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Instant download ebook of The Courageous Classroom Creating A Culture Of Safety For Students To Learn And Thrive 1St Edition Janet Taylor Jed Dearybury 2 online full chapter pdf docx
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The Courageous Classroom
The Courageous
Classroom
Creating a Culture of Safety
for Students to Learn
and Thrive
Published by Jossey-Bass
A Wiley Brand
111 River Street, Hoboken NJ 07030
www.josseybass.com
Jossey-Bass books and products are available through most bookstores. To contact
Jossey-Bass directly call our Customer Care Department within the U.S. at 800-956-
7739, outside the U.S. at 317-572-3986, or fax 317-572-4002.
Wiley also publishes its books in a variety of electronic formats and by print-on-
demand. Some material included with standard print versions of this book may not
be included in e-books or in print-on-demand. For more information about Wiley
products, visit www.wiley.com.
First Edition
10 9 8 7 6 5 4 3 2 1
Dedicated to my mother Joan Neal Taylor,
an educator and my first teacher.
—Dr. Janet Taylor
Dedicated to my mother Lynn,
the most courageous person I know.
—Jed Dearybury
Contents
vii
viii Contents
School Safety 97
School Anti-Bullying Programs 100
Bullying in the Classroom/Supporting Students:
Tips for Teachers and Parents 103
Schools and LGBTQ+ Bullying 104
Let’s Chat 108
Tips for the Courageous Classroom 110
A Courageous Mindset 110
xiii
xiv A b o ut th e A uth o r s
When student and teacher meet with a shared respect, magic hap-
pens. Mythical things happen. Over the past 20 years I have worked
with urban youth through the telling, discussion, and analysis of
mythological stories. We provide a safe space, a temenos, where
youth feel comfortable being and becoming who they are meant
to become. The goal is to have them become the hero/heroine in
their own stories. Our process helps make real the idea that they
will need heroic character traits to get through life; traits such as
perseverance, humility, resourcefulness, and willingness to make
necessary sacrifices for something larger than themselves. And,
they will need courage to continue despite the odds not being in
their favor.
Janet Taylor has been a champion of our methods, and of
all teachers who seek to educate in ways that meet the needs of
the youth, instead of the needs of adults who insist on sterile
measurements. She observed our sessions, and she reported to
her audience on what she witnessed. She lifted up our method
xv
xvi F o r e wo r d
xix
xx I n t r o d u c ti o n
Jed’s Story
As Dr. Janet’s co-author, I (Jed) bring my almost-two-decade-long
experience as a teacher and a direct voice of my own trauma, in the
manner of a speaking wound, “the trauma born by an Other that
speaks to the wound of the healer” (Dutro and Bien 2014). I share
raw accounts of the difficulties of many of my students to illustrate
the challenging experiences of trauma and fear that students and
teachers bring into the classroom. These stories are the heart and
soul of this book. They are told in a personal narrative format. I
am more of a story teller than a researcher, so the tone of the book
may feel a bit different when I chime in. The students I write about
are the ones who above all need(ed) a culture of safety within their
classroom walls. The retelling of their stories is multi-purpose. One,
Introduction xxiii
to let other teachers know they are not alone in the work. We all
have students with lots of trauma that we must talk about so we can
figure out how to help them best. Two, talking about the needs of
our students helps us to identify the strategies we need for assisting
and teaching them. Three, talking about the effects of their trauma
on their learning helps us to see where our own education fell short
in preparing us for this profession. As a point of caution here, some
of the stories may create deep grief for you. You may cry, you may
cuss. You may even get mad at me because I didn’t handle the situ-
ation like I should have. I admit, I wish I could have a rerun with
some of these students as I have learned more now than I knew
then. Some of the stories may be triggers for you as you process and
navigate the waters of your own childhood trauma. Lord knows I
have had my fair share: sexually, physically, mentally abused by my
father; being gay in the Bible Belt South; and attending a Southern
Baptist college while being gay and enduring two years of conver-
sion therapy so I’d “turn straight” and Jesus would love me. These
are just a few of the details of my own traumatic past. They alone
could be a whole book. I digress.
Through research and relationships, this book will answer the
question of how teachers can thrive and learn in spaces where, at
times, both parties may experience stress, distress, fear, and anxiety
from both internal and external sources. There are moments when
the work may read like a college lecture and others where a thera-
pist is talking to a client on the couch in the consulting room. The
hope is that we provide advice about how to harness our neuro-
biological understanding of fear, and help educators and students
realize how to push fear aside both inside and outside classrooms.
We believe it will show you how to tap into your own potential for
healthy psychological functioning and intellectual growth as an
individual, and within your institutional culture, by learning how
to establish and maintain Courageous Classrooms and promote a
growth mindset. Fear and adversity can disrupt the environment of
optimal learning. Classrooms and schools that promote a culture of
safety, creativity, resilience, and mindfulness will serve as a needed
intervention strategy for students and teachers.
xxiv I n t r o d u c ti o n
Today’s teachers are “in the arena,” the words that Presi-
dent Theodore Roosevelt used in his 1910 speech (Sweeney 2020,
p. 32), stating:
It is not the critic who counts; not the man who points how the
strong man stumbles, or where the doer of deeds could have done
them better. The credit belongs to the man who is actually in the
arena, whose face is marred by dust and sweat and blood; who
strives valiantly; who errs, who comes short again and again,
because there is no effort without shortcoming; but who does
actually strive to do the deeds; who knows great enthusiasm, the
great devotions; who spends himself in a worthy cause; who at
best knows in the end the triumph of high achievement, and who
at the worst, if he fails, at least fails while daring greatly, so that
his place shall never be with those cold and timid souls who nei-
ther know victory nor defeat.
