The Oblation on Our Minds: Teaching the Oblation in the Time of the Pandemic JOHN LEIHMAR C. TOLEDO University of the Philippines–Los Baños [email protected] ABSTRACT Professor Judy Celine Ick from the Following Judy Celine Ick’s suggestion that Department of English and Comparative Literature storytelling is the mode of pedagogy in a laments in a webinar, “[n]othing is normal. It’s all Humanities classroom, this study attempts to abnormal. We’re living through a horribly managed explore how an artwork becomes a myriad of possible stories and concepts related to the pandemic in this country with very real efects” nature of art even if studied from a distance. By (“Resisting the Rubric” 23:20-23:22). way of analyzing the narratives, myths, The webinar was entitled “Resisting the discourses, and constructs surrounding the UP Rubric” and was attended by faculty members from Oblation among selected freshman students of the Arts and Humanities cluster of the University of ARTS 1 in First Semester 2020-2021, the study the Philippines who were still preparing course packs discovered the epistemic binaries that exist within the body of the statue. This proves that the aweekawayfromthebeginningofclassesin Oblation is always already a historical September 2020. Other panel members included the construction of ritualization and profanity. It also dean of the College of Music in UP Diliman who delves into realizing a method by which students shared how the shift has afected face-to-face recital can read against the grain of the dominant story classes and a professor of Multimedia Studies who on the statue’s surface by adapting the dialogical shared her experiences in online assessment for her or problem-posing method in Paulo Freire’s The Pedagogy of the Oppressed. It reveals how design classes at the UP Open University. students can voice the story of art and thereby During the open forum, one professor unearth and/or foreground the possibilities of commented that “UP is showing compassion to critical reflection and personal action through students but not to UP profs” (“Resisting the Rubric” digital archives, digital stories, and story threads. 36:26-36:42). Personally, after listening to that This study proposes that assessments on artistic webinar, I have come to realize that the current and theoretical concepts in the Humanities can be done through personal narratives and thus resist situation has forced and challenged me into learning, the passivity promoted by a banker-educator/ unlearning, and relearning methods in adapting to a depositor-student relationship that currently new setup that is centrally contradicted with time and exists on online platforms. Also, it provides space. insight to the possibility of a future digital archive Distance learning denotes separation about UPLB which focuses on narratives, icons, between learner and teacher/facilitator in any stage art, history, places of memory, and people of the UPLB community. of the lesson as defned in 2002 by the United Nations Educational, Scientifc and Cultural KEYWORDS Organization to be “any educational process in which dialogical education, Oblation, all or most of the teaching is conducted by someone mythologies, problem-posing education, removed in space and/or time from the learner, with reading against the grain the efect that all or most of the communication between teachers and learners is through an artifcial medium, either electronic or print” (Moore et al. 22). VOLUME 22 ISSUE 1(2020) PHILIPPINE HUMANITIES REVIEW 1 It is worth noting that learners and teachers’ communication in a distance learning set up are mediated by multimedia. On the other hand, online learning has several types such as correspondence through e-mails with little interaction, radio or television broadcast courses, CD-ROM or DVD courses, internet-based courses delivered in virtual classrooms synchronously or asynchronously, and mobile learning which utilizes cellular phones, personal digital assistants, and digital audio players (Stern 1). Furthermore, distance between learner and instructor “is not a defning characteristic of e-learning” (Sarah Guri- Rosenblit 470). Online learning, with the use of new information and communication technologies in virtual and online spaces, encourages direct interaction between a small number of students and an expert teacher (Guri-Rosenblit 475). In fact, experiences in the feld show that it can be more efectively utilized by an on-campus student than a distance learner (475). In the context of teaching, the efects of mixing distance and online learning in the middle of apandemichadahugeimplicationonhowItaughtface-to-faceclassroomcontentinanonlineform.I assumed that online classes were synonymous to self-paced learning in a distance set up when in actualization the two paradigms difered. Last September 2020, I taught a compulsory General Education course in the Department of Humanities called ARTS 1 or Critical Perspectives in the Arts for the First Semester 2020-2021. The frst two weeks of classes were