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Games, and the entertainment value of play, have the ability to teach and transform. We don’t think about that as children playing hide-and-seek in the neighborhood. We don’t acknowledge it during turns at charades or throughout the rounds of a board game. That’s because games are engaging and entertaining. And precisely because they are, research shows, they provide effective means to teach skills and transform thoughts. Learning today is a very different process than it was in the past, according to the Institute of Play. While 20th century education focused on rote memorization and acquired skills (reading, writing, calculation, history, science), much of the way we learn today is through the use of higher order skills, many experts believe. These include the ability to think through and solve complex problems, or interact critically through language or media. “Games naturally support this form of education,” the Institute says. So game playing is an excellent way to help wire our brains in ways that are crucial to the what, why, and how of learning needs for the 21st century. More Than a Game The unique structural elements of games build brainpower, the Institute says, because they: - Provide a platform for self-directed exploration - Deliver just-in-time learning - Use data to help players understand their progress, and what to do and where to go next in the game - Create a compelling need to know, ask, examine, assimilate, and master skills and content Other aspects of games facilitate learning, including the state of being called play. We never think about how play engages us while we’re involved in it, or how it teaches us by providing a “freeing” environment along the way. We simply enjoy the fun and entertainment value of games as we play them. But according to the Institute, “Much of the activity of play consists in failing to reach the goal established by a game’s rules. And yet players rarely experience this failure as an obstacle to trying again and again, as they work toward mastery. There is something in play that gives players permission to take risks considered outlandish or impossible in ‘real life.’ There is something in play that activates the tenacity and persistence required for effective learning.” iSchool Faculty Research The transformative power of games–and how they can be used in learning—are research topics for several faculty members at the School of Information Studies (iSchool). Several faculty members are looking at the elements of games, the processes involved, and the learning that can result from an individual’s engagement through playing a game. Yang Wang and Scott Nicholson have teamed up to explore games as a principled approach to educate people about security and privacy risks. Their first proof-of-concept prototype will be a mobile game to teach users about Android application permissions. The learning outcome of the game is that players will understand what kind of permissions they have given their apps, how those permissions could threaten their personal data, and how to protect themselves from these threats. As players engage with the game, they will be changing the permissions on the apps so that after the game has been completed, the player is much safer from threats, according to Wang. Carsten Oesterlund studies he game design process, with a focus on game pieces. He is looking both at board game design as well as the process of translating board games to electronic media. He studies the process through participant observation and interviews with game designers, game publishers and play testers. Oesterlund says his research approaches game design as an expression of broader system design dynamics, where designers mold social and material structures to create specific situations for work, play or learning that involves particular configurations of people, places, times, materials, and activities. Marilyn Plavocos Arnone, who teaches “Storytelling for Information Professionals,” uses a gaming module to expand the realm of digital storytelling. “Games … have the ability to draw gamers into a totally immersive experience like reading a good book,” she writes. “Game developers create settings designed to draw the player into the ‘environment’.” Nicholson runs the Because Play Matters game lab at the iSchool and organizes the Game Designers Guild. His research is about transformative games for informal learning environments (games whose forms of play are intended to change players.) His current focus is creating an online toolkit that will enable academic libraries to quickly generate an alternate reality game that will help users explore library resources. Nicholson also examines the gamification journey, which moves players from short-term, reward-based gamification, into meaningful gamification, he says. He has taught three courses on gaming: Gaming in Libraries; Adding Game Layers to the Real World, and Transformative Game Design. You can check out more courses at Syracuse University’s iSchool on the subject of gaming here. Do you have a favorite traditional or electronic game experience? Did you realize it was helping you learn? Let us hear about your experiences in the comments below.

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Writing a poem may be one of the most difficult assignments you will face as a student. Students new to writing poetry will find this nerve racking because they may view writing a poem as putting their true selves on display. Seasoned poets may not find an assigned poem provokes anxiety, but they may find the assignment specifics challenge them beyond their comfort levels or force them to change their styles completely. The first step towards overcoming the nervousness of writing a poem for school is to familiarize yourself with the rules of poetry. They can help you to place the assigned poem into a larger context. You will learn that poetry does not have to be personal; like short stories and novels, poems can have narrators. This means that an assigned poem doesn't have to be about your life or feelings. You can choose a character to narrate your poem and write from her point of view. Knowing the rules of rhyme, rhythm, meter, fixed forms, free verse and imagism will make you feel in control of the poem. Understand the Assignment Some poetry assignments require you come up with your own topic. In such a case, using creative writing prompts are suggested by Melissa Donovan at Writing Forward. Other poetry assignments will assign topics that range from writing about a childhood incident, to writing about an important historical event that you witnessed, to writing a dialogue set in a barroom between two fictional characters (or perhaps two historical characters). Students who have taken poetry writing courses have faced these assignments, and even though they were thrown for a loop at first, once they started writing within the parameters of the assignment, they found that the poem took shape. Take the Assignment Seriously When you begin a poetry assignment, work on the technique it emphasizes. An assigned poem that calls for you to use a controlled pattern of strong (sometimes called perfect) rhyme, or one that requires weak (also called slant or imperfect) rhyme, or one that allows for free verse will teach you about a specific technique. Over the course of writing poems for classes, you will perfect techniques, especially if you research poets who use those techniques. This will make you even better at writing assigned poems, since emulation is an excellent method of learning. Practice a Technique Music students learning the bass guitar for the first time know that first they need to learn fingering, then hammering, then scales, then chords, and finally, they have to play in front of others to get feedback and advice. Writing poetry is no different. Poetry assignments in school are designed to get you beyond the beginning skills levels. One way to get better at writing poems for class is to practice writing your poetry, or at least practice the type of poem that an assignment calls for. Like all writing, poems should go through many drafts. Share Your Work The final step to writing an assigned poem is to compare and share your work with others. Group learning is advantageous in many fields, and in creative writing, it is essential. It allows you to get a larger perspective on your poem, and perhaps one of your classmates will help you find that perfect image or line that every good poem needs. The important thing to remember is that a critical comment is meant to be constructive and help you improve your poetry. - Adam Taylor/Digital Vision/Getty Images

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Different types of books Developing reading: Different types of books - Many baby and toddler books help with speech development by providing pictures for children to label objects and package/network build. - Oftern based around hypernyms (weather, clothes, animals) to provide children with hyponyms (rain, socks, dogs). - Nouns and adjectives are the most common word classes in early books. - These link children's literacy experience with the equivilent speech aqcuisition stage- giving labels to objects increases knowledge of immediate environment. - Early story books are designed to be read to children (not by them). They contain complicated words and grammatical structures that children can understand even if they cannot read or use them. - Children's understanding of words and structures is ahead of their ability to use them. - Books for young children are enjoyable and act as a shared experience: they introduce children to stories and storytelling. - Books for school-aged children, although entertaining, have been created for formal learning process. Being graded to assist children in aqcuiring fluency skills. - Children become independent readers around age 8- books for older children are entertaining, informative, and instructive- but are centred on them as solo readers. Jerome Bruner's LASS (Language Acquisition Support System Explains how adults encourage children's speech by using books to interact with babies and young children. He sees parent- child interations with books as four-phased: 1) GAINING ATTENTION: Getting the baby's attention on a picture. 2) QUERY: Asking the baby what the object in the picture is. 3) LABEL: Telling the baby what the object in the picture is. 4) FEEDBACK: Resonding to the baby's utterance. Bruner was inspired by Vygotsky who believed that children learn by being helped to do something when they are ready (not by being told). This is part of the scaffolding process. Both Bruner and Vygotsky see children as active learners and believe that social contexts of their experiences are very important. What do young readers need to know? Children need to know that written texts: - Reflect the relationship between written symbols (graphemes) and sounds (phonemes) - Have cohesion with different parts interconnecting. - Are organised in particular ways, with chapter headings, page numbers etc. - Differ in their organisation according to genre (e.g fiction and non-fiction books are organised in different ways). - Represent the original culture, following its rules and conventions (e.g English is read from left to right; narratives are organised in particular ways; certain 'characters' are well known in English- speaking cultures etc). How are children taught to read? The 'look and say' and phonics methods are the two used in British classrooms. 'Look and say' or whole-word approach - Children learn the shape of the word, not breaking them down phonologically. - Children learn to recognise whole words or sentences rather than individual phonemes. - Flashcards with individual words written on them are used for this method, often accompanied with a related picture so that children can link the object and the referent. - Children learn the sounds made by different letters and letter blends and some rules of putting them together. - Emphasis is on developing phonological awareness and on hearing, and replicating sounds in spoken words. - The two main approaches to teaching phonics are analytical and synthetic. Dombey and Konza Some theorists found that children who are sensitive to rhyme are much better at reading. Learning phonological patterns in langauge is key to reading successfully, as is learning that orthography does not always match phonology in English. - Dombey (1999) says that rhyming (and rhyming games) help children to relate sound patterns to letter clusters, which assist both reading and spelling. - Konza (2011) makes phonemic awareness one of the most important skills for reading successfully. Phonemic awareness is the ability to hear, separate and manipulate individual sounds and phonemes. The key features of analytical phonics - To break down whole words into phonemes and graphemes, looking for phonetic or orthographic patterns. - To decode words by separating them into smaller units:- onset (the vowel or syllable at the start of a word) -rime (the rest of the word, always beginning with a vowel) - To use rhyme or analogy to learn other words with similar patterns e.g c-at, m-at, p-at. - To recognise one letter sound at a time, seeing pictures showing words beginning with the same letter sound. - Children learn the initial letter sound first, then middle sounds, then the final sounds of words and consonant blends. - Children are competent readers within three years, breaking down and sounding out unfamiliar words. The phonics method runs alongside the whole-word approaches and reading-scheme books. Key features of Synthetic phonics - To remember us to 44 phonemes and their related graphemes (one phoneme can be represented by differnt graphemes , e.g 'ough', 'ow' and 'oa'. - To recognise each grapheme, sound out each phoneme in a word, blending the sounds together to produce the word phonetically. - To memorise the phonemes quickly (up to five or six sounds a week). - Often through a multi-sensory approach whereby they: 1) see the symbol, 2) listen to the sound, 3) use an action (such as counting phonemes on fingers or using magnetic letters to correspong the phonemes). Chilren learn in whole-class teaching groups. Reading schemes are not used in the early stages of learning synthetic phonics as the method can be taught in a few months. Types of reading cues An early reader aquires many tools to interpret the written word, using cues to decode words and meanings within texts. Writers of children's books build cues into their texts. GRAPHOPHONIC Looking at the shape of words, linking these to familiar graphemes/ words to interpret them . SEMANTIC Understanding the meanings of words and making connections between words in order to decode new ones. VISUAL Looking at the pictures and using the visual narrative to interpret unfamiliar words or ideas. SYNTACTIC Applying knowledge of word order and word classes to work out if a word seems right in context. CONTEXTUAL Searching for understanding in the situation of the story- comparing it to their own experiences or their pragmatic understanding of social conventions. MISCUE Making errors when reading: a child might miss out a word or substitute another that looks similar, or a guess word from accompanying pictures. The stages of reading development- Jeanna Chall Jeanna Chall identified six stages from her studies with children. Chall's stages of reading development STAGE DESCRIPTION AGE KEY CHARACTERISTICS 0 Pre-reading and psuedo reading Up to 6 'Pretend reading' (turning pages and repeating stories previously read to them). Some letters and word recognition espcially letters in own name. Predicting single words or the next stage of a story . 1 Initial reading and decoding 6-7 Reading simple texts containing high-frequency lexis (this happens when children start to learn the relationship between phonemes and graphemes) Estimated around 600 words understood. 2 Confirmation and fluency 7-8 Reading texts more quickly, accurately and fluently, paying more attention to the meanings of words and texts. Estimated around 3,000 words understood. 3 Reading and learning 9-14 Reading for knowledge and information. Chall's stages of children's reading continued STAGE DESCRIPTION YEARS KEY CHARACTERISTICS 4 Multiplicity and complexity 14-17 Responding critically to what they read and analysing texts 5 Construction and reconstruction 18+ Reading selectively and forming opinions about what they have read. Key features of reading schemes Reading-scheme books use different linguistic choices from the kinds in books like the Gruffalo as their primary purpose is to teach reading skills rather than to entertain. Key features of reading schemes are: - Lexical repetition: Especially the new lexis introduced in each book but also in proper nouns. - Syntactical repetition of structures: Usually subject-verb-object order and simple sentences containing one clause (in early books). - Simple verbs: Single verbs used (i.e is) rather than verb phrases. - One sentence per line: Helping children to say complete phrases. - Anaphoric referencing: Pronouns (she/he) refer to names of characters already used. - Limited use of modifiers: This makes graded reading schemes different from imaginative stories where adjectives add details and description. - Text-image cohesion: the picture tells the story of the text on the page.

