This course is designed to support students whose English is not adept for university-style writing, as well as students who need further accommodations. During this course, I have utilized both individual and small group dynamics activities to enhance students’ learning and participation in-person and online. As a practical course on academic writing, activities are built to allow students to comprehend the importance of academic writing in their own university and post-university endeavours. Further, the course also has an extensive hybrid component that allows the student to navigate the course according to their needs. With a 6-month course, I can relax my deadlines and support students who are struggling with illnesses, disabilities, and mental health issues. 

This course focuses on the possibilities and pitfalls of ecological poetry (ecopoetry) and transnationalism from two nations interconnected by migration, economic investments, and even the Pacific Ring of Fire: Canada and the Philippines. This course was designed to fulfill the Narrow Area Comprehensive Examinations for Candidacy.

As a GTA for Readings in Narrative for two years, I was able to teach alongside supervising professors on a range of North American fiction and literary theories on postcolonialism, ecocriticism, and cultural studies. In my tutorials, I ensured that conversations are facilitated with critical thinking and respect towards each other. Students were also empowered to apply the literary theories and narratives in their own personal environments, where they were gently encouraged to interrogate their own biases, privileges, and positionalities.  

As a GTA for two different Cultural and Media Studies class, I attended classes, held office hours, and taught alongside the two supervising professors on decolonial methodologies, cultural and visual analyses, queer media, and film studies. During this time, I collaborated with the professors to facilitate classroom discussion and to engage with the students during small group activities. I often provided the students with a debriefing or overview of the feedback they received after a major assignment, and then took over the lecture for course concepts that are relevant to my own scholarship, such as environmental studies, visual analysis, and literary texts. 

As the GTA for Art History, I attended class lectures, engaged with class discussions, held review sessions, and provided office hours for students. Since I have a broad background of art history from teaching Humanities in the Philippines, I engaged in conversations in class to enliven discussion and to encourage students to also ask questions about the course lectures and materials. Students also wrote essays responding to questions about art history and their own positionalities, which facilitated a nuanced comprehension and appreciation of the lectures and materials. 

During my time as a non-TT instructor, I taught major courses in the Literature undergraduate degree. These courses, Young Adult Literature and Comparative Mythologies, explored YA fiction and mythologies from different continents. The students were encouraged to decide on their own direction for class output—either creative or critical. At the end of both courses, students presented their outputs in a conference-style class presentation that allowed them to listen to each other’s works and provide constructive feedback as well.

As a minor course in the Philippines, I taught an Introduction to Humanities course that provided a broad array of art history, and then sampled different art forms like paintings, sculpture, architecture, cinema, performance, and music. Students were provided activities that allowed them to “experience” different art forms through class immersion, field trips, group activities, and individual activities. The course also ended with the class creating their own art exhibition that featured their selected forms and mediums. 

I also taught minor courses in the Philippines. These courses were surveys of general literary topics such as World Literatures, Classical European Literatures, and Philippine Literatures. They had varying outputs, but I ensured that the output tailored to the class’s program. For example, if the class were completing a course in Communications, then the class output is a postmodern rewriting of a classic literary text (e.g. Salman Rushdie’s Midnight’s Children) presented as an audio-visual presentation of their choice. It was important for me that the students choose to participate in their own learning, and that they are also collaborating with me on the output that best fits their needs as they navigate their program completion.