Sabrina D. MisirHiralall

The theological misappropriation of Christianity as a civilizing force occurs when individuals convert to Christianity due to deception that ignores the faith-based aspect of Christianity. The history of Western education in India illustrates the hidden curriculum that Christian missionaries employed to disrupt the Indian educational system. This unnerving pedagogy points to the need for a postcolonial theoretical framework that relates the inescapable hybridity of religion and culture where Orientalism has the potential to occur. To press the ongoing urgency of this discussion, I convey how the history of British India connects to my lived-reality as an American Hindu. Overall, I point to hybridity as a lived paradox of ambiguous conflict that embraces interfaith relations. I offer implications for Christian missionaries today to foster authentic interfaith connections without engaging in colonizing ideologies.

Edward Said pointed to the problem of Orientalism that develops when the West creates a fictitious imagined version of Eastern religion and culture. Said’s notion of Orientalism focuses on the general distorted representation of Eastern religion and culture by the West. Homi Bhabha extends Said’s notion of Orientalism to reveal the tension of the inevitable hybridity between the East and the West. Here, cultural practices develop in the space of hybridity with the intention to promote a feeling of coherence as opposed to with the objective to deform or distort religion and culture. Thus, the intention in a space of hybridity is often not to engage in Orientalism. Instead, the goal is to develop something new in a hybrid form. An opportunity arises in philosophy of education to adequately confront the problem of Orientalism that may develop in a space of hybridity. The author proposes a philosophical postcolonial framework that engages in a creative process that does not further Orientalism but rather develops something new with an ethic of hybrid responsibility for religion and culture. To illustrate this, the author uses Kuchipudi Indian Classical Hindu dance as an example.

Homi Bhabha, a postcolonial scholar influenced by the work of Franz Fanon and Edward Said, indicates that identities stimulate a need to negotiate in spaces that result in the remaking of boundaries. There is a call to expose the limitations of the East and the West in an effort to acknowledge the space in-between that interconnects the past traditions and history, with the present and the future. This study applies Homi Bhabha’s theory of hybridity to determine whether the term liturgical is appropriate to describe Kuchipudi Indian classical Hindu dance. Presented are the elements of Kuchipudi dance and liturgical dance, and then contemplative dance is discussed as an appropriate medium in the space of hybridity between Kuchipudi dance and liturgical dance.

Contemplative pedagogy is necessary in the dance world because it can be a very dangerous place without it. Dance students who aim to sustain the so-called “right”body image too often develop a physical obsession that leads to dangers like bulimia and anorexia. Moreover, the stresses of performing on stage, combined with other pressures of daily life, may overwhelm dancers to the point where they might feel depressed or even suicidal. Thus, it is vital to develop a pedagogy that thinks about not only the physical but also the spiritual well-being of dancers. The application of mindfulness as a pedagogical tool that focuses on physical and spiritual wellness is ideal in this regard.

This article attempts to answer a question that many dancers and non-dancers may have. What is dance according to the media? Furthermore, how does the written word portray dance in the media? To answer these ques-tions, this research focuses on the role that the discourse of dance in media plays in the public sphere’s knowledge construction of dance. This is impor-tant to study because the public sphere’s meaning of dance will determine whether dance education is promoted or banned in schools and in society. The aim of this paper is to contribute to the existing literature of dance in the media. One limitation of this contribution is that the research uses only newspaper articles as a source of analysis. Future research should include an analysis of visual and audio clips of dance as portrayed in the media.

Contemplative pedagogy focuses on creating a sense of presence within educators to effectively educate the whole person through mindfulness in teaching. As I engage in a self-study, I develop initial components for the way I employ contemplative pedagogy. I aim to understand myself as an educator in order to teach effectively. One way to enable particular kinds of understandings is through self-study methodology. The foundational framework that develops through my ongoing self-study may interest those who are unfamiliar with the terrain of contemplative pedagogy. For the purposes of this article, I place an emphasis on the philosophy and ethics classes that I taught at Middlesex County College in New Jersey, although I teach several classes on many campuses. My philosophical method requires me to engage in a self-study of my teaching practices. My project involves self-study as a philosophical research methodology that aims to inform educators and rethink the theories and praxis of teaching. As I work towards improvement- aimed pedagogy, I make myself vulnerable as I share my experiences with my Peer Scholar. My Peer Scholar, which some researchers call a “critical friend”, deliberates with me to challenge epistemological assumptions along with suspicions. The self-study dialogue with my Peer Scholar causes me to define initial components of how I engage in an improvement-aimed contemplative pedagogy. My hope is to support those who wish to implement contemplative pedagogy in higher education as I relate my working framework based on the themes that developed from the deliberation. The components in the article that convey how I engage in contemplative pedagogy are not meant to serve as a checklist or stern procedure for classroom activities. I share these components as aspects of my contemplative pedagogy, with suggestive scripts, not as a rigid structure but rather as a work in progress that is always under construction.

I am an American born faith-based Kuchipudi Hindu dancer and educator with Indian ancestry regardless of what I wear. For the purposes of this article, I focus my attention on a dress narrative to explore an authentic self. Here, clothing is an artifact that creates an image that provokes a phenomenological experience. Dress choices become appropriate or inappropriate, religious or anti-religious depending upon the social constructions of culture. Also, there is a feminist issue that provokes a social construction of “delicate” regardless of what I wear. The feminist dilemma incites my main question for this discourse. How can I maintain my authentic self as a faith-based Hindu dancer and educator regardless of my wardrobe? What is the appropriate attire in a particular setting? Does clothing provoke a certain phenomenological experience that requires consideration? What kind of narrative do I write with my wardrobe choice? Through a self-study that maintains a postcolonial theoretical framework, I propose a postcolonial theory of Cultural Becoming to develop a more authentic sense of self, based on my own lived experience of what it means to be me as a postcolonial educator who is simultaneously Eastern and Western.

The prominence of religion in recent debates around politics, identity formation, and international terrorism has led to an increased demand on those studying religion to help clarify and contextualise religious belief and practice in the public sphere. While many texts focus on the theoretical development of the subject, this book outlines a wider application of these studies by exploring the role of religious studies scholars and theologians as public intellectuals. This collection of essays first seeks to define exactly what makes an intellectual "public". It then goes on to deal with a few questions of concern: How do public intellectuals construct knowledge in religious and theological scholarship? What is the link between public intellectuals of higher education and their role in society? Do higher education institutions have a responsibility to endorse public intellectualism? Looking at the individual and collective role of religious studies scholars and theologians in public life, this book will be of great interest to all scholars and academics involved in religious studies and theology across the academy.

The author aims to use Kuchipudi Indian classical Hindu dance to educate non-Hindus about Hinduism with postcolonialism in mind. This goal arises from her dance experiences and the historical era of imperialism. Colonization occurs when those in power believe there is a need to dominate in a manner that subjugates people. Colonizers created colonies as they moved into territory because they felt there was a need to “civilize” the so-called savages of the land. Postcolonialism is an intellectual discourse that confronts the legacy of colonialism and attempts to de-colonize. With the legacy of colonialism and a postcolonial lens in mind, some research questions arise. How does she, as a Kuchipudi dancer, use Hindu dance to educate non-Hindus about the Eastern literature of Hinduism? For non-Hindus, she feels the power of the exoticizing gaze when she dances, which might very well block the educational intention of the dance. This exoticizing gaze prevents the understanding of the traditional nature of the dance and the introduction to Hinduism as a world religion. The author’s problem is moving the exotic gaze of non-Hindus to an educational gaze that seeks to learn about the ethics of Hinduism in a manner that takes into consideration the multiple perspectives of the complex society we live in today.