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The saying goes,”A picture is worth a thousand words: ‘That means in every photograph, there is a story being told and something to interpret. Storytelling through images has been around since the dawn of humankind, and in conjunction with written text, images have been used to pass down stories from generation to generation. Images have been around for thousands of years, but photographs, although relatively younger, are just as powerful as the images. The production of images was made a lot easier with photography, but it would take centuries before photography as we know it today would surface. The Chinese and the Greeks described the pinhole camera as early as between the fifth and fourth century BC, and the Byzantines experimented with a crude prototype of the camera obscura in the sixth century AD. The Arabs further developed the idea of both the camera obscura and the pinhole camera throughout the late 1 Qth and early 11th centuries. A major breakthrough came through Albertus Magnus (more famously known as the teacher of major Catholic theologian and Doctor of the Church St. Thomas Aquinas), who discovered silver nitrate, one of the biggest ingredients in early photography. Silver nitrate was used in making photographic film by treating it with halide salts of sodium or potassium to form the insoluble silver halide, which was then applied to strips of tri-acetate or polyester. Georges Fabricius then discovered silver chloride in the 16th century, and Daniel Barbaro described the diaphragm (which prevents the passage of light aside from that in the aperture in its center) in the 16th century as well. Wilhelm Homberg described the photochemical effect (how light darkened some chemicals) in the 17th century, and a novel, Giphantie, by Tiphaigne de Ia Roche, which had a passage that described the modern day process of photography by the 18th century. So, in essence, photography was gradually being “invented” over the centuries. By 1790, Thomas Wedgwood put it all together, although the term “photography” would not be used for another 50 years. He was the first person to think of and develop a method to copy visible images chemically to produce a photograph. He would chemically stain an object’s silhouette to paper by coating the paper with silver nitrate and then expose the paper, object side up, to natural light, and then preserve it in a dark room. Since it was repeatable, the mass production of photographs was possible as early as the late 18th century, and thus, Wedgwood became the first “photographer.” Many newspapers caught on to Wedgwood’s process, and other chemists and scientists sought to improve on his work. By the 1820s, Joseph Nicephore Niepce was able to capture images formed in a camera. His attempt to use paper and silver chloride in the 1810s failed because he was unable to prevent the coating from darkening all over when exposed to light for viewing, and thus abandoned the more popular silver compounds being used in photography at the time. He produced the photograph on a polished pewter plate. Instead of using silver nitrate, he used bitumen, a naturally occurring petroleum tar, and dissolved it in white petroleum, applied it to the surface of the plate and allowed it to set before use. However, the process took anywhere between eight hours and several days, and to get an image, a solvent had to be applied to remove the unhardened part of the bitumen, and then to see the image plainly, the plate had to be lit and viewed so that the bare metal was dark and the bitumen was light. He collaborated with another well-known name in photography, Louis Daguerre, to reduce the exposure times to hours instead of days, but Niepce died in 1833, leaving Daguerre to continue his work. Daguerre went back to the silver-based compounds that Niepce disregarded, and experimented with photographing camera images directly onto a silver-surfaced plate fumed with iodine vapor, thus forming silver iodide, but the exposure times were still way too long. Daguerre then allegedly solved this problem by making an important discovery-that an invisibly faint latent image on a silver-surfaced plate could be “developed” via mercury fumes, which brought exposure time down to mere minutes, and then a hot solution of common salt could then stabilize or fix the image by removing the remaining silver iodide. Daguerre brought his idea to the French Academy of Sciences, and the first instructions on photography were published in 1839, and his photos were thus known as daguerreotypes. William Henry Fox Talbot and John Herschel (who coined the term “photography” itself) also developed their own solutions. Instead of using Daguerre’s hot salt water solvent, Talbot substituted it for hyposulfite of soda (sodium thiosulfate) to dissolve the silver salts, and Daguerre also began to use it. Calotypes, however, also lacked fine clarity because of its translucent paper negative, but was seen as a good thing for portraits, softening the appearance of the human face. However, in an unprecedented move, Talbot patented his process, which resulted in numerous lawsuits until he gave up on photography. Although there were many attempts to make photography quicker and as hassle-free as possible, the daguerreotype remained the photography method of choice until 1884, when George Eastman developed dry gel on paper, otherwise known as film, to replace the photographic plates and toxic chemicals that photographers had to carry around. In 1888, the camera as we know it was finally “invented” after years of experimentation and hard work. Eastman’s Kodak camera went on the market in 1888 with the slogan “You press the button, we do the rest.”The Kodak Brownie came into the market in 1901, and it was known as the first popular camera, so that anyone who was interested in photography could buy a camera and do it. By the 20’h century, photography was developing as an industry and commercial service. Color photography also developed side by side with photography itself, but it met dead ends everywhere because many of the solutions were impractical or even impossible, as the experiments often resulted in temporary color, not permanent as they were intended to be. Kodak, who invented the first popular camera, also invented the first popular color film, the Kodachrome, the brainchild of Leopold Mannes and Leopold Godowsky, Jr. The two were classical musicians who ended up working for Kodak’s Research Laboratories. Kodachrome had three layers representing the three additive primaries: red, green, and blue. However, the processing was rather complicated: as each layer was developed into a black-and-white silver image, a dye coupler caused a cyan, magenta or yellow dye image to be created along with it. The silver images were then removed, leaving only the three layers of dye images in the finished film. Even as late as the 1950s, black-and-white snapshots were still the norm, but by the 1960s, as technology began to advance, color photos were beginning to replace black-and-white ones, and by the 1970s, they were the preferred norm. Instant color film also came via Polaroid in the 1960s. Digital cameras also came onto the scene in the 1970s. The megapixel sensor was also invented by Kodak in 1986, but the ability to record them as a computerized file like most digital cameras can do nowadays (and thus do away with traditional film) came in the Fuji DS-1 P of 1988, which had 16MB of internal memory. The JPEG and MPEG standards were also invented in the same year. The Kodak DCS-1 00 was one of the most important digital cameras as it had a 1.3 mega pixel sensor, but it cost USD 13,000, putting it far out of the reach of the consumer market. The first to have a LCD on the back was the Casio QV-1 0 in 1995, the first to also be able to record video, the Ricoh RDC-1, also came out in 1995, and the first to use CompactFiash was the Kodak DC-25 in 1996. Digital cameras were still out of reach for the consumer market, but by 2002, mega pixel and 2 mega pixel cameras were going for less than USD 1 00. Traditional film essentially was killed off In the 2000s, with digital point-and- shoot and DSLR cameras taking center stage. The rise of digital cameras also meant changes in the companies that produced cameras. Most notably, Kodak, the company which invented the first popular consumer camera, the first color film, and the mega pixel sensor, eventually went under, and even filed for bankruptcy in 2012, namely because Kodak did not adjust as quickly to digital photography as their competition did. Nowadays, photography is readily available to anyone, with other devices integrating a camera into it, such as laptops, tablets and smartphones. The rise of photo sharing sites such as Facebook, Flickr. Picasa, lnstagram and Photobucket all allow people to share their photos with their friends and relatives, and some cameras even allow you to instantly share photos that you just took. The history of photography was a long and tedious process, but photography eventually grew into one of the biggest hobbies in the world, and also helped make it into a lucrative profession as well. If a picture is worth a thousand words, we have infinite opportunities to describe the world around us using a camera. First published in Gadgets Magazine, April 2013 Words by Jose Alvarez

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This is an article I wrote for the school web site. Much of the information was taken from past entries. I just want to preserve it in an online format. Early this school year, the GS LRC thought of acquiring comic books. You read it right. Comic books. This is a bold step for a school library considering the very traditional perception people hold on libraries in general. But, the GS LRC is not made from the conventional mould. Put aside its issues on library automation, the GS LRC boasts of a rich, up dated and well balanced print collection. It provides books and print materials that cater to its readers’ varied reading interests and different reading levels. Aside from supporting the curricular offering of the school through its collection, it also strives to encourage students to read for fun and recreation. Reading is, after all, not entirely a perfunctory endeavor. Comic books or graphic novels are in trend these days because current research shows that it is an effective tool to motivate children to read. In a highly graphic world, comic books help young learners understand visual representations in a highly graphic environment. It presents these advantages for the child who is still learning to be (Lavin, 2000). Assist Poor Readers. Comics and graphic novels are excellent tools for use with children and young adults with poor reading skills. Connect with Visual Learners. As educators become increasingly aware of the importance of different learning styles, it is clear that comic books can be a powerful tool for reaching visual learners. Develop Strong Language Arts Skills. Several studies have shown that students who read comic books regularly have better vocabularies and are more likely to read above grade-level. Encourage Unmotivated and "Dormant" Readers. Teachers often use non-book materials to encourage reading. Comic books are an ideal medium to spark interest, equate reading with enjoyment, and develop the reading habit. When building a Graphic Novels collection, there are policies to consider in selecting the ones that are appropriate to the needs and nature of growing children. It is vital that librarians collaborate with subject area coordinators and reading teachers in determining the graphic novels to acquire. Teachers and librarians must work together to create learning experiences that will merit the children’s reading of such materials. The recent author visit program held last Friday, December 2, 2005 at 2.30 p.m. in the GS LRC Storytelling Area is one example of this collaboration and learning experience. The GS LRC invited Dean Alfar and his better half, Nikki Alfar, for a session on graphic novels. Selected clubs from grade 5, 6 and 7 were the audience that afternoon. It was an interesting session, as well as enlightening. Dean Alfar is a fictionist, playwright, businessman and comic book creator. He has eight Palanca Awards to his name, one of which is a recent award given for his novel, Salamanca. Nikki, on the other hand won the third prize for children’s fiction for her story, Menggay’s Magical Chicken this year The guest writers presented a brief but comprehensive history of graphic novels; the different kinds and variety available in the market; the relevance of comic books in Philippine culture and the arts; and the hard work that writers and artists put into the process of creating a graphic novel. At the end of the session, the boys understood that the whole process is one that requires a lot of creativity, patience and perseverance. Dean and Nikki emphasized that above all the technical and production value, what matters is a good and well written story. A graphic novel is a means to tell a story. The writer and the artist work closely together to achieve wholeness to the concept. It takes two to tango, so they say. In creating graphic novels, the writer and the artist must dance to the same beat with the guidance and the supervision of an effective editor who clearly sees the big picture. Winning literary awards left and right is just icing on their cake. They are real people, like you and me who lead normal lives. But two things set them apart from their contemporaries. They are willing to share their skills on writing to children and their genuine love for books and reading. Dean has these tips for the aspiring writer, artist and comic book creator. 2. Read more and TAKE NOTES (my caps) 3. Know your grammar, master the words 4. Know the rules before you break them 5. Be prolific - produce consistently 6. Do not fall in love (with your work) 7. Expand your horizons 8. Be inventive 9. Join competitions, seminars and workshops 10. Keep a workbook, a journal or a blog Aside from this, the Alfars are advocates in creating quality *grafiction that will eventually lead to raising the bar of comic books production in the Philippines. And they have been successful so far. Their grafiction, Siglo : Freedom won the critics approval. It was awarded by the Manila Critics’ Circle as Best Comic Book of 2004. Last Decemeber 10, 2005, Siglo : Passion, along with an anthology (Philippine Speculative Fiction vol. 1) and a comic book for younger readers (Project Hero) was launched in Fully Booked Greenhills. All are available in local bookstores in Metro Manila. I was glad to have attended the launching last week. I did get good discounts, but the highlight of the evening for me was meeting three Xaverians, Andrew Drilon, Sean Uy and Joel Chua who contributed their story and art to Siglo:Passion, Philippine Speculative Fiction and Project Hero. Come Januaray, the GS LRC, in coordination and collaboration with the Reading & Language Arts Dept. will launch its graphic novel collection. We may have our own preconceived knowledge on comic books. Some are good. Some may be otherwise. But as long as there are teachers, librarians, writers and artists, people who care enough to provide children with the literature that they will enjoy and learn from, half the battle for the campaign for a reading culture is already won.

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How do you respond in your classroom to a societal, medical, or environmental concern? Here's the next step in planning how to use such a problem as a springboard for a class project. 2. Connect your curriculum to the problem: This step is pretty straightforward. An essential question could be, "How can our class or school most effectively fight the spread of West Nile virus in the local community?" We already know of simple things that help -- such as getting rid of standing water in buckets, tires, and so on. You can even watch an e-book on the subject to see what really needs to be done. Now, it is time to look closely at your curriculum. Is persuasive writing on the list? Have your students write letters to the editors of local newspapers to encourage change and to civic organizations to request small grants for community educational campaigns. Script and produce audio programs to broadcast over local radio stations and post as podcasts on the Web, and use tools such as 4Teachers.org's PersuadeStar to support the class in becoming more persuasive writers. In this case, students need to become more persuasive not simply to meet a standard, but in order to save lives. This matters more. If your standard is simple expository writing, what about using a tool, such as My Brochure Maker to create handouts to distribute to the community? Tell your students they have to make their writing accurate, clear, well organized, and concise, because it is going to be distributed community-wide, not just graded and handed back. And how about seeking funding or support for printing costs from local health officials, hospitals, and civic organizations? You'll need your persuasive writers back on deck to make that happen. Is digital storytelling something you are working on? This project provides an opportunity to move beyond simple personal stories. Instead, your students can start making public service advertisements that can help save lives. The PSA Research Center is a great resource on how to make PSAs. You see, you and your students are going to be point people in an effort to save lives. Folks are going to want the facts, and the kids will soon learn that these facts are pretty interesting -- and more than a little scary. Now, that is engaging. Oh, and because hands-on science is the kind that makes the learning stick, consider joining a great online project, offered for free twice a year by the Stevens Institute, called Bucket Buddies. In math class, your students will need to get better at collecting and analyzing data. There is significance to the number of West Nile virus cases in your state and the surrounding ones, but if you don't know what the percentage of infections are in rural settings versus urban ones, whether those infections are happening within 100, 50, or 25 miles of your school, or any other piece of hard, quantifiable data, you just won't be ready to do what must be done. Again, your students are no longer doing math just to make the teacher happy; they are doing it so they can save lives. Here is a great place to learn how easily a spreadsheet can become a part of your world. For social studies, your students will need to get started with Google Earth and your state's resources about geographic information systems so you can talk intelligently about the battle against this virus. Where is the water? Where are the bugs? Music, art, physical education, and health all play key roles as your students design posters, compose songs, and pull out all the stops in their effort to help the community fight West Nile. Together, you and the kids will be on a mission -- and the learning, the foundational reason for school, will simply have to happen. Click here for part three of this entry, but feel free to respond below about my suggestions here or add some of your own -- or both.

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- During the American Revolution (1775-83) the Continental Congress designated one or more days of Thanksgiving each year. - In October 1789, George Washington proclaimed a Thanksgiving, not just to celebrate the harvest, but also the success of our war of independence and ratification of the U.S. Constitution, which was signed on September 17, 1787. - In 1863, during the Civil War, President Abraham Lincoln announced a national day of Thanksgiving to be held the last Thursday in November. - During the Great Depression President Franklin Roosevelt made Thanksgiving a week earlier in an effort to help the economy. He later signed a bill in 1941 to make Thanksgiving the fourth Thursday in November. - Since 1957 Canadians have also been celebrating a day of Thanksgiving for their bountiful garden harvests. Canadians celebrate their Thanksgiving on our Columbus Day, the second Monday in October. How Thanksgiving Began Thanksgiving started as religious days of prayer by the Pilgrims. Thanksgiving feasting evolved when Pilgrims and Wampanoag Indians shared a harvest feast together in the autumn. Then, feasts were not a single gathering for one meal; instead they lasted anywhere from 3 days to one week long. Thanksgiving celebrations continued throughout individual colonies and states for centuries after 1620. Who were the Wampanoag? Wampanoag were Native American people known as the Eastern people who assisted the Pilgrims (English colonists) with finding food and building shelter when they first arrived to the new world. Wampanoag tribes were located in southeastern Massachusetts and Martha's Vineyard and Nantucket, as well as in Rhode Island. Wampanoag men hunted deer (venison), rabbit and squirrel, and as you may guess - turkey. Water fowl were also plentiful, since they lived near the bay areas. Wampanoag women were the farmers of the group, and also gathered wild nuts and berries. They dried and stored their harvests underground. Everyone was involved in storytelling, creative arts and music. The Wampanoag shared with the Pilgrims their knowledge of local crops, how to avoid poisonous plants, and how to build wetus (homes). The Three Sisters Native Americans knew how to plant using the Three Sisters companion planting technique. This is fun to try in a school or kid's garden. Three Sisters companion planting teaches children about gardening, Native American customs, traditions, nutrition and American history.Three Sisters Squash Squash Climbing Beans The corn stalks (or giant sunflowers) provide a structure for the beans to climb on, eliminating the need for poles. The beans add nitrogen to the soil, and the squash spreading along the ground helps prevent weeds and shades the soil, helping to retain moisture. Nutritionally speaking, grains (in this case corn) and beans compliment each other, making a complete protein. Traditional Three Sisters even graced the gardens at The White House this past season. First Lady, Michelle Obama, had children plant corn, squash and beans in the 1,500 square-foot garden using seeds from the Smithsonian Institution's National Museum of the American Indian. Varieties included Cherokee White Eagle corn, Rattlesnake pole beans, and Seminole squash. 17th Century Cooking Thanksgiving feasts of the 17th century probably included seafood, duck, deer, eggs, along with combinations of grains and beans. Sides of cranberry sauce and potatoes were not foods eaten back then. Pilgrims cooked in household hearths and used spits to roast freshly hunted meats and fowl. Women baked in covered pots placed on stones over hot embers. Indian corn (not sweet corn), barley and wheat were staple grains, along with root vegetables, beans, berries and fruits that were preserved by drying. Sweet corn didn't make its appearance in the US until 1779 and didn't become widely available until the 19th century. Nature's bounty included: beans, wild onions, berries, fruits (including beach plums and grapes), squash, parsnips, turnips, Jerusalem artichokes, Indian corn (ground into samp, a cornmeal mush for porridge), cabbage, leeks, herbs and spices (including parsley, sage, rosemary and thyme), nuts, eggs and roots such as yellow pond lily roots (Nuphar advena). When it comes time to eat, avoiding oversized portions can be a challenge. Filling half of your plate with fruits and vegetables and then 1/4 plate protein and 1/4 plate starch helps in balancing food groups. Traditional Thanksgiving fare today includes turkey and any or all of the above-mentioned native ingredients, plus, you name it: stuffing, casseroles, fruits, exotic veggies, buns, biscuits, and pies from apple to mincemeat. Every family has their own favorite cultural traditions and dishes using garden grains, fruits and vegetables. American Thanksgiving menus may include sides of gravy, biscuits, breads, rolls, soups, stews, or foods made with carrots, celery, onions, potatoes, yams, turnips, rutabagas and pumpkin. Vegetarian or Vegan Thanksgiving meals feature non-meat proteins, such as tofu or seitan (made from wheat) or bean and grain complimentary protein combinations. Thanksgiving traditions may also include donating or volunteering to help at soup kitchens, participating in or going to parades and other fun activities. Holidays in general are times to be mindful and considerate of the many Americans who suffer from eating disorders and those who have recently lost a loved one. Have a Happy Thanksgiving! Photo Credits:"Mayflower in Plymouth Harbor," by William Halsall, 1882 at Pilgrim Hall Museum, Plymouth, Massachusetts, USA; courtesy of Wikipedia. Related Links: ChooseMyPlate.gov

