara. I am just happy to have a small window on it, via the reading group.

Yet to be able to ask him about more pointed questions about the reasoning behind choices made in that massive assembly of pedagogy and program would be a masterclass nonpareil.

One of the things that I take away from our most recent reading group meeting, which has already become one of my all-time favorite National Writing Project endeavors, is just how much we still need Moffett’s voice today. While there are advocates, of course, we need more people to take up the mantle he fashioned in the field of education at his best. Still, his work continues to provide a powerful antidote to so much of the ed-reformy nonsense that pollutes the landscape of schooling today.

As I continue to read and re-read his work, I cannot help believe that he understood just how much every student/learner is engaged in a unique experience and failing to recognize, honor, and lean into that understanding is simply foolish. Yet, even that core understanding is profoundly inefficient, messy, recursive, and extraordinarily hard to convert into hard data, in most part, because it is so profoundly human.

Above all, to me, James Moffett was a deeply, earnest, and unwavering humanist.

Therein may be why I cannot stop drinking in his ideas and writing.

Rereading Moffett – Month Three

Teaching the Universe of Discourse book cover

I have some ambivalence about Moffett’s statement on drama, “Drama is the most accessible form of literature for young and uneducated people.” As someone who has a BFA in theatre, I see a lot of merit in the statement. Still, I also wonder about music, especially the kinds of narrative singer-songwriter genres so common in folk music. Perhaps what we consider folk arts might be the revealing connection.

Where I feel Moffett is most onto something is in the folk quality of culture and creativity that emerges out of experience, but more on that later

An obvious synonym for drama is play and therein lies another profound insight. Drama harnesses a sense of play in contrived circumstances and are not nearly all writing occasions a kind of contrived circumstance?

Drama amplifies the visceral, immediate, impulse to communicate with our whole selves. It is ancient and primal, a natural drive.

Do I use it in my teaching, all the time, but rarely explicit or obvious. I almost always think I should use it more. Like the tide it informs nearly everything I do in some ways that are not always even conscious.

Where I am in complete communion with Moffett, I would say drama is essentially applied English.

These were my initial thoughts.

With more time to consider, I think the field of English and Language Arts so often  emphasizes reading. Yet, drama is built upon action. It certainly involves reading, but it is reading far beyond the limits of text on a page. All the skills and tools of literacy are required writ large. Again, it involves our whole selves, speaking, listening, reading, writing are all engaged in the most meta fashion.

It involves the application of the full spectrum of everything we value and endeavor to teach in the ELA. Perhaps the best expression of this is when Moffett writes in the Preface, “I see drama as the matrix of all language activities.” For someone who agrees with his one of his most elemental premises, the best way to learn English is to learn how to operate it, drama can be seen as a pedagogical Gesamtkunstwerk (Richard Wagner’s ‘ideal work of art’). I think for Moffett, it undoubtedly was.

However, I cannot help but return to the connection to folk culture. Moffett’s comment recognizing the accessibility of drama and my experience in it is where I drew an in instant connection. Drama is organic. While it may be elevated to a high culture, it rises up from the most humble and natural of beginnings. It is hard not to think the humble, folk aspects of his revolutionary notion contributed to a lack of traction. Nevertheless, nothing diminishes the genius of the idea, as far as I am concerned.

More on My Publication The Pressures of Teaching

As I mentioned previously, my first major published essay, in the book The Pressures of Teaching, has been getting a lot of renewed promotion of late. It is available for purchase in a store or online, and there is even a preview copy available (my chapter not available in preview). In the last post, I mentioned that the nice folks at Kaplan Publishing have been giving away free ebook downloads for a limited time, which has now been extended through January 17. It is one of a number of free books available. So anyone with a Nook, Kindle, iPad, or eReader can get a free copy.

Additionally, last week the Maureen Picard Robins (editor), Bryan Ripley Crandall,  Bruce Green, and I all recorded a program for NWP Radio that will be released tomorrow, January 13. It was great fun and it is always delightful to chat with host and co-director of the National Writing Project Elyse Eidman-Aadahl. NWP Radio is a podcast program, providing information and resources to leaders of National Writing Project sites. Many of the authors in the book are fellow NWPers, including all that appeared on the program: Robins (NYC) Crandall (originallyLouisville), Green (originally Bay Area), and me (Boston).

So tune in and have a listen and let me know what you think.