Los días que siguieron a la muerte del tío Tomás los empleó Luis en
el arreglo y clasificación de las cartas y documentos que el buen seño
tenía guardados; tarea en verdad bastante entretenida, pues eran
tantos los papeles y tal el desconcierto que en ellos reinaba, que no
había más remedio que repasarlos cuidadosamente para saber cuáles
podían romperse y cuáles debían guardarse. Encomendó a la
chimenea el trabajo de reducir los primeros a cenizas, y guardó
ordenadamente los segundos en coquetonas carpetas de cartón, bien
sujetas por oficinesco balduque. Púsoles, con su más hermosa letra
redondilla, grandes y claras etiquetas y las sepultó en las
profundidades del estante, prometiéndose leerlos con detenimiento
cuando dispusiera de mejor humor. Entretanto quedáronse haciendo
amigable compañía a la Colección legislativa, Sentencias del Tribuna
Supremo y demás tomos de legislación que en las polvorientas tablas
del estante amarilleaban ya bajo la patina del tiempo. Únicamente
salváronse de la condena los títulos de los destinos y demás
documentos oficiales que María necesitaba para incoar en Clases
Pasivas el expediente de viudedad.
Boncamí iba todas las noches un par de horas a charlar con él y a
ponerle de paso al corriente de las cosas que en el mundo ocurrían
esas cosas pequeñas e insignificantes que, por lo general, tanto nos
interesan. Contábale que el público seguía aplaudiendo en Eslava la
revista Madrid se divierte, con gran satisfacción de Castro, Pedrosa
Cañete y Suárez, que estaban ya seguros de mantenerla en el cartel la
temporada entera. Todo el mundo convenía en que la tal revista era de
lo más disparatado que se había escrito; pero a pesar de ello iban a
verla, a reír un rato con las payasadas de Bermúdez y a aplaudi
frenéticamente a Elenita Samper que, dicho sea en honor de la
verdad, estaba encantadora. Es una lástima que no pueda usted ir a
verla. Parece mentira lo que ha aprendido esa muchacha en poco
tiempo; ¡qué sal tan fina, qué desenvoltura tan natural, qué manera tan
personalísima de moverse en escena! Ahora es cuando yo me he
convencido de que esa mujer tiene talento. No le quepa a usted duda
tiene mucho talento, pero mucho. Cuidado que el tango de los
Pucheritos, como le llaman por ahí, es estúpido y canallesco, de lo
más canallesco y estúpido que darse puede; pues bien: lo canta con
una gracia y una intención, y haciendo unos gestos, y tomando unas
actitudes tan requetemonísimas, que el público se marea, y se vuelve
loco, y se pone de pie, y le dice: «¡Viva tu madre!», y no le tira los
sombreros al escenario yo no sé por qué. Todas las noches tiene que
repetirlo dos o tres veces, y lo notable del caso es que al final de cada
ovación salen al escenario los cuatro zagalones de los autores
cogiditos de la mano, a dar cabezadas de agradecimiento. El público
como es natural, les toma el pelo, pero, ¡que si quieres!, ellos, sin
enterarse, siguen cabeceando agradecidos. Anoche no pude po
menos de decírselo a Pedrosa: «¡Por Dios, hombre, no salgáis! ¿No
comprendéis que estáis haciendo el ridículo, que esos aplausos no
son para vosotros?». Bueno: ¿pues creerá usted que se ofendió?
—Sí, es tan imbécil como todo eso.
—¿Sabe usted, en cambio, quién me parece que vale? Suárez
¡Qué dos números más bonitos ha escrito! Especialmente un dúo
delicadísimo.
—Le oí la tarde del ensayo; es un primor, una filigrana. Habrá
gustado mucho, ¿verdad?
—¡Quia!, no señor; no se ha repetido ni una vez siquiera. Entre la
orquesta que lo toca mal, los cómicos que lo cantan peor y el público
que no entiende de filigranas, ha pasado casi inadvertido.
—¡Qué lástima!, porque es lo mejor de la obra.
—¡Qué quiere usted!; el público es idiota.
—No, no es el público quien tiene la culpa. El público se
acostumbra a lo que le dan, se educa a lo que le enseñan; le han
educado a música de organillo, con platillos y bombo, y calderones y
gorgoritos, y, claro está, no le gustan las filigranas, no las entiende. Es
como si a un gañán acostumbrado a patatas y judías le da usted de
pronto ostras y mortadela: no le gustan. La culpa no es de él, créame
usted; es de esos canallas de Cañete y Compañía, que le han
estropeado el paladar.
—Yo creo que Suárez ha de llegar.
—Y yo también. Es un artista, uno de los pocos hombres
verdaderamente artistas que yo conozco; bien desgraciado por cierto
porque, defensor como ninguno del arte por el arte, tiene que vivir de
él, que dar su alma para ganar el pan.
Otra noche Boncamí le trajo un número de La Abeja para que
leyese los últimos versos de Bedmar; una composición vaga
nebulosa, de un ritmo encantador. ¡Qué lástima de chico! ¡Qué alma
más grande de poeta! Y con voz sonora y entonación vibrante, se puso
a recitar otros versos también suyos:
Era una hembra para amar nacida.