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Dickens 3 Essay, Research Paper Charles Dickens was an English novelist and one of the most popular writers in the history of literature. In his enormous body of works, Dickens combined masterly storytelling, humor, pathos, and irony with sharp social criticism and acute observation of people and places, both real and imagined. (Encarta, 1998) Charles Dickens was born on Friday, February 7, 1812 at No. 1 Mile End Terrace, Landport, Portsmouth. His father, John Dickens, was a clerk in the Navy Pay Office. In 1814 John was transferred to Somerset House in London. In 1817 John moved his family to Chatham and worked in the naval dockyard. It was here, at Chatham in the Medway Valley, that Charles experienced his happiest childhood memories. John was transferred back to the London office and moved his family to Camden Town in 1822. John Dickens, continually living beyond his means, was finally imprisoned for debt at the Marshalsea debtor’s prison in Southwark in 1824. 12 year old Charles was removed from school and sent to work at a boot-blacking factory earning six shillings a week to help support the family. Charles considered this period as the most terrible time in his life and would later write that he wondered ‘how I could have been so easily cast away at such an age’. This childhood poverty and adversity contributed greatly to Dickens’ later views on social reform in a country in the throes of the Industrial Revolution and his compassion for the lower class, especially the children. Dickens would go on to write 15 major novels and countless short storys and articles before his death in 1870. The inscription on his tombstone in Poet’s Corner, Westminster Abbey reads: He was a sympathiser to the poor, the suffering, and the oppressed; and by his death, one of England’s greatest writers is lost to the world. The storys, characters, and places he wrote about will live forever. On January 3, 1842 Charles Dickens sailed from Liverpool on the steamship Britannia bound for America. Dickens was at the height of his popularity on both sides of the Atlantic and, securing a year off from writing, determined to visit the young nation to see for himself this haven for the oppressed which had righted all the wrongs of the Old World. The voyage out, accompanied by his wife, Kate, and her maid, Anne Brown, proved to be one of the stormiest in years and his cabin aboard the Britannia proved to be so small that Dickens quipped that their portmanteaux could “no more be got in at the door, not to say stowed away, than a giraffe could be forced into a flowerpot”. The violent seas on the journey can best be described by Dickens’ comical account of trying to administer a little brandy to his wife and her traveling companions to calm their fears. Arriving in Boston on January 22, 1842 Dickens was at once mobbed and generally given the adulation afforded modern day movie stars. Dickens at first reveled in the attention but soon the never-ending demand of his time began to wear on his enthusiasm. One of the things on Dickens’ agenda for the trip to America was to try to put forth the idea of international copyright. Dickens’ works were routinely pirated in America and for the most part he received not a penny for his writing there. Dickens argued that American authors would benefit also as they were pirated in Europe but these arguments generally fell on deaf ears. Indeed there would be no international copyright law for another 50 years. In keeping with his fascination for the unusual, visits to prisons, hospitals for the insane, reform schools, and schools for blind, deaf, and dumb children were high on his list of places to visit in almost every city he toured. He also toured factories, the industrial mills of Lowell, Massachusetts, a Shaker village in New York, and a prairie in Illinois. While in Washington he attended sessions of Congress, toured the White House, and met President Tyler. In the White House, as just about everywhere he went in America, Dickens was appalled at the American male passion for chewing tobacco. Dickens wanted to see the South and observe slavery first hand. His initial plan was to go to Charleston but because of the heat and the length of the trip he settled for Richmond, Virginia. He was revolted by what he saw in Richmond, both by the condition of the slaves themselves and by the whites attitudes towards slavery. In American Notes, the book written after he returned to England describing his American visit, he wrote scathingly about the institution of slavery, citing newspaper accounts of runaway slaves horribly disfigured by their cruel masters. From Richmond Dickens returned to Washington and started a trek westward to St. Louis. Traveling by riverboat and stagecoach the Dickens entourage, which included Dickens, his wife Kate, Kate’s maid, Anne Brown, and George Putnam, Charles’ traveling secretary, endured quite an adventure. Gaining anonymity and more personal freedom the further west they went, Dickens’ power of observation provides a very entertaining and enlightening view of early America. Dickens came away from his American experience with a sense of disappointment. On returning to England Dickens began an account of his American trip which he completed in four months. Not only did Dickens attack slavery in American Notes, he also attacked the American press whom he blamed for the American’s lack of general information. In Dickens’ next novel, Martin Chuzzlewit, he sends young Martin to America where he continues to vent his feelings for the young republic. American response to both books was extremely negative but eventually the passion subsided and Dickens’ popularity was restored. 1812 – Feb 7 Dickens born in Landport, Portsmouth 1812 – Jun 24 John Dickens moves family to Hawke Street, Kingston, Portsea 1814 – John Dickens transferred to Somerset House, London 1815 – Catherine Hogarth, Dickens’ future wife, born 1817 – John Dickens moves family to Chatham 1821 – Dickens starts school at William Giles School, Chatham 1822 – John Dickens transferred to London, moves family to 16 Bayham Street, Camden Town 1824 – Feb John Dickens imprisoned at Marshalsea for debt 1824 – Feb Dickens leaves school, employed at Warren’s Blacking House 1824 – Mar John Dickens released from debtors prison 1824 – Jun Dickens leaves blacking factory, returned to school 1825 – John Dickens retires with small pension 1827 – John Dickens evicted from home, Dickens removed from school 1827 – Dickens begins work as solicitor’s clerk, Ellis and Blackmore, Gray’s Inn 1828 – Dickens working as a reporter for the Morning Herald 1829 – Dickens becomes a freelance reporter at Doctor’s Common 1831 – Dickens reporting for the Mirror of Parliament 1832 – Dickens reporting for the True Sun 1833 – Dickens’ first story, A Dinner at Poplar Walk, published in Monthly Magazine 1834 – Dickens meets Catherine Hogarth, 8 more stories published in Monthly Magazine 1836 – Dickens marries Catherine Hogarth, begins writing Pickwick 1837 – Posthumous Papers of the Pickwick Club published 1838 – Oliver Twist published 1839 – Life and Adventures of Nicholas Nickleby published 1841 – The Old Curiosity Shop published 1841 – Barnaby Rudge published 1842 – Dickens first visit to America 1843 – A Christmas Carol published 1844 – Life and Adventures of Martin Chuzzlewit published 1845 – Dickens writes Cricket on the Hearth 1848 – Dombey and Son published 1850 – David Copperfield published 1853 – Bleak House published 1854 – Hard Times published 1857 – Little Dorrit published 1858 – Dickens and Catherine are legally separated 1859 – A Tale of Two Cities published 1861 – Great Expectations published 1865 – Our Mutual Friend published 1867 – Dickens second American visit 1869 – Dickens begins writing Edwin Drood (never completed) 1870 – Dickens dies, buried in Poet’s Corner, Westminster Abbey

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The authors of Learning Language Arts Through Literature (or LLATL) modeled their approach on the "natural learning" teaching methods of Dr. Ruth Beechick. Beechick emphasizes starting kids out strong in the essentials—reading, writing/language arts, and math—before building on those foundations to explore the vast world of knowledge. LLATL is an integrated learning approach that doesn't focus on one aspect of language arts, instead attempting to synthesize phonics, spelling, grammar, reading comprehension, creative writing, and literature study into a single program. Students read portions or whole texts of famous books and follow up with a series of activities and/or written assignments that demonstrate elements of grammar, spelling, etc. found in the reading. The lessons are teacher guided, though after the first two years (the Blue and Red books in the series) there is almost no teacher prep required. A lot of the assignments, especially in the later levels, involve copy and dictation to introduce and reinforce important concepts. The early levels rely heavily on games and crafts to teach and hold students' interest. How Do These Work? The first eight books (Blue, Red, Yellow, Orange, Purple, Tan, Green, and Gray) each cover a single grade starting with first. The two Gold books (one each for British and American literature) are intended for high school study. Each book covers one school-year in 36 weekly lessons. The first grade Blue book is almost entirely a phonics course; the second grade Red book continues some phonics instruction but focuses more on spelling, handwriting, and basic reading comprehension. Later levels concentrate more on comprehension and writing skills. The first grade level (Blue) comes with a teacher guide, consumable student workbook, and three sets of readers. Red level comes with a teacher guide, consumable student workbook, and one set of readers. The next six levels each consist of a teacher guide and student workbook. Both Gold level texts are a combined teacher/student book. Besides the readers and student and teacher books each level requires the use of several supplementary texts; most are available at the library, though the course authors do use specific editions for the assignments. First grade begins with no assumed previous reading instruction. Students will need to know their alphabet, but the LLATL writers undertake to get kids reading within their first year of formal instruction. The phonics approach emphasizes sound recognition and memorizing letter and word sounds by the smallest degrees possible, in order to limit memory tasks to a workable size. Students are required to read from basic phonics readers and practice their handwriting skills. Supplementary texts at this level include Corduroy, Ferdinand, and Mike Mulligan's Steam Shovel. Subsequent levels turn increasingly to building grammar, composition, and vocabulary skills. This is mostly through the reading of a passage, taking it down dictation-style, making necessary corrections through comparison of the original and the copy, then discussing or looking up specific vocabulary words. The idea is that through copying the work of masters, students will learn the proper use and rules of language in a more organic fashion than simple memorization. That isn't to say formal rules are never introduced, simply that they are de-emphasized. Instead of memorizing rules, students observe the work of those who knew how to use them. In addition to grammar, spelling, vocabulary, and writing, students study individual texts through book studies. A lot of the literature introduced throughout the series are just small passages taken from longer works and used for the dictation exercises. For the book studies (there are usually three or four a year), students read a longer work (typically a novel or biography), then in addition to the usual vocab and grammar work write short essays based on what they've read. The book studies tend to assume a unit study feel, with students required to investigate the accompanying historical period of the work and its author. These unit study-esque assignments aren't elaborated much, and are more suggestions than requirements. While this is supposed to be a literature course as well as a grammar, vocabulary, spelling, etc. course, the selection of books for in-depth study often seems a bit odd. For instance, in the Gray book, students study the complete texts of A Lantern in Her Hand, God's Smuggler, Across Five Aprils, and Eric Liddell. The Gray book was designed for use by eighth graders, and is also the level that introduces Moby Dick which makes its appearance in the form of an obscure paragraph from the middle of the book for students to copy from dictation. Also, in the high school Gold book for American literature, the books seem somewhat unrepresentative—The Red Badge of Courage, The Old Man and the Sea, and The Pearl. While it's good to get kids reading in general, a literature course ought to devote more time to important, well-known works than an occasional paragraph. LLATL was written by Christians, but there isn't an overpowering moralism or preachiness to the series. Some of the dictation work includes passages from the Bible, though this is a language arts/literature course, not a Bible curriculum. When (as in the Bible selections) grammar usage or punctuation in the original is archaic or no longer standard, the course authors discuss the differences with current norms. Our Honest Opinion: The authors of LLATL claim a lot for their course. The question, of course, is whether they succeed. While we've sold a lot of this program over the years, we've also seen a lot of it returned. At the same time we don't want to dismiss it out-of-hand, as some we trust (notably Cathy Duffy) highly recommend the course. With that said, we feel some cautions are in order. If LLATL was actually able to integrate all it says it can, it would be an invaluable resource. However, as you can only fit so much in a 200-page workbook, some things are naturally given less space than they deserve. Handwriting and spelling practice are noticeably lacking in the early levels, while in-depth textual criticism is lacking in the later ones. A lot of the comprehension questions and activities deal more with plot than meaning. And while it isn't necessary for a student to know what a gerund is in order to write well, some formal grammar instruction is needed for a solid grasp of mechanics. The integrated approach celebrated by the authors (obviously induced by their reverence for Ruth Beechick) has some good aspects, but at times they seem to expect students to learn by little more than osmosis. A good literature course introduces students to the highlights of the literary canon in order to expand their understanding and to help them toward a cultural literacy that will make them more articulate and aware. Many of the greatest works of Western literature are mentioned in this series, but in-depth study is often reserved for lesser-known and often less important works. Students whose reading has been defined largely by the selections in LLATL may find themselves at a loss in college, or anywhere there is educated dialogue. The course isn't all bad. Students will be introduced to some good literature (and some obscure literature), and the integrated approach is at least a good idea. But without a logical progression to the introduction of grammar rules, spelling rules, etc., many students may become frustrated or will simply not retain the information. The concept that students learn from imitating those who already know how to do something well is an old one and a proved one; but if the execution is flawed, even the best plan will go wrong. Review by C. Hollis Crossman C. Hollis Crossman used to be a child. Now he is a husband and father, teaches adult Sunday school in his Presbyterian congregation, and likes weird stuff. He might be a mythical creature, but he's definitely not a centaur.Read more of his reviews here. Did you find this review helpful?

