Educator
Teaching Philosophy
Growth and Proficiency
As an educator, I find it helps my students the most to approach each of them differently. No one method serves everyone. In general, that means I grade their work from a perspective of growth and proficiency. If I look at their sewing samples and compare them to their final project; can I see the effort and hard work that has led to improvement? At the end of this course, can they thread and safely operate a sewing machine? Growth and proficiency. Both models measure learning outcomes, and utilizing both approaches ensures my various students are all learning and progressing in the art form.
Balancing Lecture and Demonstration
A Costume Shop is an exciting classroom. We work with complicated equipment, traditional methods of tailoring and crafting, and new technology. All of our work involves the use of materials that are expensive or potentially hazardous. When working with a larger group of students, it’s important to lecture them over safety concerns and to demonstrate those same safety practices in close succession to one another. So we’ll talk about the hazards of dye, and then walk everyone through their protective gear as they put it on. Once we’re geared up, we walk through best practices of handling dyes, hot waters, and fixatives, before allowing students to break off and create their own dye samples. Ideally we talk about it, students watch a supervisor do it, they do it themselves, and then they have the opportunity to demonstrate to another student before they leave our program. See it, do it, and teach it.
Questions and Discussion
In addition to these models, I do my best to prepare valuable questions ahead of each class lecture. Questions that are open ended and allow each student to ponder and connect the dots in ways that make sense to them, rather than just receiving my personal anecdotes or ideas. We often break up into smaller groups, each assigned a discussion point, which we can break down in our smaller groups and then share with the class at large. In this way, we can simultaneously cover a great deal of material in a 20 minute period. When opening the floor for discussion, I have learned the importance of laying down ground rules and expectations for healthy group talk. Nothing will shut down the exchange of ideas faster than hostility, disrespect, or a lack of listening on the part of the group. As we venture into new content, I also make sure to ask questions that verify their comprehension and security within the subject. “Does that make sense?” “What are you going to do next?” “Can I clarify anything we’ve covered before moving on?”
Always Encourage Creativity
Anyone who has taken a college course, has had the experience of an assignment they loathed. It felt like pulling teeth to write that essay, or draw that still life, or build that group project. When it comes to my syllabi and how I structure my assignments, I do my best to make room for creative approaches. Perhaps there is no way around a written component for the course, students have to learn the format and structure of a compare and contrast essay. Does that mean that the essay cannot be delivered in video form? Can they choose the topic within their own interests as they connect to Theatre and the Arts? If the course must have a final exam; can it be through a rousing trivia contest? Or rap battle? I loved being challenged as a student. I loved having opportunities to try new things with my assignments and I always learned more when I was excited to get my work done. Such is the case in my classroom. I will ensure that my students’ work is in compliance with what the University needs to see for their graduation requirements; but we will do it creatively and with a lot of fun! Anyone who works in the Arts has taken a pay cut for the joy of what we do. I view our work in the classroom the same way. It should be fun and challenging.
Commitment to Diversity, Equity, and Belonging
As a Queer, white person who grew up in a largely, white population, I had a lot to learn in regards to inclusion practices. I was fortunate to enter school with many patient, loving peers and teachers who took the time to help me understand my place in a Diversity, Equity, and Belonging program. I was a Graduate Student enrolled in a BIPOC theatre class and I found myself increasingly anxious for my future. I turned to a friend, a Black theatre artist I greatly respected and said something to the effect of “Should I quit? What’s to become of someone like me? I can see how important it is that People of Color have space to tell their stories and inhabit important roles…does that mean I should step aside and learn how to code or something?” This friend smiled and said “You are closer to the door than other, less privileged people. You understand what they’re going through. You get to that door, and you hold it open for the rest of them to sprint through.”
Understanding one’s privilege can be a difficult task, but it’s vital to combat systemic oppression and under-represented stories. As an artist, I strive to confront my privilege and find any opportunity I can to promote and uplift artists of color in my sphere. During that same time I was enrolled in the BIPOC theatre class, an old friend reached out to me to ask if I had any recommendations for their small theatre company. They were expanding their fundraising and wanted additional board members to help shape their future vision for the company. My class had just covered the “We See You White American Theatre” manifesto and I had been hopeful for an opportunity to make a difference for less privileged artists. I suddenly remembered the name of a POC artist that had moved to the area of this small company and I happily referred her to them as a new board member. My recommendation did not cure the world of racism or prejudice; but it allowed a POC artist a stage and a voice. If all artists of privilege do the same, we’ll see great, inspiring changes in the world of theatre.
As a Costume Designer, I have a unique opportunity to affect the mind of a Director and production team, simply by the choices I make in how I render a subject. Can my Hero be plus size? Can the beauty queen be Native American? Can the romantic leads be a Queer couple? Can I be inclusive in my drawing so that it opens that door for more inclusion in casting? Of course there is always a balance to strike between telling someone else’s story and being inclusive; which is where I rely on healthy collaboration with my BIPOC artists and friends. No one person is a monolith for an entire community, so even within that collaboration space, I have to be open to feedback that disagrees with my idea or sensibility. These issues can be grey, which can make them hard to understand. However, as a responsible artist, who wants to do right by my BIPOC peers; I am committed to continuing to learn, continuing to listen, and continuing to uplift those voices that are different from me. It’s the only way the work improves.
Student Testimonials and Course Evaluations
“I deeply mean it when I say that Jess Wallace has been one of the most influential directors/professors that I have ever had the pleasure of working with. She carries the Snow College Theatre Department on her confident and capable shoulders, and teaches us what it is to be passionate and hard working. I have never seen Jess give anything less than her absolute all to every project she is a part of. Her talent and ability speaks for itself, but it is her commitment and willingness to sacrifice for her art that really sets her apart. Jess loves the art of theatre, and she shares that love and passion with everyone that comes into contact with her. Jess is an absolute powerhouse, and many times in the past has had to not only carry more than just her role, but everyone else’s too. The students of Snow have learned to always trust her opinion, because Jess is ALWAYS right. Jess is one of the main reasons I love theatre so much, and is part of the reason I’m choosing it for my career. I feel unbelievably blessed to have learned from her and worked with her these past couple years, and I will ALWAYS remember the things she taught me about theatre and about the world.”
- Shalya Florence, Sophmore Student, Snow College