A question often asked of RE teachers is how we make our subject ‘relevant’ to today’s young people, amidst what feels like a growing antipathy towards religion even in its broadest terms. The clichéd academic answer is to expound upon the presence of religion in the very roots of our society and culture, and the influence that another person’s values can have on your life whether you embrace them or not. While this is an important and valid answer it doesn’t do a great deal in terms of helping a teacher to engage a hormonal teenage boy who is more interested in shooting virtual enemies than grappling with the ethics of fertility treatment and euthanasia. So what tools do we have?
The truth is, most of us are already using resources that begin to tackle this apathy: television and film are widely used in schools to approach difficult topics. For example, Bruce Almighty is many teachers’ go-to resource for exploring the answers to prayer or the nature of miracles, as well as a whole string of themes related to the nature of God. Films are easily accessible and understandable for all ages and most RE teachers will have used some form of audio-visual resource to support their lessons. What this tells us is that amongst the very best resources at our disposal are perhaps those that some are so quick to blame for the apathy of the young: pop culture and all its trappings.
In a short series of articles I hope to demonstrate how we can use a wide variety of pop culture sources to enrich RE. Drawing on my own academic background, I will examine how film, TV, music, literature and video games can be fantastic resources for bringing our subject alive and, in turn, how RE can help the students to understand the pop culture of the world around them. RE is a two-way process, after all.
But how can these bywords for procrastination help us at all? We may already use film clips and Simpsons episodes, but surely a medium like gaming offers little to highlight reality? I disagree entirely. Taking a brief look at video games, we might consider that the very war game distracting a GCSE student from his studies may be a resource that can spark questions about the nature of war – does he know the story behind his virtual conflict? does it matter? It may even be that the storyline itself explores this, with other characters lamenting or celebrating the loss of life on a 24″ screen.
Just as it is to be found on the business end of a controller, so too might theology be discovered lurking in the Top 40 or on the pages of NME. More widely accessible than gaming or even television, the world of pop music is an incredible resource – a stream of classroom-friendly snippets to aid discussion or make a point. Classes can discuss Lady Gaga’s inclusion of Judas in her lyrics and whether it is suitable or ultimately a form of blasphemy, whereas a more mature class might be able to investigate Kelton Cobb’s assertion that modern love songs can be an unconscious call to the divine. The range of genre and theme is utterly staggering, with a song for every subject.
There is some resistance to so-called ‘edutainment’ in schools, and it is tempting to use this label for the attempts to integrate pop culture with RE. However, I think that it is just the ultimate expression of the dry academic notion of religion at the root, and if we are to convince students that the presence of religion in the world is important enough to merit their attention, we must prove it in ways that they understand and embrace. By using pop culture, we use their language and, most importantly, their current life experience.
Celia Warrick
Autumn 2011