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Using The Civil War Day by Day in the classroom Introduction: Primary source materials, like the letters, diaries, photographs, and newspapers featured on The Civil War Day by Day, can be used for various purposes in the classroom. They can enliven history. Moving beyond the abstractions of history textbooks to the original documents helps to restore the reality of past events by connecting the students to familiar and concrete documentary forms. They can also facilitate critical inquiry by offering students the opportunity to evaluate multiple sources presenting multiple perspectives. Application: Here are some ideas for using primary source material in the classroom: - Identify perspectives–Select 2 or 3 letters that describe the same event from different viewpoints (like those from the First Battle of Bull Run), have students identify the perspectives from which they are written, and then analyze how the authors’ language and style influences the account. Does one letter seem more trustworthy than another? - Compare primary and secondary sources—Examine firsthand accounts of the same event or similar topic, and then compare these firsthand accounts with what has been written up in a secondary source (like your class’s history textbook). Do these accounts differ? Does one source emphasize something that another dismisses? What has been left out? - Evaluate a single document—Have students examine a letter, diary entry, or a newspaper article and identify its key components (author, intended audience, genre, content, &c), and then have them examine it more closely, noting how its language and style contributes to the message. For instance, does the author use charged phrases like “the Rebels” or “Lincolnites” that indicate his or her perspective? What about style and tone—does the author write methodically and relate his activities in detail, or does he seem to dramatize his account? How trustworthy does this account seem? Does the author leave anything out? - Analyze cultural elements—Select an account and have students identify the author’s personal beliefs and cultural context. Does he or she express a belief in God, for example? What does he or she value? Does the author mention food or music? Does he or she refer to any traditions? - Follow one person’s experience—Choose a series of letters or diary entries written by one author and trace his or her experience throughout the war. Does the author change during the course of the war, or do his or her reactions remain consistent? Plot the events he or she recounts on a time-line. Guide students in reconstructing the person’s life through additional resources. Tip: identify series through the tag cloud in the sidebar. - Creative writing prompts—Locate a photograph and have students describe what they think is going on, or have them create a story around that photograph, or select a personality and have students write an entry in a journal or diary as that personality. Additional Resources: Other institutions offer helpful resources for incorporating primary sources into the classroom. Here are just a few to get you started: - Documenting the American South’s Classroom Resources offers strategies for using DocSouth’s resources in the classroom; in particular, check out the Teacher’s Toolkit for activity guides and lesson plans - LearnNC’s Classroom offers digital resources and lesson plans for K-12 teachers in North Carolina; its Civil War digital textbook is available here - Smithsonian Education: Educators offers lesson plans and other resources revolving around the Smithsonian’s collections; its Heritage Teaching Resources groups the classroom resources around federally mandated Heritage Months - Library of Congress: Teachers offers classroom materials, professional training, and guidance on using primary sources; in addition, check out Teaching with the Library of Congress, a blog featuring documents from the Library of Congress collections along with particular strategies for teaching with them We welcome your comments and suggestions. For instance, how do you incorporate primary sources into your lesson plans? What sorts of activities can you suggest for teaching with primary sources? What sort of classroom resources do you find helpful? We’d love to hear from you: Contact us by email: firstname.lastname@example.org Contact us by phone: 919-962-1345 Or, please feel free to leave a comment below!

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Grammar, parts of speech and punctuation don't exactly have an exciting reputation among eighth-graders, but hands-on, interactive activities can change their attitudes. Getting students out of their seats, working together and being creative can transform the atmosphere of your English classroom and help them to grasp these concepts in a unique way. Acting, movement and teamwork are all skills you can use to make learning language arts fun. While paragraphs provide the building blocks for a successful essay, their significance can be hard for students to see when trying to write an entire assignment. Ask students to come to class with a printout of their essay drafts. Then, instruct them to cut out each paragraph, mix them up and reassemble the pieces in a logical order. Manipulating the paragraphs can help them research specific conclusions about their writing, such as that some paragraphs are too short or too long, off-topic or need to be reordered. Have students tape their essays back together when they are finished. Parts of Speech Hunt To help students practice constructing sentences and paragraphs, write the individual words and punctuation marks of four sentences on different colored index cards, using one color for each complete sentence. Some cards may have one word on them, while others may just have a comma or period. In class, distribute one card at random to each student, and have them find other students with their same colored card. Then, each group must put the words and punctuation together to form sentences. When the class reconvenes, have each group read their sentence and put the sentences in order to form a class paragraph. Lights, Camera, Action Identifying the significance of creative choices authors make in fiction, such as dialogue, imagery and character development, is a key skill for eighth-grade language arts students, states the Ohio Department of Education. Choose a few key scenes from a novel your class has just read. Then put students in groups, and give each one a scene to dramatize. Using construction paper, streamers and other art supplies, they can create costumes and props as they find a creative way to portray the scene. After students perform for the class, you can ask them about the artistic decisions they made in adapting the text into their group production. The Great Debate Eighth-grade language arts also introduce students to carefully structured, well-supported arguments. A class debate is a hands-on, cooperative way to introduce this concept. As a class, brainstorm some significant issues that affect students at your school, such as standardized testing, bullying or lack of performing arts groups. Then, break the class into two teams and assign each one to present a side of the issue. Students must do research, interview administrators and other students and prepare an argument for their side of the issue. Bringing a guest judge, such as the principal, vice principal or another teacher, can lend objectivity to which side wins the debate. - Jupiterimages/Photos.com/Getty Images

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In our Montessori preschool classroom, we try to incorporate a variety of music and movement activities that help to build good listening skills, promote self expression, and increase a child’s self confidence. The children enjoy playing games like Sound Bingo and Name That Sound, and they enjoy working with Montessori materials including the Sound Cylinders and Hand Bells. We have a specialized music teacher who comes twice a week, and it is such a special time for the young students. They learn about rhythm, rhyme and melody, they have the opportunity to explore various rhythm instruments, they learn how to keep a steady beat, and they enjoy exploring different types of body percussion. At the beginning of the school year, my three-year-old Montessori student Jordan was very quiet, and rarely participated in such activities. But with regular exposure in a fun and non-threatening environment, he now has the confidence to stand up in front of his peers and hum a melody, as well as participate in the various games that are played during circle time and music class. Activity Ideas for Musical Training in the Montessori Preschool Classroom The other day we were listening to a song from a music and movement CD. Jordan put up his hand and said, “Teacher Bree, I hear a glockenspiel in that song!” He was absolutely correct, and I was amazed that he was able to hear and name the instrument … such an abstract concept! I often hear Jordan humming a song or singing to himself while working with Practical Life activities, and he is often curled up in our Sound Corner exploring the rhythm instruments from around the world. Musical training can enhance child development in so many ways. It helps children learn valuable problem-solving skills, improves their physical coordination, concentration, memory, and their language skills. Through musical training, a child learns to be more self-disciplined and to feel more confident in expressing themselves. Musical training improves listening skills, not to mention instills in children a love for music! A child’s sense of worth and creative nature will surely shine when they are given a wide range of musical opportunities. A few of the activities that I have implemented over the years in my Montessori preschool are listed below. - A Music and Movement lesson that incorporates Geography is always fun. Try dancing to music with colored scarves that correspond to the various continents, or listening to a CD with songs from around the world. - Challenge the children to identify everyday sounds. My Montessori preschool students love to close their eyes and put up their hand to identify different sounds that they hear in the environment; we do this both indoors and outdoors. - Play a CD with animal sounds and encourage the students to guess which animals make each one. - Play a ‘copy-me game’. Make different sounds or a particular rhythm and encourage the children to repeat it back. - Challenge the children to identify the instruments being played in different songs. This activity works best with children 5 years and older. - Rhyming Games are always popular with young children. The children in my class love to sing Down by the Bay as well as Willaby Wallaby Woo. We sing the following song and try and incorporate each child in the class. Willaby Wallaby Woo Willaby Wallaby Wordan An elephant sat on Jordan Willaby Wallaby Welissa An elephant sat on Melissa - Musical storytelling is another fun activity that my students love. I retell an old favorite, but incorporate rhythm instruments to make various sounds during the story. - Exploring instruments from around the world is a wonderful activity and a great way to promote a sense of cultural awareness. - Freeze dancing is always a favorite, and the children love holding still like statues when the music stops. - Play Musical Chairs. - Provide the children with rhythm instruments and help them to create a musical band. - Explore sound boxes. Have a few boxes available and inside each, place a variety of items that make different sounds. - Make sounds shakers or rainmakers out of various recyclable materials (yogurt containers, baby food jars, toilet paper rolls, paper towel rolls). - Record the children's voices and then challenge them to identify the person whose voice it is when played back. © North American Montessori Center - originally posted in its entirety at Montessori Teacher Training on Thursday, February 10, 2011.

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en

As previously mentioned, in astronomy, there are very few circumstances in which astronomers can obtain physical samples with which to work. Instead, our work relies primarily on objects transmitting their secrets to us in another form. This form is electromagnetic radiation, or, as it is most commonly known, light. For those that remember, the light that we see with our eyes is just a small part of a much larger spectrum of light that we cannot see. Looking at the above diagram, you are probably familiar with several other of the types of electromagnetic radiation listed. The low energy radio waves are the ones that we pick up our cars on the way to work (assuming of course you're not listening to a CD or something else). You're probably also familiar with microwaves. However, this title encompasses a much broader range of light than what your microwave oven actually uses (microwave ovens use a very specific frequency that excites water molecules to heat your food while other frequencies won't). Infrared radiation is most commonly known as heat. When heat is not transferred through direct contact, this is the method that is generally used. Visible radiation is what we see with our eyes. Beyond that is the ultraviolet. Bees see in this region of the spectrum, which is why flowers and are frequently marked differently when viewed in this region, in order to indicate where the pollen is: X-rays are what we use to see through soft tissue and take images of bones. I just had a few of these at the dentist a few hours ago. Gamma rays are much rarer as they are only generated in high energy reactions. They are quite dangerous as they can cause cancer, but fortunately, our atmosphere shields us from the cosmological sources. Past gamma rays, and not featured in this image, is the enigmatic cosmic rays which are even more powerful, but extremely rare. So that's a quick overview of each different region. However, this does not answer the question of what's behind all this radiation? To answer this in a complete manner requires a look at over 200 years of physics history. Early experiments into how light works revealed that light is a wave. A classic experiment demonstrating this was done in the early 1800's in which light was passed through two narrow slits and projected onto a screen. If you don't already know the result of this experiment, take a moment to think about what you'd expect. Inuition would tell you it should be like shining two spotlights nearby eachother. Where they overlap, you should have a brighter spot, whereas where they don't, it wouldn't be as bright. As you might suspect though, this isn't the case. It turns out, that when the slits are made narrow enough, a strange pattern emerges: In this pattern, we see that there is a series of light and dark bands, which is brightest towards the center, and fades as you move away in either direction. This pattern is indicative of waves. When a wave from the right slit would interact with the wave of light from the other, the two waves merge. When they merge in such a way that the crest of one wave matches with the crest of another, then it makes a bright spot. When the crest meets a trough, they cancel out and that point on the screen is dark. So the wave theory of light was established. However, if light was a wave, waves, like water waves and sound waves, need a medium through which to travel. That means that there should be something beyond our atmosphere though which the wave could propogate. This mysterious medium was dubbed the "ether". Unless you're really into science, most of you reading this have probably never heard of this ether. It's likely you don't remember everything from science class, but this term is probably one you've never even heard (unless you play a lot of roleplaying games). So why don't we teach about this ether in science courses? The reason is that it was eventually discredited in the early 1900's by a team of scientists known as Michelson and Morely. These two attempted to determine the properties of the ether. Since the Earth travels around the sun, the Earth should be moving through this ether. Therefore, waves should be deflected in some measureable amount as they were swept away by the current relative to the moving Earth. However, their experiment was completely unable to detect any sort of variation. No matter how many times they tried their experiment, the results always showed the waves propagating at the same speed, roughly 3 x 108 meters per second. The puzzle seemed unsolvable and it would take a genius like Einstein to solve it. In fact, it was Einstein that solved it. Although most people known Einstein for his famous equation, E = mc2, and his laws of relativity, his nobel prize was actually awarded the prize "for his services to Theoretical Physics, and especially for his discovery of the law of the photoelectric effect." Huh? Photoelectric effect? Since a comprehensive explanation would take quite a bit of time and space, I'll cut to the chase on this one and just say that this effect shows that light comes in discreet "packets". This indicates that light is a particle with a fixed energy. This particle, which travels at the speed of light and has no mass, was called the photon. So which is it? Is light a particle, or a wave? In reality, it's both. This discovery, and similar ones that showed all subatomic particles exhibit this wave/particle duality, gave rise to the entire field of quantum mechanics. But that's beside the point for this post. For this topic, it's just important to understand that light can be thought of as either and while neither is wrong, one may be more convenient than another for explanation. So now that you have a rough understanding of what light is, the next question I'll cover is "Where does it come from?" That should cover everything about light from the time it starts, until we detect it. Then in the next section, I'll cover the history of observations of the light that crossed these vast distances, from the naked eye, to the modern CCD (more emphasis will be placed on the latter since that's what contemporary astronomers do). Then last, I'll attempt to cover how astronomers can glean detailed information from a ray of light.

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en

Activity 2: Story - Amrita's Tree Activity time: 10 minutes Materials for Activity - Story, "Amrita's Tree" - A large basket - Objects to place in the basket that are related to the story such as a small globe or map to locate India, a tree branch or tree "cookie" (a cross section, like that of a slice of a tree), pictures of girls and women in saris - A chime or rain stick - Optional: Fidget Basket (Session 1, Leader Resource 1) Preparation for Activity - Place the story-related items and the chime or rain stick in the story basket and place the filled basket in the storytelling area. - Read the story a few times. Plan how you will use items from the story basket as props. - Read the story questions and choose ones that will best help these children interpret the story and relate it to their own lives. - Optional, but highly recommended: Provide a basket of soft, quiet, manipulable items for children who will listen and learn more effectively with something in their hands. Remind children where is the Fidget Basket is before you begin the "centering" part of this activity. See Session 1, Leader Resource 1, Fidget Basket, for a full description of a fidget basket and guidance for using it. Description of Activity Gather the children in a circle in the storytelling area and show them the story basket. Say something like: This is our story basket. I wonder what is in it today? Take the story-related items from the basket, one at a time, and pass them around. Objects that are fragile or cannot easily be passed around can be held up for all to see and then placed on the altar/centering table or any table or shelf. Take the chime or rain stick from the basket and say in these words or your own: Each time you hear a story during World of Wonder we will use this instrument to get our ears, minds, and bodies ready to listen. Sit comfortably and close your eyes. When I sound the chime (turn the rain stick over), listen as carefully as you can and see how long you can hear it. When you can't hear it anymore, open your eyes and it will be time for the story to start. Sound the chime or rain stick. When the sound has completely disappeared, tell or read the story, "Amrita's Tree." When the story is finished, lead a brief discussion using questions such as: - What did you wonder about the story? - What did you like most about the story? - I wonder what Amrita was feeling inside as the woodcutter came toward her? - I wonder if any of you have done something brave, like Amrita? How did that feel? - How do you think Amrita felt when she saw everyone hugging trees after they saw her do it? How do you feel when you are a leader? - Why do you suppose it is important for Unitarian Universalists to help take care of plants and trees? Including All Participants Fidget objects, described in Session 1, Leader Resource 1, can provide a non-disruptive outlet for anyone who needs to move or who benefits from sensory stimulation.

