Assoc Prof
Christopher Michael McMorranProfile page
Assoc Professor
Japanese Studies
Orcid identifier0000-0002-2684-9630
- Assoc ProfessorJapanese Studies
TEACHING INTERESTS
Sometimes a teaching philosophy is best explained through an image. My central learning outcomes of self-discovery, effective communication, and synthesis of knowledge are all illustrated in 'La classe de danse' (The Ballet Class, c. 1874) by Edgar Degas.
At first glance we see an instructor in the center of the room, surrounded by pupils, seemingly symbolizing a wise lecturer in what appears at first glance to be a power-laden and gendered encounter. However, a closer look reveals more complexity. I imagine class is about to begin, students are warming up, and the instructor is briefly setting the lesson goals and offering encouragement. He does not remain front and center. He soon steps aside as students fill the space. They practice individually and in groups, and most learning comes through self-practice and peer learning. Some students grasp theory more quickly than others. Some model good posture, while others perfect new steps. They know their strengths and weaknesses, and they look to each other for inspiration. The teacher moves about the room, maximizing individual interaction, providing guidance when necessary, and setting new tasks that help students work through their difficulties.
For me, the beauty of this image, and the guiding principle behind my teaching philosophy, lies in recognizing students' raw talent, curiosity, and restlessness, then creating a learning environment that fosters self-discovery, effective communication, and synthesis of knowledge.
Self-discovery: Observe the girl seated on the piano; she scratches her back in boredom, anxious to get started. When creating a syllabus, planning lessons, developing activities, and advising students, I often return to Degas' masterpiece and think about this girl. Her boredom pushes me to pare back lecture periods and think about what active learning projects I can devise for her to learn a new idea or skill on her own.
Effective communication: Like dancers, it is only through repeated practice that students gradually gain the confidence and skills to effectively communicate ideas and beliefs to others. Each of my modules involves pair work, small-group discussion, large-group discussion, and presentations, in order to develop communication skills.
Synthesis of knowledge: Dance is learned one step at a time, with the eventual goal of combining those steps into a flowing whole. The same process occurs in and across modules. Whether in introductory or honors modules, I aim to write lectures that connect ideas across time and space. More importantly, I create exercises that enable students to make connections of their own.
I aim to create an opportunity for self-discovery, effective communication, and synthesis of knowledge in all modules. In an ideal world, every module would be a hands-on field study, in which an intensive period of pre-departure orientation would be followed by weeks or months spent in the field - discovering new things, sharing discoveries with others, and synthesizing new experiences with pre-departure knowledge.
At first glance we see an instructor in the center of the room, surrounded by pupils, seemingly symbolizing a wise lecturer in what appears at first glance to be a power-laden and gendered encounter. However, a closer look reveals more complexity. I imagine class is about to begin, students are warming up, and the instructor is briefly setting the lesson goals and offering encouragement. He does not remain front and center. He soon steps aside as students fill the space. They practice individually and in groups, and most learning comes through self-practice and peer learning. Some students grasp theory more quickly than others. Some model good posture, while others perfect new steps. They know their strengths and weaknesses, and they look to each other for inspiration. The teacher moves about the room, maximizing individual interaction, providing guidance when necessary, and setting new tasks that help students work through their difficulties.
For me, the beauty of this image, and the guiding principle behind my teaching philosophy, lies in recognizing students' raw talent, curiosity, and restlessness, then creating a learning environment that fosters self-discovery, effective communication, and synthesis of knowledge.
Self-discovery: Observe the girl seated on the piano; she scratches her back in boredom, anxious to get started. When creating a syllabus, planning lessons, developing activities, and advising students, I often return to Degas' masterpiece and think about this girl. Her boredom pushes me to pare back lecture periods and think about what active learning projects I can devise for her to learn a new idea or skill on her own.
Effective communication: Like dancers, it is only through repeated practice that students gradually gain the confidence and skills to effectively communicate ideas and beliefs to others. Each of my modules involves pair work, small-group discussion, large-group discussion, and presentations, in order to develop communication skills.
Synthesis of knowledge: Dance is learned one step at a time, with the eventual goal of combining those steps into a flowing whole. The same process occurs in and across modules. Whether in introductory or honors modules, I aim to write lectures that connect ideas across time and space. More importantly, I create exercises that enable students to make connections of their own.
I aim to create an opportunity for self-discovery, effective communication, and synthesis of knowledge in all modules. In an ideal world, every module would be a hands-on field study, in which an intensive period of pre-departure orientation would be followed by weeks or months spent in the field - discovering new things, sharing discoveries with others, and synthesizing new experiences with pre-departure knowledge.