Dusty Layers of History

img_8527Our Coliseum tour guide described Rome as a lasagna created from layers of cultural artifacts laid upon more layers of even older artifacts.  As we left Palentine Hill and began our trek for dinner, we saw evidence of these layers at nearly every corner: the remains of Roman aqueducts above our heads as we walked down a city sidewalk, unidentified ruins behind glass next to a 19th-century building where city architects worked, 21st-century tourist shops built into 18th-century storefronts around a piazza anchored by a 17th-century fountain.  Coming from the land of the new and the brave, immersion in what seemed to be an archaeological dig site was, at times, magnificently intimidating.


In southern Puliga, we heard the region described as a cake created from layers dating back to the Messappii who lived there during the time known as classical antiquity.  Exploring Lecce, an original Messapppian city that is also known by its Baroque features and nicknamed the “Florence of the South,”  we visited Museo Faggiano Lecce, a museum that celebrates the story of this phenomenon of civilization layering. Intrigued by the enlarged copy of this New York Times article “Centuries of Italian History Are Unearthed In A Quest to Fix a Toilet”  posted outside the entrance, we scrambled through the rooms, climbed up and down narrow staircases to see the layers of 2500 years of history unearthed by the Faggiano family in a real-life inquiry-based learning project that began as an attempt to convert a building into a trattoria.

Nearly overwhelmed by the enormity of what is contained within this small building, we learned that the history found within the artifacts dating back to antiquity and moving forward through time tell us the building was once a Messapian tomb, a Roman granary,  a medieval home to a Templar Knight family, and a renaissance Franciscan convent.

As we visited more walled cities in the desert region of Italy’s southern heel, the idea of civilizations building their cultures onto the remains of previous civilizations led me to think about how at times students can experience their education as layers built upon layers, with little acknowledgment of the layers that had been set down before. How many times have students been presented with concepts or skills that are “foundational” to then later sit through other classes where new concepts or skills are merely laid upon the foundation without any attempt to dig and find the connections, the place where the new knowledge and skills fit into the foundation rather than sit upon it?

As I think about the layers in the lasagna that is Rome, the cake that is southern Puliga, I think about the layers of knowledge and skills that students build up and wonder how difficult it can be to create tunnels and to use what they’ve learned in more authentic ways.  How can schools avoid the “layering” of knowledge and skills resulting in dusty artifacts buried in the ancient dirt?

The Museo Faggiano is the product of real-life, transdisciplinary inquiry-based learning.  The need to repair a sewer pipe led Mr. Faggiano to investigate what was below the floor of what he hoped to be his new trattoria.  Granted this plumbing project morphed into an archaeological dig and it concluded with a public product that is different from what Mr. Faggiano planned, yet we can see this museum as a model for inquiry-based learning.  The museum can also be seen as a model that illustrates the aftermath of teacher-centered, non-constructivist learning — dusty layers of education artifacts. The knowledge excavated from exploring this museum can show us how important it is that students begin to authentically use what they learn as early as possible in order to avoid the build-up of crumbling educational layers.

Everybody is the Creative Type (and HMW use dt as a methodology for curriculum design?)

Today with Creative Confidence


I am embracing the idea that creative confidence is a “way of seeing . . . your place in the world more clearly, unclouded by anxiety and doubt.”   With this way of seeing as my foundation and relying on my creative mindset of “a powerful force for looking beyond status quo,” I am now thinking about how to engage my creative energy during my summer of intentionality.   During my summer of intentionality, I am laying out goals for the work I want to accomplish and tracking my progress for meeting these goals.

IMG_8097    IMG_0021

This approach I hope will allow me to return to school rested, without the underlying anxiety that I did not “do enough” or “think enough” about the 2018-2019 school year.

It was then invigorating to read that what keeps us from being courageous, from cultivating our creative confidence, is that there is paradoxically comfort in our uncertainty.  Shaking away the uncertainty, I have decided to work through this text as my way of challenging the status quo of course/curriculum design. (And I am deliberately not researching this idea because I don’t want to feed my fixed mindset of thinking that someone has already done this — proposed how to use Design Thinking for curriculum development.)

So what happens when we thinking about DT as a curriculum design methodology?  Do we combine it with the ideas of IBL and UbD?

The Kelleys see innovative programs as balancing three factors:  feasibility, viability, and desirability.  Finding the sweet spot in this triad is where design thinking works and finding it in curriculum design can be where students learn best.  For me, when thinking about design as curriculum design methodology, I see feasibility in education as a reminder for teachers to consider what we already know and believe about child development and pedagogy.  Will what we are proposing fit in what we know about how students learn?  Thinking about viability in education, we remember that our courses must live within the framework define our school’s mission and norms.  Will this course design support our mission and fit into our school’s culture?  Finally, desirability in education connects this methodology to Inquiry-based learning as we seek to connect our design to what student passion.  How do we learn what students hold as their core beliefs and how to leverage these beliefs for motivation?  In learner-centered design, we look for students to engage with content and skills that they feel are critical for success. Are these the same as what we as teachers feel are necessary?  And if not, do we let go of our own beliefs or do we encourage students to consider our ideas?  If so, how do we encourage students to look beyond themselves?

Using design thinking within the classroom as a methodology for inquiry-based learning is an authentic way engage students in innovative, interdisciplinary problem-solving.  This month I will explore how I can use design thinking within a curriculum development methodology to design a six-week course module focused on Shakespeare and Ellison’s Invisible Man.