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Bible Together: Parables of Jesus (he told a lot of stories having to do with agriculture and a lot having to do with money and so that is what this unit will be about) Parables of the sower, the weeds, the mustard seed and leven, growing seed, fig trees and workers in the vineyard. Science (and the words/concepts to introduce to J): - Roots (primary, secondary, fibrous) - Stems (monoctyledon, dicocotyledon, epidermis, cortex, phloem, xylem, pith, bark, cambium, runners, tubers, bulbs) - Leaves (parallel-veined, net-veined, needles v. scales, stomata, mesophyll) - Photosynthesis (chlorophyll and glucose) - Flowers (review -- sepals, petals, stamen, pistil, filament, anther, pollen, stigma) - Seeds (angiosperm, gymnosperm, cotyledon) Discuss creation care ("A steward only has responsibilities, not rights"). Review biomes and ecosystems and perhaps build a terrarium. Work in a nature journal each day. Practice drawing what you see. Math J: Begin Complex Fractions Math B: Begin First Grade Book (skip the first 29 lessons of review). Stations -- J: Penmanship (continue Horizons cursive), Language Arts (Practice the craft of oral storytelling), Reading (to mix it up a little he'll read various advanced "picture books" containing stories and information centered on agricultural themes and take a comprehension "quiz" each day), Memory Verse (Psalm 1:1-3 "...he is like a tree planted by a stream of water..."), Vocabulary Activities (primary, secondary, vein, glucose, photosynthesis, flower, parable, forest, agriculture, native), Topical Study (Make a lapbook of the plants and agriculture of either Washington or Oregon -- since we live in both states). Stations -- B: Creative Drawing (works on his Nature notebook), Phonics (Spectrum Grade 1 workpages...ending blends), Reading (Continue lessons in Phonics for the New Reader and begin set four of the phonics readers by Innovative Kids), Memory Verse (same as J), Vocabulary Activities (tree, crop, land, root, stem, make, draw, bark, seed, weed), Topical Study (same as J on a lesser scale). Field Trip: Either to the Washington Park Arboretum or the World Forestry Center. Planning Ahead: If you have suggestions for a good chapter book (5th grade level and above) having something to do with the wise use of money, I'd love to check it out. I'm also on the lookout for a good video that might teach us how to draw/paint trees next week.

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Cut! Elements of Drama Workstations Lesson 3 of 14 Objective: SWBAT work with the elements of drama to complete some independent activities. Since it's been so hard to get my hands on quality plays for the kids to read, I searched and stumbled upon this website. I've been read through many of them, and I have to say, they're not too bad. I'll be using two of these plays today; One for my teacher station, and one for the kids to perform a reader's theater. Vocabulary Station: The kids will complete a vocabulary matching activity. This seems like a pretty easy station, but there are additional words here to review literary elements from throughout the year as well. Not only are the kiddos working with domain specific vocab from this unit, but they're working with essential terms for understanding literature. When the students have finished matching, I want them to create a graphic organizer that shows a relationships between the words. Teacher Station: In my station, we will be reading The Baker's Dozen, but I need this time to talk about character motivations and actions today. This is something we haven't discussed in a while, so I want to be sure I hit on this throughout the unit. We hit RL5.1 and RL5.3 in my fiction unit and in poetry, but I know my kiddos need to continue to work on this before heading out for the summer. Reader's Theater: In the past, I've had the kids read and record themselves for fluency, but the play Resthaven is a bit longer today, so they'll just be reading to perform. I want them to use the stage directions to jump into character instead of practicing and trying to perform without looking at the text. All students will complete a drama problem and solution organizer when we finish stations today. That will serve as my wrap up and a quick check for the lesson. Vocabulary Station: In this station, you'll find some word cards and definitions. You may use your notebook for help, but you'll mostly need to rely on your previous knowledge to help you. There are 20 words, so this may take you some time. When you have finished, come see me for the answer sheet to check your answers. If there is time to spare, I want you to come up with a way to organize the words to show relationships between them. I kind of see a web in my mind with the word drama at the center. Then I would cluster related words together in some way. Teacher Station: In this station, we'll be reading a play and stopping to chat about the characters. Anything character related is possible. We all know the character skills we've learned throughout the year, so I expect to hear things about characters' roles and actions, motivations, feelings, conflicts, etc. Reader's Theater: In this station, you'll find a play for all 10 of you. Determine the parts and then begin the performance. You won't record yourselves as you have in the past, but I want you to really think about the stage directions and the inflection needed for your part. When a partner is reading, try to listen (although, I know you'll be prepping for your next line) to how they read and give honest feedback at the end. Once we all finish stations, there will be a problem and solution organizer to complete to show me that you stayed focused during this station.

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en

Earth Science for Elementary Education Majors This is the second part of a 2-semester sequence on the physical sciences required for Elementary Education and Early Childhood Education majors. The first course in the sequence covers principles of chemistry and physics, while this course addresses principles of Earth science. For Dr. Bickmore's reflections on the course and its design, see Earth Science for Elementary Majors: Role in the Program - Students should be able to explain and apply basic principles of earth systems science, corresponding with state and national standards for elementary school earth science education. - Students should show that they can verbalize earth science concepts at an elementary school level. - Students should be able to identify common rocks and minerals, and understand their genesis. - Students should be able to prepare and present various demonstrations or teaching aids that reinforce concepts learned in class, and that will be useful in an elementary school classroom setting. - Students will begin to make a difference right now for elementary science education. - Students should learn the nature of science, and how to think clearly and critically about science-religion conflicts. - Students should come out of the class with an improved attitude toward science. Syllabus (Microsoft Word 41kB Apr16 07) For an example activity from this course, see Science as Storytelling for Teaching the Nature of Science - Tests include questions that require application of principles learned, as well as concept mapping exercises that require the ability to explain connections between the principles. The level of success at these tasks varies widely among students in the class. - Lab activities require students to explain earth science concepts. Most of the students are fairly good at this, as long as they can get the concepts straight in their heads. - The lab also includes a rock and mineral identification final. Almost all of the students do very well at this if they put in some practice time outside of class. - The mini-lesson activity requires students to teach science concepts in a setting where it really matters. The students really put a lot of effort into this, and they have usually been very successful. - Surveys and test questions are given to assess student understanding of the nature of science, and in-class essays are assigned where the students are asked to express their thoughts about science-religion issues. They show significant gains in their understanding of the nature of science and begin to express much more sophisticated and nuanced views about science-religion issues. - Surveys for measuring attitudes toward science are given before and after the semester. The students (especially the ones who initially had very poor attitudes toward science) show significant gains by the end of the semester. References and Notes: Textbook: Fundamentals of Earth Science, by Lutgens and Tarbuck.

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en

Extra! Extra! Read All About It! # Calling all aspiring journalists, reporters, and anyone who wants to improve their writing through journalistic techniques! Believe it or not, there is value to understanding and practicing the elements of news writing, even if you never become reporter. In fact, many celebrated authors were or are journalists as well: Charles Dickens, Mark Twain, Ida B. Wells,George Orwell, P. G. Wodehouse, E.B. White, Ernest Hemingway, John Steinbeck, Richard Wright, Joan Didion, Maxine Hong Kingston,and more! At its heart, journalism is storytelling. Journalists are especially equipped by their training to craft stories that get to the point and communicate in a way that shows readers what happened and why. News writing requires organization, precision, economy, empathy, and rhythm to propel readers through the story. These are also the hallmarks of great fiction! The Scoop # This class will provide an introduction to journalism and news writing. Students will explore and practice the following journalistic elements in depth: - Hard news versus feature story structure - The inverted pyramid - Writing a lead sentence - Crafting a nut graph - Using color - Exercising the power of observation - Interviewing techniques - Choosing supporting quotes - Attributing sources - Headline writing - Choosing accompanying art/photographs In addition, we will discuss: - The definition of news - News values - Pitching a story - Asking the right questions - Accuracy and fact checking - Fairness and balance in reporting - Framing a story By the end of this class, students will have created a news article worthy of publication. Tentative Class Schedule # Week One: What makes a good news story. We’ll warm up by discussing the definition of journalism, the characteristics of good journalist, and the importance of news values in order to understand what stories are newsworthy and what makes a good one. Students will learn how to identify newsworthy events and pitch story ideas. They will then explore the story by asking questions. Students will also read daily news from a local and national news source. Week Two: Journalists are investigators! In their quest for answers, modern journalists have abundant resources at their disposal. Students will use these tools to research their story to find background information and concrete facts to answer questions. This includes identifying possible sources (experts on the topic) and contact methods. Journalists are only as reliable as their sources, which means that a good interview and verification of the information obtained is vital for a solid, informative story. Students will craft interview questions, contact sources, and learn some tricks of the trade to get accurate, meaty quotes. Week Three: Framing and organizational structure. With the reporting done and groundwork laid, it’s time to step back, look at the raw material, and choose what information to include in the story. Students will decide how to accurately represent the story to readers and organize the information according to the inverted pyramid. Next it’s time to write the most important paragraph of the story, the lead. Students will learn how to construct a gripping, informative, concise lead paragraph to grab attention and set the tone for the rest of the article. In addition, they will work on one sentence that is the heart of the story, also known as the nut graph. In preparation for writing the article, students will also learn how to choose supporting quotes and add color. Week Four: Submitting copy and publication. In the final week, students will submit a draft of their article and implement revisions based on instructor feedback. The final article will be eligible for publication, and students will learn how to pitch their story to local news organizations or online publications. About the instructor: Samantha earned a bachelor of arts degree in journalism from Patrick Henry College in 2009, graduating magna cum laude with honors in her major. While in college she served as editor for her college newspaper and received the Baptist Press Excellence in Journalism award for First Place in Newspaper Feature Writing. Throughout her journalism career Samantha covered stories ranging from polygamy to Hurricane Katrina evacuee relief measures to the opening of a teen center for local youth. She has written for town newspapers, city magazines, online news sources, and blogs. She has even worked on the “other side” of journalism in media relations writing press releases for a think tank in Washington, DC. Before joining Brave Writer, Samantha wrote and edited her culture blog, Art of Cultivation. Class Structure Description # Brave Writer online classes are specially designed with the busy homeschooling parent in mind. Classes last anywhere from four to six weeks. We offer courses that address a specific writing need so that you can take the ones that suit your family throughout the school year. Short class sessions enable you to work around family vacations, out-of-town swim meets, recovering from wisdom teeth removal, and visits from grandparents. We operate on the quarter system, including a summer session. Our most popular classes repeat each quarter, while others are seasonal. Our classes meet in a customized online classroom, designed specifically to meet the needs of Brave Writer. Only registered students and the instructor have access to the classroom to ensure your privacy. Assignments and reading materials are posted by Brave Writer instructors each week (no additional supply fees necessary, unless otherwise indicated). Either you (homeschooling parent) or your child (homeschooling student) will visit the classroom daily at your convenience to read helpful information about the current topic or to find the writing assignment. We operate "asynchronously" (which means that the discussion is not live, but that posted information remains available to you in your time zone at your convenience). Instructors check the classroom throughout the day to answer questions and give feedback on writing. Writing is done at home and then typed into the classroom, and shared with both the instructor and other classmates. You're not required to be online at any specific time of the day. We have students from all over the world participating in our classes so "live" discussion is impossible. Instead, the online classroom enables the instructor to post information and assignments when it is convenient to the instructor. Then, when it is convenient for you, you come to the classroom and read the latest postings. Instructor feedback to student writing is offered for all participants to read. Writing questions are welcomed and encouraged! That's the point of class. We aim to give you immediate support as you face writing obstacles. Brave Writer takes seriously the need for encouragement and emotional safety in writing. No student is ever at risk of being humiliated or mistreated. All online dialog is respectful and supportive of your child's process. This is the core of Brave Writer philosophy. You can read about Brave Writer values here. What makes our program especially unique in the world of online education is that we value a corporate experience. Rather than teaching your child in a tutorial format, we prefer students to have the opportunity to both publish their work for an audience (other students) and also to have the chance to read other student writing. In no other setting is this possible. Schools-in-buildings rarely have students read each other's work. Homeschooled children are rarely in a classroom environment to begin with, so the opportunity to read peer-writing is nil. Our classes provide an utterly unique experience in the world of writing instruction. Since most writers grow through emulation of good writing, it is a real advantage to Brave Writer kids to get the chance to read the writing of their fellow home-educated peers. They love it! They get to examine and internalize other ways of writing, analyzing and expressing ideas similar to their own. They have the chance to validate and cheer on their peers. And of course, the best part of all is that they receive the praise and affirmation of kids just like them. Not only that, all instructor feedback is posted to the classroom for all students to read. That means your kids get the benefit of instructor comments on many papers, not just their own. We've noted that this style of instruction is especially effective and hope you'll test it and agree! Click here to login to a sample classroom.

