March 23rd, 2018—Perhaps you have heard someone say with a tone of admiration and respect that a teacher “put their heart and soul into a lesson.” But what does putting one’s heart and soul into a lesson mean? Is there a difference between a teacher’s heart and a teacher’s soul? What might an instructional coach look for when guiding an educator toward greater effectiveness around connecting instructional passion (heart and soul) with educational outcomes and the learning interests of students? I find this question about identifying ways of seeing the ineffable elements of teaching, such as a teacher’s heart and soul, compelling. I’m constantly looking for ways to see the unseen in teaching because for me that is where the alchemy lies; where magic as craft knowledge of teaching develops. To put one’s heart and soul into a lesson doesn’t guarantee the success of the lesson or student learning but it does indicate a degree of commitment from the teacher making it more likely that students will take the lesson seriously. The pledge of a teacher’s heart and soul, the open vulnerability of deep caring for content, can signal to students that the topic of the day is important.
I find that sometimes the best place to witness signature moments of teaching is to look outside the field of education. This is because an unfamiliar venue may reveal elements of teaching, in this case the pedagogical unseen, that are often obscured by teaching contexts that are too familiar. I recently experienced a moment of seeing teaching anew during a concert by the Spirituals Project at the University of Denver. At intermission I was asked what I thought of the concert. Because the music was moving and spiritually stirring I was a bit at a loss for words. I couldn’t articulate what I had witnessed—experienced—because so much of it was indescribable and awe inspiring; just like great teaching. But in my attempt to name the un-nameable I uttered: “Out of his hands came their voices”. The ineffable and intangible nature of the human voice was brought as close as possible to the visible light of this world by the skilled conducting of M. Roger Holland, director of the Spirituals Project.
I was captivated by the transcendent link between the conductor, the written music, and the choir as individual singers and as a chorus. Mr. Holland skillfully combined his individual passion for music with the shared passion of the choir to sing. The alchemy occurred at the interface between his inner-calling to conduct and the inner-calling of others to sing. In between the two (conductor and singer) was the music as text and notes, content in educational terms. It might be said that both the conductor and the choir put their heart and soul into the creative act of making music, of lifting notes off a piece of paper to float free around the concert hall. But this does not just happen accidently. Transcendence for both conductor and choir requires trust, vulnerability, skill, and a willingness to release individual agendas to something greater than self; the universal impulse of Creation to sing. Additionally, the alchemy of conductor and musical text increases the likelihood that the music will lift off the hands of the conductor and the voices of the choir to enter the hearts of listeners. In education this speaks to the importance of going beyond pure technique and the importance of allowing the teacher to exercise some power over the selection of the curriculum. This allows the knowledge of the teacher about the unique gifts/needs of their students to push toward the best fit between learner, content, and teacher.
There was a time, I believe, when educators were honored for their ability to bring learners into deeper relationship with the mystery of self, text, and things greater than self. It could be said that “Out of their hands came the wisdom of students”. These early educators were true to the root definition of education which is to draw-out knowing beyond simply imparting facts. To be an educator in antiquity was to be simultaneously a teacher, philosopher, and theologian. Educators in the second through the fourth century who had the ability to elevate learning beyond day to day human experience, to encompass a higher plain of spiritual understanding or mystery, were called mystagogues. Like the conducting of Mr. Holland they had the gift of transforming learning into something that went beyond best practices. They intentionally mystified the known in a way that moved learner, fact, and instructional technique into the realm of the unseen seen. I wonder what greatness could be achieved for both teachers and learners if the goal of learning to teach included both technique and the dispositions of the mystagogue. In such an education system when someone said a teacher put their heart and soul into a lesson we would know what that meant and what the implications would be for definitions of good teaching.
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