devoted for students to browse through and be acquainted with the Course Pack. It was in these weeks where I met my 115 students in ARTS 1, both through email communications and through Zoom meetings. Seventy-fve percent of the enrolled students (86 of 115 students) were composed of freshman students (see table 1 below), which identifes them as the majority of learners in my classes. Also, 91% or 105 students preferred online learning while 9% or 10 students of the 115 enrolled students preferred the ofine mode of learning (see table 2 below). Another challenge was the class size where I handled the largest number of students among the ARTS 1 sections. We were given options by the ARTS 1 GE coordinator to overload and expand class size. I allowed to open my classrooms to at most 40 students because before the beginning of classes there was high amount of student demand for this GE Course especially with new freshman students that enrolled in the frst semester. Year Level C4 W1 Y2 TOTAL % New Freshmen 29 28 29 86 75 Continuing Freshmen 2 6 2 10 9 Sophomore 5 4 7 16 14 Junior 1 1 0 2 2 Senior 1 0 0 1 1 TOTAL 38 39 38 115 100 Table 1 Year Level of Students Preference of Learning C4 W1 Y2 TOTAL % Online Mode of Learning 35 34 36 105 91 Offline Mode of Learning 3 5 2 10 9 (Delivered Course Packs) TOTAL 38 39 38 115 100 Table 2 Preference of Learning Modality 2 PHILIPPINE HUMANITIES REVIEW VOLUME 22 ISSUE 1(2020) Given that there is a mix of synchronous and asynchronous learners, the majority of which are new to the university, I attempted to explore how to teach art from a distance. The challenge with the fxed and one size fts all course pack was the lack of fexibility to explore other materials and icons that are close to the UP identity and the changes that may happen based on the learner’s abilities per section. Adapting Brazilian revolutionary and educator Paulo Freire’s method of a dialogical or problem-posing education in his book The Pedagogy of the Oppressed (1970), I broke away from the conventions of teaching art through memorization of facts and through objective assessments (quizzes and exams) which demand a fxed answer. Freire called it the banking concept of education which was the dominant method of teaching in the world. Freire observed that “everything in this ready-to-wear approach serves to obviate thinking” (76; my italics). In the banking method, the educator believes that “outcomes” and “rubrics” are the very tools by which a student’s improvement and learning can be measured. Today, we still hear the same vocabulary in the university system. Prof. Ick has pointed out the ominous vocabularies of memos on shift to online and remote learning, highlighting the mechanistic method which obviates thinking of the logic of the word in a polysemy, the possibility of a myriad of immeasurable meanings. The rubric, she described, “is too much database” and instead, in the Humanities, a faculty teaching a concept weaves the ideas as storytelling. “We are story tellers… connections between points in a story are far more complex than can be contained in any table or bullet points” (Ick). Storytelling echoes Freire’s “problem-posing education”. Instead of being docile listeners to the printed word, students become “critical co-investigators in dialogue with the teacher” (Freire 81). For Freire, dialogue achieves signifcance between speakers when it is founded on refection and action,the opposite of depositing ideas to be consumed and responded by the students. It exists because of love, humility, faith in humankind, hope, and critical thinking among women and men, in communion with each other with the goal of abolishing dehumanizing discourses. (Freire 89-92) Moreover, critical thinking for Freire is not an individualistic nor an imposing kind of thought but that which discerns and perceives solidarity, reality, and immersion/unity “in temporality without fear of the risks involved” (Freire 92). The dialogical character of education informed me of the need to dialogue with people about their views and our views as teachers, writers, and critics. It is through critical thinking that a student discovers “each other to be ‘in a situation’… they can come to perceive it as an objective-problematic situation—only then can commitment exist” (Freire 109). This commitment is found in the achievement or result of a conscientização or critical consciousness, the “deepening of the attitude of awareness” (Freire 109). Inspired by Freire and Ick, I attempted to put into practice the suggestion of storytelling as a way of introducing concepts in an art class. I would like to discover how do we develop a method to teach an artwork as a narrative which allows students to become critically conscious storytellers themselves? Given the fact that the majority of students come from the freshman batch, I had to resituate concepts in the readings to be grasped in the Oblation so as to explore if students can achieve a “deepening of the attitude of awareness” in spite of and despite of remoteness.