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en

The Sign of the Beaver Book Chapters: Matt's Journal The Newbery Honor winning book, The Sign of the Beaver by Elizabeth George Speare, is an inspiring story of survival, friendship and tolerating differences. Students will do some journal writing as they listen to Sign of the Beaver book chapters. A keyword will be provided to help them get started and give them a focus. Journals: Make a journal with a construction paper front to decorate and notebook paper inside. The alternative would be to have the students bring in a new spiral notebook or composition book. Instructions for Students: There are twenty-five chapters in this book, each about five pages long. In each chapter an event shaped Matt’s feelings and enhanced his learning, as he tried to survive alone in the forest. Write a journal entry as if you are Matt, the main character. For each chapter a keyword is given. It is meant as a guide to help you get started. Describe each experience and perhaps how it changed Matt in some way. A summary sentence is given for you beneath the keyword for each chapter. It will help you, as you are writing your journal. Before you begin to read each chapter, write the keyword(s) downs so you will know what to listen for in the chapter. For example, before you begin to read Chapter 1, write "Counting Days". Chapter 1: Counting Days Matt and his father built a small cabin on their newly purchased land in Maine. Father left Matt at the cabin to guard it and tend the crops while he went back to get Mother, sister and new baby in Massachusetts. Without a calendar, his father told Matt to make a notch every day on a stick. Seven notches per stick on seven sticks and then Matt’s family should return to the cabin. Chapter 2: Chinking and Chores Matt was beginning to enjoy being along to do his chores without parental advice. He had to chink the spaces between the logs with clay from the creek bank. He also tended the crops, chopped wood, killed something for dinner and cooked. Chapter 3: Ben A bold stranger comes to visit. He eats lots of food and while Matt is sleeping the stranger steals Matt’s rifle. What will Matt use to get his dinner and for protection? Chapter 4: The door Matt forgets to bar the door securely and a bear gets into the cabin, wasting food and making a mess. Chapter 5: Bees Hungry for something sweet, Matt climbs up a tree and breaks into a beehive. Angry stinging bees chase him to the creek. Swollen and poisoned by the stings he is carried back to his cabin and cared for by two Indians. Chapter 6: Treaty Old grandfather Indian makes “treaty” with Matt. Matt will teach the Indian’s grandson, Attean, how to read in exchange for food from the Indians. Chapter 7: ABC’s How would Matt teach Attean how to read? He’ll start with the ABC’s; apple, bone, candle, door and so forth. Chapter 8: Robinson Crusoe Matt grabs Attean’s attention by reading Robinson Crusoe. Attean compares the white man’s way of doing things to the Indian’s way. Chapter 9: “Not be slave” Matt asks Attean to show him how to trap a rabbit. Then, when reading Robinson Crusoe, Attean becomes upset when he hears that the native becomes a slave to Crusoe. Chapter 10: Fish Matt smooths over the idea that the native was a slave to Crusoe and seems to calm Attean. Attean takes Matt fishing the Indian way. Chapter 11: Sign of the Beaver Attean leads Matt into a new part of the forest and shows him a beaver dam. He points to a marking on a tree—the sign of the beaver. Attean is part of the Beaver tribe. The Indian teaches Matt how to make his way in the forest so he would not get lost. Chapter 12: Bow and Arrow Attean shows Matt how to make a bow and arrow. Chapter 13: By Golly Matt learns more about Indian ways when they find a fox in an iron trap of the white man. Attean shows signs of learning from Matt, too, when he says, “Reckon so and by golly.” Chapter 14: Noah When Matt finished reading Robinson Crusoe, he reads adventurous stories from the Bible. Noah’s Ark is the first story and Attean knows a similar Indian story. Chapter 15: Bear The boys come face to face with a bear and together killed it. Chapter 16: Celebration Attean takes Matt to his village to celebrate killing the bear. Matt enjoys food, dance and storytelling. He sleeps there in a wigwam. Chapter 17: Not Welcome Matt learns that Attean’s grandmother hates all white people, so Matt is not welcome in the village. Chapter 18: Rescue Matt wonders why his family has not come to the cabin. It has been ten weeks since Father left. He wanders in the woods and finds Attean’s dog caught in a white man’s trap. Unable to open the trap, Matt races to the Indian village and summons Attean’s sister to help him rescue the dog. Chapter 19: Games Attean’s grandmother welcomes Matt back to the Indian village. The boys play rough Indian games. Matt finds his way back to the cabin using what he learned from Attean. Chapter 20: Manitou Attean goes on a ritual journey to find his “Manitou” (spirit). It is a passing from youth to adult. Chapter 21: Come With Us The Indians will be moving on from the village to hunt for moose. They invite Matt to come with them because they don’t want him to be alone. Matt refuses, though he is honored, and wants to wait for his family. Chapter 22: Goodbye The boys say good-bye. Attean leaves his dog with Matt and Matt gives Attean his father’s watch. Chapter 23: Squaw Work Matt does many chores to pass the time. It is work that Attean would call “squaw’s work”. Matt keeps hoping that his family will arrive. Chapter 24: Snow Deep snow surrounds the cabin and Matt tries out the snowshoes that the Indians gave him. He feels safe and content in the cozy cabin. Chapter 25: They’re Home Matt’s family arrives just before Christmas. Sickened by typhus, the journey had been delayed but mother insisted on getting there before the holiday. The baby died shortly after being born. Father was proud of all that Matt had accomplished. As you listen and write about each of The Sign of the Beaver book chapters, you will begin to understand the difficult life of the pioneers. The book also provides an insight into how the Indians felt when the pioneers began to push them off of their land. Journal writing will provide you with a vehicle to express the main characters fears, frustration and triumphs.

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en

Traditions of recording events or rituals through weaving, tapestry work, or quilting are found in cultures across the globe. There are many wonderful examples in museums: pre-Columbian Aztec work, Japanese Haori overcoats with family crests, medieval tapestries glorifying battles or fables, Tibetan banners and prayer flags, African storytelling shown in cloth, stories celebrating many different religions, and countless others.In the last few decades, two amazing examples of the cultural use of quilts to tell stories, and to express politic protest, have gained world-wide attention. The stream of immigrants from Southeast Asia has brought the wonderful handiwork of Hmong women to our attention, from traditional quilted and woven clothing to intriguing story cloth quilts. And in parts of South America, when political uprisings led to severe suffrage and censorship, groups of women created striking arpilleras to tell us about their anguish. Hmong people have lived in China, Laos, Thailand, Myanmar, Vietnam and the surrounding regions for generations. There are several groups, each having their own unique style of handwork. Many clothing items feature intricate reverse appliqued quilt patterns, others use Hmong flower cloth embroideries.Fifty years ago, there was no written Hmong language. Storytelling preserved history and traditions, and these stories were supported by embroidered story cloths. Old story cloths show families in daily activities, such as working in rice paddies, hunting, or celebrating a wedding. More recent ones show armies, planes, and stories of war and immigrating. Their use of color and intricate stitching creates a striking medium for preserving history. Less than thirty years ago, political unrest was rampant in Chile, Peru, and many other South American countries. Dictatorships left behind trails of violence, and despicable living situations. Total censorship was often imposed, but the traditional arts of weaving, embroidery, and applique were apparently not regarded as a method of communication. In Chile, the original arpilleras were often small dolls, stitched from rags, then sewn together. These evolved into story boards depicting daily life. Some showed the hope for a better life, without the hardships that had come under dictators. Many showed protests, asked where lost relatives were, or depicted the violence that was used to squash the people’s spirit. In Peru as well, these arpilleras helped women to build strong community ties and to envision a different life. Many of these creations were traded or smuggled out of the country, and helped to raise awareness of the need for change. We may find it odd to see quilts portraying violence, weapons, or suffering. For the Hmong story cloths, perhaps it was the lack of written language that naturally opened the door for this way to share life’s daily realities. And maybe, for the Chilean and Peruvian women able to share their handiwork when all other forms of communication were being censored, the quilts became their voices.If you were to tell the story of your life, your family, or some event that impacted your world, and words were not allowed, would you stitch it for others to see? What legacy can we pass on today, beyond the comfort of a quilt? How could you use your hands and handicraft to communicate the emotions of your life? ©2010, The Curious Quilter, thecuriousquilter.net, maryeoriginals.com.

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en

Characterization — Pap versus Jim There is no doubt that one of the most important literary elements in a work is characterization: The creation of a group of personalities who function as representatives of a fictional world are as vital to a novel's story as its many themes. For Twain, the challenge was to embody fictional characters with realistic traits and personalities; that is, his characters had to be as believable and as recognizable as the people readers confronted every day. To accomplish this feat, Twain frequently called upon his childhood experiences to create some of the most memorable characters in American literature. The expanse of characters that blanket the pages of The Adventures of Huckleberry Finn are numerous. Certainly Huck is an incredible character study, with his literal and pragmatic approach to his surroundings and his constant battle with his conscience. Huck's companion, Jim, is yet another character worthy of analysis. At a period in American history when most African-American characters were depicted as fools or "Uncle Tom's," Jim's triumphant but humble passage from simple house servant to Tom's savior is an outline for the heroic figure. He embodies all the qualities — loyalty, faith, love, compassion, strength, wisdom — of the dynamic hero, and his willingness to sacrifice his freedom and his life for two young boys establishes him as a classic benevolent character. Both Huck and Jim can be viewed as the heroes of Adventures of Huckleberry Finn. But if the two characters are the chief agents of good, the loathsome Pap Finn is the novel's most pitiful and despicable character in terms of exemplifying the characteristics of a depraved, squalid world. When Pap reappears, with hair that is "long and tangled and greasy" and rags for clothes, it is a reminder of the poverty of Huck's initial existence and a realistic representation of the ignorance and cruelty that dominated the institution of slavery and prejudice in America. Pap is suspect of both religion and education and feels threatened by or resents Huck's ability to read and exist in the world of Miss Watson and the Widow Douglas. Except for brief passages, however, readers are not privy to all of Pap's history and his rage at a world that he thinks has mistreated him. In a revealing sequence, Pap displays all of the con man's tactics when he tries to acquire Huck's reward money. Pap convinces a new judge that he is a changed man, has "started in on a new life," and has given his life to God. It only takes a night for Pap to return to his previous ways, as he becomes "drunk as a fiddler" and ends up collapsed outside the judge's house with a broken arm and a bitter spirit. The judge's observation that Pap might be reformed with the aid of a shotgun is a dark foreshadowing of what will follow. Along with Pap's obvious insecurity toward Huck, what readers receive is a frightening picture of what Huck could become if left to the parental guidance of Pap. Huck's vague, past home life is solidified by Pap's constant verbal threats, and Pap warns Huck that he will physically abuse him if he tries to "put on considerble many frills." During the first meeting between the boy and his father, Pap's threats of abuse are so haphazard and disjointed that he becomes a comical figure. For Huck, the drunken rantings of Pap are neither astonishing nor cruel; they simply exist as a facet of his life, and Huck reports the threats with a tone of indifference and detachment. Under the abusive eye of Pap, Huck attempts to romanticize a life free from the intrusions of a judgmental society and constrictive civilization. Away from the enforced rules of school and town, Huck is "free" to exist and absorb Pap's life of liquor and theft. But after Pap gets "too handy with his hick'ry," Huck decides to escape. The ensuing passages portray another comical, slapstick version of Pap, cursing against a "gov'ment" that would take his only son away and condemning a nation that would allow a "nigger" to vote. Beneath Pap's farcical ramblings, however, is the reality that Huck has, indeed, been constantly beaten and left alone for days, locked in the cabin. The reality of Huck's existence under Pap, then, is one where the presence of Pap's fist and racism pervade — where Huck is "all over welts" and subject to the venom Pap has for all of society. Pap's role as an abusive parental figure is disturbing but vitally important to the novel, because it sets up as a direct contrast to the heroic and caring Jim. When Huck and Jim come upon the floating frame-house in Chapter 9, they discover a dead man among the various items. After Jim looks over the body, he tells Huck to come in the house, but "doan' look at his face — it's too gashly." Jim's gesture is similar to that of a protective parent, but the symbolism of the act is not fully realized until the last chapter of the novel. In Chapter the Last, Jim explains that the dead man aboard the house was Pap, and Huck realizes that Pap will not bother or abuse him ever again. With this realization, readers now view Jim's earlier gesture as an act performed by an empathetic and caring figure, and, in this sense, Jim serves as a father figure. With Jim as his role model, Huck is able to "inherit" the admirable and worthy qualities that Jim possesses and, therefore, is able to make his later decision to free Jim.

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en

One fictional story and one essay is selected.compare, and contrast how they use narrative. As you do, analyze in what ways and on what topics a fictional narrative may be superior for discussing workplace themes and in which ways and on what a nonfiction narrative may be superior. Make sure you explain why this is the case. This comparison would be facilitated by selecting works related in some way: works that share a theme, a type of character, a situation, an ethical question, and the like. Be specific in the analysis of story elements. Discuss how essays and fictional stories differ in characterization, plot, story line, suspense, language use, setting, point of view, presentation of theme, and in the integration of other literary elements discussed in this course. As you make these comparisons, consider the following points: a. What shapes your emotional response to the stories in each work? b. In a nonfiction work, the author must establish him or herself as credible. What takes the place of this need in fiction? How does this difference in narrative strategies relate to what is communicated about workplace themes? c. Fiction is often intended to entertain the reader more than is the case in nonfiction. How are narratives used differently for entertainment purposes and for persuasive purposes in essays? How does the element of entertainment in either genre relate to the communication of serious messages about the workplace? d. How do facts and narrative relate? e. Consider where the theme of each work is introduced and how explicitly it is unveiled. I offer some notes for you to consider as you formulate your own essay. First of all, as you compare and contrast this fictional story example and the essay, you might demonstrate how I feel that the fictional narrative is more superior for discussing workplace themes because it seems to solicit more emotional responses than the nonfiction narrative does in this case. Although both pieces contain numerous workplace themes and implications, I feel that their emotional impact varies. What do you think? In the first piece, "A Delicate Balance," I feel that the genre of fiction functions more successful since it intends not only to entertain the reader but also to persuade the reader about workplace issues. Although both pieces share the element of entertainment and both also effectively communicate quite serious messages about the workplace, their emotional appeals are different. Specifically, I feel that "A Delicate Balance" draws and entertains readers more with the well developed characters, themes, plot, and overall emotional appeal. What do you think? As we are drawn to the plot, we also learn many lessons. Please note how Armas crafts Romero Estrada's character as almost a Bartleby or a victim of life and work. This character is portrayed as submissive, silent, and subjugated initially as a worker since "He would get up almost every morning and clean and shave, and then after breakfast he would get his broom and go up and down the block sweeping the sidewalks for everyone." I feel that it seems like Armas is commenting on how monotonous labor is and how devalued workers often are. Since the character "would sweep in front of the Tortilleria America, the Tres Milpas Bar, Barelas' Barbershop, the used furniture store owned by Goldstein, the corner grocery store, the Model Cities office, and the print shop. In the afternoons, he would come back and sit in the barbershop and just watch the people go by," it seems like we are emotionally drawn to him, feeling empathy that his entire identity is linked to his job as a sweeper, not his personality, talents, ... Comparing Narrative in Fiction and Nonfiction is achieved in "A Delicate Balance."

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en

Youth in the United States represent many different backgrounds, cultures, and lifestyles. The issues faced by these youth are also diverse. PYD can assist and benefit the youth service providers and public health programming by identifying diverse circumstances to better understand the needs of youth. Examples of these issues include the following: Different Types of Transitions During Adolescence: - Youth transitions can include: transitioning from elementary or middle to high school environments, student to employee, foster youth to adult of legal age, resident of juvenile justice facility to reintegrated youth/adult, stable family routine to disrupted living arrangements, and dependence on guardian income to taking on more financial responsibility.1 Specific Population Challenges: - Issues that LGBT youth are more likely to experience than heterosexual youth, such as stigma, discrimination, family disapproval, and violence, can place them at a higher risk for behavioral health challenges and complications (e.g., suicidal ideation and substance use). - Youth with disabilities may face additional challenges while attending school and gaining employment. You can learn more about youth with disabilities here. - Immigrant and refugee youth are more likely to experience stress due to societal exclusion, poverty, trauma, and separation from family.2 - Exposure to violence and trauma while experiencing a transition can have a cumulative effect on increasing physical and mental health risks for youth.3 PYD enhances the sense of belonging, creating, and strengthening relationships with peers, friends, and identification of one's culture within a community. Increased resiliency and risk reduction can be fostered by utilizing PYD principles and practices with youth and communities of different ethnicities, races, cultures, specific needs with respect to behavior and learning, and sexual orientation. Examples of positive youth development principles in research and programming for multicultural youth include: - Within cultures of the United States, Native American youth with a high sense of cultural identity and self-esteem displayed lower levels of alcohol and drug use.4 - The use of traditional American Indian/Alaska Native values through activities, such as storytelling, have shown success in decreasing substance abuse among these youth.5 - Vietnamese-American youth exhibited a greater connection to their culture and community when they participated in a youth development program that enhanced their interpersonal skills and self-confidence.6 - An intervention primarily targeting youth of color (specifically African American, Asian, and Latino) found that youth engagement in safe sexual practices increased after two months of receiving preventative messages via Facebook.7 - Similarly, an intervention for African-American adolescent girls at high risk for sexually transmitted diseases included information about ethnic and gender pride, HIV knowledge, communication, condom use skills, and healthy relationships. The girls who received 16 hours of training were more consistent in their use of safe sex practices at the 6- and 12-month assessments.8 From an international perspective, similar studies confirm the effectiveness of PYD practices. - Youth in Panama, Costa Rica, and Guatemala who had PYD experiences, such as relationships with peers, teachers, and their families, were better able to make decisions regarding drugs and substance abuse than those with fewer positive experiences and relationships.9 - When agencies and youth development professionals in Hong Kong provided high-risk youth life-skill training aimed at personal competency, belonging, and optimism, the youth reported having positive behavior changes. These changes included controlling anger, resolving conflict, learning more effective communication with adults, solving problems, and developing stronger value for teamwork. The key was that youth were encouraged to make contributions to their communities through service-learning activities, and parents and teachers were empowered to serve in supportive roles.10 - Children with cerebral palsy in Bangladesh were able to improve their adaptive skills when their caregivers received a parent training program. The adaptive skills were measured in communication, socialization, motor skills, and daily living.11 Positive experiences, positive relationships, and positive environments—regardless of culture or ethnicity—can contribute to PYD. Improving Education and Employment for Disadvantaged Young Men: Proven and Promising Strategies This report reviews programs and policies’ evidence base on topics such as youth development, programs developed to improve educational attainment and employment for in-school youth, and programs that try to reconnect youth that are out of school and often unemployed. Growing Up in a New Country: A Positive Youth Development Toolkit for Working with Refugees and Immigrants This toolkit supports service providers in their efforts to develop quality programming that is culturally competent and effective for the refugee and immigrant youth in their communities. A Native Pathway to Adulthood: Training for Tribal and Non-Tribal Child Welfare Workers This competency-based curriculum enhances the skills of tribal and state workers in facilitating the transition of older Native American youth from out-of-home care to adulthood. The curriculum also encourages collaboration between tribes and public agencies to ensure that culturally relevant transition services are provided. The manual introduces the unique life path of tribal youth, provides information to enhance current intervention skills, and adds to the knowledge base of accessible local and national resources. Positive Youth Justice: Framing Justice Interventions Using the Concepts of Positive Youth Development This report can help develop a data-driven system and can act as a guide to answering such questions as: How many youth are homeless? Which housing or service interventions are most effective at ending homelessness for youth of diverse needs and contexts? Are we reducing the number of homeless youth and the length of time they are homeless? A Training Curriculum for Youth Trainers: Strategies for Supporting Transition Aged Youth (PDF, 167 pages) This training curriculum from the Y.O.U.T.H. (Youth Offering Unique Tangible Help) Training Project was developed for training child welfare workers and empowering foster youth. Former foster youth developed the curriculum, which includes training for specific competencies; samples of training-day curricula; training activities; and tips, resources, and surveys for foster and LGBTQ youth. 1 World Development Report, 2007; Yudin, 2013; Walters, et al. 2011 2 Rhodes, 2005 3 Boynton-Jarrett, Hair, & Zuckerman, 2013 4 Zimmerman & Arunkumar, 19947 5 Moran & Reaman, 2002; NREPP, 2007 6 McConachie, Huq, Munir, Ferdous, Zaman, & Khan, 2000 7 Kegler, Young, Marshall, Bu, & Rodine, 2005 8 Bull, Levine, Black, Schmiege, & Santelli, 2012 9 DiClemente et al., 2004 10 Kliewer & Murrelle, 2007 11 Wong & Lee, 2005 Other Resources on this Topic Tools & Guides Videos & Podcasts Webinars & Presentations

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en

Refining Your Reading Workshop. Session 4. Agenda. Finish prompting activity Mini-Lessons Sharing Journals. “People who do not trust children to learn, or teachers to teach, will always expect a method (or program) to do the job.” Frank Smith. Whole Group Instruction. Mini-Lessons. Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. Refining Your Reading Workshop Finish prompting activity Whole Group Instruction 5 – 15 minutes - introduce a comprehension strategy, skill, or concept - think aloud - apply strategies to text - students share/participate - based on student NEED & Book Talks (optional) ** Skills and Strategies that ALL students at your grade level should know or learn. Procedures and Organization Strategic Reading Behaviors Literary Elements and Techniques **Kids who struggle with these skills then get more supported practice during small group instruction so they can practice these skills with text at their reading level. “training wheels” TDC – Mini-Lesson (Angel for Solomon Singer) What did you notice about the level of thinking from the students? Make your thinking “visible” to kids. Demonstrate the thoughts that might come to your mind while reading. See p. 33 – 34 in handout How would this help you? Share ideas of great mentor text ideas for the comprehension strategies. Give one idea and get one idea from as many people as you can. Optimal time for informal assessment. Teaching for Deep Comprehension Clip on Authors Study Share time Share ideas about how you structure share time in your workshop. What ways could you take informal assessment information during the share time? “Our understanding is enhanced when we communicate with others about our thinking. It is a way for readers to construct knowledge, generate new ideas, clarify their own thinking…” -Fountas and Pinnell Teaching for Comprehending and Fluency p. 438 What should they be reading? How often do they read? What if they aren’t choosing the right books? What do they write about? How often do they write? Deeper comprehension entries How often do they respond in their journal? Get into grade level teams. Share ideas for structuring your students’ reading response journals. Keep in mind…less is more in terms of sections.

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A semester-long subject chosen by many students, undertaken either in first or second semester. This unit is structured to help each student to develop ideas for drama from a variety of sources: the arts, literature, current affairs and real life characters. They explore the dramatic potential of a range of stimuli, responding in either naturalistic or non-natualistic forms of expression. They create roles and characters in response to and in collaboration with others, exploring the contexts of characters and situations. Students improvise, select and structure elements of drama to make short improvisational plays. They experiment with a range of forms, styles and conventions in drama such as mime, physical theatre, circus arts and role play to create dramatic images and to convey meaning. Using a variety of techniques and processes, students develop a range of performance skills to communicate with an audience. Drama classes seek to help students to develop the ability to use starting points to generate and expressively develop ideas for making and presenting drama. The units of work allow students to develop the ability to make informed judgments about the values and purpose of drama. They describe, analyse, interpret and evaluate drama. Students use appropriate terminology to critically discuss and investigate the works. - Explore the dramatic potential of a range of stimuli. - Use observation, experience or research to create drama. - Develop characters and situations from starting points, individually and as part of a group. - Plan, rehearse and present drama to a variety of audiences. - Develop and sustain characters and situations to express ideas. - Develop scripts from improvisation. - Evaluate and refine own work - Compare the structure and expressive qualities of a range of dramas. - Develop and express informed opinions about drama. - Use appropriate terminology to discuss drama. - Compare dramas from selected cultural and historical contexts. - At Year 8 level, the curriculum aims to introduce students to ways in which scenes and plays can be developed from observation, research and personal experience. They are also encouraged to use the Internet to access this information. Students are encouraged to continue to develop the skills of refining and shaping improvised drama which incorporates dramatic elements and forms and to use imagination and perception to develop characters. - Students also study play scripts to learn ways of organizing their own ideas before writing their own plays. Learning to sustain characters by use of appropriate voices, gestures, movement and timing are incorporated into the units of work. Individually and in groups, they experiment with dramatic and theatrical forms to convey meaning. Students learn that different effects can be achieved by acting the same scene naturalistically and non-naturalistically. Students also experiment with staging possibilities to communicate their work to a variety of audiences in a range of settings. Students are given opportunities of building on their creative gifts and talents and to further develop in confidence and self esteem. - Use resources from a variety of sources to develop and expand ideas. - Make decisions about which techniques and processes to use in developing characters. - Use a range of skills and techniques to organise drama elements. - Structure drama to lead to performance. - Use methods involved in script writing techniques. At Year 8 level, students are encouraged to use appropriate drama terminology to discuss and evaluate their own work and also to express opinions about their own and others drama. Students identify ways in which drama can inform, entertain and challenge an audience or simply provide an escape into imaginary worlds. Students learn about ways in which drama and theatre have developed and identify differences in content and presentation. Taking part in discussions about ways in which theatre and drama challenge and reinforce attitudes helps students to construct personal and social values. Students will develop ideas about: - How the organisation and presentation of drama communicates ideas and feelings. - Effectively communicating ideas through drama. - The ways in which drama is an essential part of identity and culture. Assessment of this subject takes place mainly through teacher observation through: - Keeping a well maintained workbook - Teacher observation of cooperative behaviours - Observation of contribution during class - Use of imagination to create characters - Ability to collect and use ideas from a varied source - Ability to sustain character - Ability to follow through on storyline during improvisation - Production of a script - Participation in role plays - Confidence during performance - Ability to work as a member of a group

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Glass Painting: the Storytelling Griot of the Signares by Chrysanthe M. High on the dining room walls in our house are several representative portrait paintings of African women of the 15th century. They’re representative because the paintings are depictions of members of a class of women called Signares. Signares were African women who married or were the mistresses of Portugese traders (including slave traders), first in the 15th century, and with other Europeans in the centuries that followed. Many of the Signares of note were centered on the island of Gorée, off the coast of Senegal near Dakar. In many original African societies, while the men hunted for game meat, the women took charge of the domestic domain. This often included farming the land, and trading the produce and other goods sold at the market. Their commercial experience served them in dealing with the Europeans, with whom they were often partners, and served as translators and guides to local culture. The slave trade was notorious and dirty business, but a whole society existed around it, and the Signares who were free women operated in it, and made the most of it. They were given credit for being tenacious and clever, often competing with the men. They became prominent, powerful and wealthy in their own right, and were often noted for their beauty. Fashionably dressed to the nines in their striking gowns, headwear, and jewelry, it is no surprise that they became a staple and iconic image in the medium of glass painting. The practice of glass painting is thought to have originated in Syria and Iraq around 1500 BC. Influenced by the flattened forms of Byzantine artwork, the practice traveled a circuitous route to Europe via Asia and North Africa by the 14th century AD. It enjoyed great popularity and production in Asia, North Africa, the Middle East, India and China. In Europe, its demise was result of the invention of chromolithography 1830—1850. At that time in French territories in west Africa, Muslim pilgrims from Senegal to Mecca would return with glass paintings of imaginary religious scenes, like those they had first seen in the shrines. Local craftspeople quickly took to the practice, copying the works they saw. They improvised, using local tools and Chinese ink, paper and brushes. Although the practice began with the Muslim faithful, it soon became a common practice by any artist that wished to use the technique. Not unlike European religious paintings based on the Bible, many of the early works depicted scenes from the Qur'an and Muslim teachers in various brotherhoods. This was in defiance of the French colonial ban on such imagery. The glass painting genre has never gone out of style, and things have changed and become more inclusive over time, going from religious imagery of the Qur'an, the Bible, and leaders of sects and mosques, to social commentaries and portraits. The earliest practitioners were self-taught, copying earnestly from the original artworks brought back by religious pilgrims. In time, however, the proficient self-taught craft painters took on apprentices to whom they taught the form. As the glass painters grew in number and the medium's popularity spread, new themes and diverse styles were emphasized. In the 1920s and 1930s photography became established there, and the wealthy Senegalese used it to document their lives. Glass paintings became photographic backdrops, and flourished with photographs mounted on them, sides and tops painted in decorative designs. Yet photography proved too expensive, its supplies too difficult to obtain and replenish, in colonial Africa. Glass paintings became the established medium for commissioned portraits from life, and family scenes. Non-commissioned glass-paintings were often of beautiful women, called élégantes, with special attention given to their hairstyles, head coverings and jewelry, plus clothing and accessories that indicated status and ethnicity. The early style of these was of flat, frontal images painted on a background in a neutral tone. Details and shapes came through ink outlines. The painting is done in reverse of traditional western painting process, with the outline drawn in ink first of all. Next, small details and embellishments are filled in, then the larger forms are filled in with oil paints. The background is painted last of all, and the entire project is completed on the back side of the transparent glass. What the artist sees is the reverse of the viewer will see. This is not as simple as it may seem, for the paint must be built up layer by layer, and sometimes baked to insure adhesion to the back of the glass. The glass painting is backed by a stiff material and taped around the edge. The painting may then be framed, but is often not. The early painters did not sign their work, and although it was very popular, was almost an underground or unheralded, unrecognized art form. Early painters called themselves the School of the Streets. The first wave of apprentices opened up the form and made it less static and formal. Instead of using templates or tracing to place the image, some began to draw directly in ink or paint upon the glass. Some of these new painters based their subject matter on local histories, and the dreams or victorious actions of local warriors. With the growth of tourism and broader interest, the images and their meanings expanded to include legends, myths, proverbs and cultural histories. The age-old conflict between man and woman and moral overtones appeared in some of the works. Some artists tried mixed media experiments with collage and home made dyes. The glass painters’ third generation are those with recognized training by approved art centers and schools. Long ignored by mainstream institutions and galleries, the trade of glass painting was left to the bustling street markets. By the 1970s that identity began to change. The Senegalese government supported the founding of a workshop, and slowly local galleries began to show and sell glass paintings. The marketplace has moved to more formal settings, traveling shows and cultural centers in Dakar and other cities. Women with formal educations entered the mostly-male domain. One of the most notable and successful artists is Anta Germaine Gaye. Born 1953 into a wealthy family, she had an early and enduring interest in art, and her studies at Université Cheikh Anta Diop in Dakar led her to study the Signares and their history. Ms. Gaye felt a personal connection with them, as part of her heritage as a descendant of one of these women. She and other artists in the 1980s expanded the glass-painting form with more colors, the outlines softer and irregular, or with a massed textural effect. Although the presentation was flat, the images seem more layered and visually fractured, to offer a more dynamic view than in the past. Sometimes referred to as fixé, the mottled look came from the laying of paper over the wet painted surface of the glass, causing the paint to crack and blister as it dries. The history of glass painting in Senegal is long, and rich in detail. Its flatness reminds this collector of the classic Japanese ukiyo-e woodblocks that so inspired 19th century French artists. The glass painting art form may not have been founded in West Africa, but was taken up there in full vigor as a keeper of culture, a storyteller, a visual griot for its time, today. Click to see A Gallery of Glass Paintings of Signares. Chrysanthe M. is an artist and photographer inspired by African culture and her travels. For more information, please see In Senghor’s Shadow by Elizabeth Harney, and Africa Through the Eyes of Women Artists by Betty LaDuke. Anta Germaine Gaye photo from wakh-art.blogspot.com.

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Depending on your particular class, you may find this transition option more effective. It’s best to have two or three “bridge” assignments because as we all know, class personalities greatly differ! This transition incorporates the connection of how we treat others and how others treat us, based on such factors as race, ethnicity, and culture. First have students ascertain their understanding of terms such as self-fulfilling prophecy. Given what they’ve just read, they should have a pretty good idea! Your task in the discussion is to help them understand the current psychological and sociological implications of the term. Once they seem to have a solid grasp and have provided real-life examples that seem to have everyone nodding their heads, you’ll want to have them make the connection to such terms as stereotyping, marginalizing, and discrimination. The goal is to point them towards an understanding of the connection between how people, teenagers in particular (but you may not want to advertise that point), are engaged in all of these behaviors to a degree. Empathizing with this fact, we want them to move into how Junior moves through each and every one. Depending on where the discussion ends, you may want to have them journal about the discussion at the end of class or for homework. If you have time, have them begin reading the text together. VII. Reading the Text If you’re lucky, you can break up the reading into thirds, finding ideal spots for break offs—students will, more than likely, find it engrossing and engaging. By purposefully presenting Oedipus, first, you’ve set them up for success in reading solo. In the past, I’ve found great success with short quizzes on reading at the beginning of class, which include simple questions based on the “chunk” they’ve read. I would present these before moving into discussion to provide those students who actually did the reading with a boost to their grade. Confirmation of understanding is at the core of breaking up the text, and depending on your group and time-frame, you may want to have volunteers illustrate, dramatize, or retell the story to the class. The beauty of having students as the center of attention increases understanding. As you work through each chunk of the text, highlight literary elements you find along the way. A.After reading, students should determine the author’s argument: What message does Alexie want readers to understand about self-fulfilling prophecy, predestination, or free will? Through what literary elements, such as plot, character, or symbolism, do they receive the message?Why do you think he wrote about this particular age-group, race, and culture, at this particular moment in history? For lower-level classes, you may want to provide students with the option to work in pairs. This may be their first literary analysis. The idea is that they are able to articulate what the author argues, how, and why. For this very first endeavor, also consider having them expand on only one paragraph per focus to ensure they understand how to build an analysis. Paragraph One: What they think Alexie argues in the novel and why. Paragraph Two: One literary element that he uses to make that argument--using examples from the novel to support their choice. Paragraph Three: Why, based on what they've read, do they think he chose to write this message to readers of today. The next “bump” in thinking is much more in-depth. That is, students will be combining personal narrative with argument, using Alexie’s text as a model. Coming soon! : )

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Individual differences | Methods | Statistics | Clinical | Educational | Industrial | Professional items | World psychology | Imagination is the ability to form mental images, or the ability to spontaneously generate images within one's own mind. It helps provide meaning to experience and understanding to knowledge; it is a fundamental facility through which people make sense of the world, and it also plays a key role in the learning process. A basic training for imagination is the listening to storytelling (narrative), in which the exactness of the chosen words is the fundamental factor to 'evoke worlds'. It is accepted as the innate ability and process to invent partial or complete personal realms within the mind from elements derived from sense perceptions of the shared world.[How to reference and link to summary or text] The term is technically used in psychology for the process of reviving in the mind percepts of objects formerly given in sense perception. Since this use of the term conflicts with that of ordinary language, some psychologists have preferred to describe this process as "imaging" or "imagery" or to speak of it as "reproductive" as opposed to "productive" or "constructive" imagination. Imagined images are seen with the "mind's eye". The common use of the term is for the process of forming in the mind new images which have not been previously experienced, or at least only partially or in different combinations. Some typical examples follow: - Fairy tale - A form of verisimilitude often invoked in fantasy and science fiction invites readers to pretend such stories are true by referring to objects of the mind such as fictional books or years that do not exist apart from an imaginary world. Imagination in this sense, not being limited to the acquisition of exact knowledge by the requirements of practical necessity, is, up to a certain point, free from objective restraints. The ability to imagine one's self in another person's place is very important to social relations and understanding. (Some psychiatrists suspect this is beyond the grasp of a sociopath. All they know is the gratification of personal pleasure). In various spheres, however, even imagination is in practice limited: thus a man whose imaginations do violence to the elementary laws of thought, or to the necessary principles of practical possibility, or to the reasonable probabilities of a given case is regarded as insane. The same limitations beset imagination in the field of scientific hypothesis. Progress in scientific research is due largely to provisional explanations which are constructed by imagination, but such hypotheses must be framed in relation to previously ascertained facts and in accordance with the principles of the particular science. Imagination is an experimental partition of the mind used to create theories and ideas based on functions. Taking objects from real perceptions, the imagination uses complex IF-functions to create new or revised ideas. This part of the mind is vital to developing better and easier ways to accomplish old and new tasks. These experimented ideas can be safely conducted inside a virtual world and then, if the idea is probable, and the function is true, the idea can be actualized in reality. Imagination is the key to new development of the mind and can be shared with others, progressing collectively. Imagination vs. belief Edit Imagination differs fundamentally from belief because the subject understands that what is personally invented by the mind does not necessarily impact the course of action taken in the apparently shared world while beliefs are part of what one holds as truths about both the shared and personal worlds. The play of imagination, apart from the obvious limitations (e.g. of avoiding explicit self-contradiction), is conditioned only by the general trend of the mind at a given moment. Belief, on the other hand, is immediately related to practical activity: it is perfectly possible to imagine oneself a millionaire, but unless one believes it one does not, therefore, act as such. Belief endeavours to conform to the subject's experienced conditions or faith in the possibility of those conditions; whereas imagination as such is specifically free. The dividing line between imagination and belief varies widely in different stages of technological development. Thus someone from a primitive culture who is ill frames an ideal reconstruction of the causes of his illness, and attributes it to the hostile magic of an enemy based on faith and tradition rather than science. In ignorance of the science of pathology the subject is satisfied with this explanation, and actually believes in it, sometimes to the point of death, due to what is known as the nocebo effect. It follows that the learned distinction between imagination and belief depends in practice on religion, tradition, and culture. Imagination as a reality Edit The world as experienced is actually an interpretation of data apparently arriving from the senses, as such it is perceived as real by contrast to most thoughts and imaginings. This difference is only one of degree and can be altered by several historic causes, namely changes to brain chemistry, hypnosis or other altered states of consciousness, meditation, many hallucinogenic drugs, and electricity applied directly to specific parts of the brain. The difference between imagined and perceived real can be so imperceptible as to cause acute states of psychosis. Many mental illnesses can be attributed to this inability to distinguish between the sensed and the internally created worlds. Some cultures and traditions even view the apparently shared world as an illusion of the mind as with the Buddhist maya or go to the opposite extreme and accept the imagined and dreamed realms as of equal validity to the apparently shared world as the Australian Aborigines do with their concept of dreamtime. Imagination, because of having freedom from external limitations, can often become a source of real pleasure and unnecessary pain. A person of vivid imagination often suffers acutely from the imagined perils besetting friends, relatives, or even strangers such as celebrities. Also crippling fear can result from taking an imagined painful future too seriously. Imagination can also produce some symptoms of real illnesses. In some cases, they can seem so "real" that specific physical manifestations occur such as rashes and bruises appearing on the skin, as though imagination had passed into belief or the events imagined were actually in progress. See, for example, psychosomatic illness and folie a deux. It has also been proposed the whole of human cognition is based upon imagination. That is, nothing that we perceive is purely observation but all is a morph between sense and imagination. Imagination preceding reality Edit When two existing perceptions are combined within the mind the resultant third perception referred to as its synthesis and on occasion a fourth called the antithesis, which at that point only exists as part of the imagination, can often become the inspiration for a new invention or technique[How to reference and link to summary or text]. - Egan, Kieran (1992). Imagination in Teaching and Learning. Chicago: University of Chicago Press. - Frye, N. (1963). The Educated Imagination. Toronto: Canadian Broadcasting Corporation. - Norman, Ron (2000) Cultivating Imagination in Adult Education Proceedings of the 41st Annual Adult Education Research. - Sutton-Smith, Brian. (1988). In Search of the Imagination. In K. Egan and D. Nadaner (Eds.), Imagination and Education. New York, Teachers College Press. A philosopher for whom imagination is a central concept is John Sallis. See in particular: - John Sallis, Force of Imagination: The Sense of the Elemental (2000) - John Sallis, Spacings—Of Reason and Imagination. In Texts of Kant, Fichte, Hegel (1987) - This article incorporates text from the Encyclopædia Britannica, Eleventh Edition, a publication now in the public domain. |This page uses Creative Commons Licensed content from Wikipedia (view authors).|

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Which elements are needed to make not just the story, but the experience of learning it special and impactful? "Knowledge is Power" goes the old saying. But the thing about power is that you have to know how to use it, and you need to know that sharing power is more important than holding on to it for yourself. The act of sharing knowledge- story sharing - needs a special brand of skill and competence. Use that power to be a wizard and perform story sharing magic! The Magic of Stories Extensions of Story-Based Learning Design Story-Based Learning Design encompasses the development of learning lessons and the facilitation of story-sharing. It is in the story-sharing that trainers, mentors, coaches and leaders extend and expand the "viral effect" of lesson stories. A good story lesson distributes factual content and knowledge much more rapidly and penetrates learners' minds more deeply. A good example of this is the Apartment Manager Story we last saw in our Positive Stories article. Using a story with a strong emotional core grabs learners' attention and encourages an empathetic reaction that makes the lesson come alive, relatable and memorable. These kinds of stories - and the lessons they illustrate - stick! Putting it all together: Wand, Spell, and Stage 1. Your Wand: Choosing the right story In her book, "Whoever Tells the Best Story Wins," author Annette Simmons enumerates six different kinds of stories used for business purposes. For our purposes, we can look at these classifications that apply: Teaching Stories can change their behavior, perspective, or skills and lead to meaningful results |Use with product training, sales training, skills training| |Vision Stories inspire people, and link their actions to a specific, valuable, and worthy outcome.||Use with behavioural training and goal-setting| |I-know-what-you-are-thinking stories allow you to anticipate your audience's point of view, so you choose a story that deals with their unspoken concerns.||Use with all kinds of training| |Values-in-Action Stories can be positive or negative. You can tell stories that demonstrate positive values, or tell ones that highlight attitudes that you don't want to see.||Use with corporate values training, behavioral training, compliance training| 2. Your Spell: Using the right story questions We know that the Set Up, Relate, Interpret and Apply (SRIA) model involves injecting effective Story Questions for each step. Combine these with the right story and you have a well-rounded discussion. Learn more about the right story questions here. 3. Your Stage: Delivering the story in the right way A story is only as good as the storyteller. Develop your confidence and improve your delivery skills to maximize the effect your story has on the audience. Add humor, drama, and flourish to your storytelling to inspire, entertain and educate all at the same time. Find out what it takes to be a master storyteller here. Knowledge is powerful stuff, and sharing knowledge effectively adds and enriches the collective tapestry of stories within an organization. Understanding this will help you captivate your learners and create story-telling and learning experiences that will add to their overall value. Whoever Tells the Best Story Wins: How to Use Your Own Stories to Communicate with Power and Impact Knowledge Sharing-The Value of Story Telling Tip #34: Are You A Master Storyteller Trainer and Designer? Tip #43: How to Use Questions to Immerse Learners in Your Lesson Ray Jimenez, PhD "Helping Learners Learn Their Way"

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|Author Chris Eboch| This post is adapted from You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, from Chapter 5: Characters. Some authors prefer to start with a plot idea, while others start with an interesting character. Either can work, but ultimately the plot and character must work together. Let’s start with a look at character development, as it intersects with plot. A strong story needs conflict. Without conflict, you have one of those “slice of life” episodes that isn’t a real story. But conflict doesn’t just come from dramatic things happening. It comes from the character – what he or she needs and wants, and why he or she can’t get it easily. Conflict comes from a character with a problem or a goal. Let’s start with a premise: a kid has a math test on Monday. Exciting? Hardly. But ask two simple questions, and you can add conflict. · Why is it important to the character? The stakes should be high. The longer the story or novel, the higher stakes you need to sustain it. A short story character might want to win a contest; a novel character might need to save the world. · Why is it difficult for the character? Difficulties can be divided into three general categories, traditionally called man versus man, man versus nature, and man versus himself. You can even have a combination of these. For example, someone may be trying to spy on some bank robbers (man versus man) during a dangerous storm (man versus nature) when he is afraid of lightning (man versus himself). For our kid with the math test, here’s one example: It’s important because if he doesn’t pass, he’ll fail the class, have to go to summer school, and not get to go to football camp, when football is what he loves most. Assuming we create a character readers like, they’ll care about the outcome of this test and root for him to succeed. Our football lover could have lots of challenges – he forgot his study book, he’s expected to baby-sit a sibling, a storm knocked out the power, he has ADHD, or he suffers test anxiety. But ideally we’ll relate the difficulty to the reason it’s important. So let’s say he has a game Sunday afternoon and is getting pressure from his coach and teammates to practice rather than study. Plus he’d rather play football anyway. We now have a situation full of potential tension. Let the character struggle enough before he succeeds (or fails and learns a lesson), and you’ll have a story. And if these two questions can pump up a dull premise, just think what they can do with an exciting one! Fears and Desires As that example shows, conflict comes from the interaction between character and plot. You can create conflict by setting up situations that force a person to confront their fears. If someone is afraid of heights, make them go someplace high. If they’re afraid of taking responsibility, force them to be in charge. For example, my middle grade fantasy The Genie’s Gift is set in the fifteenth-century Middle East and draws on the mythology of 1001 Arabian Nights. It could have been simply a magical adventure tale, but the main character gives the story depth. She is anything but the typical swashbuckling hero: “Thirteen-year-old Anise, shy and timid, dreads marrying the man her father chooses for her. Her aunt tells her about the Genie Shakayak, the giver of the Gift of Sweet Speech, which allows one to charm everyone. Anise is determined to find the genie and ask for the gift, so she can control her own future. But the way is barred by a series of challenges, both ordinary and magical. How will Anise get past a vicious she-ghoul, a sorceress who turns people to stone, and mysterious sea monsters, when she can’t even speak in front of strangers?” Because Anise is so desperate to reach her goal, she tackles challenges far beyond her comfort zone. This makes the dramatic action even more dramatic, while providing a sympathetic character and a theme about not letting your fears stop you from achieving your dreams. You can also create conflict by setting up situations that oppose a person’s desires. Sometimes these desires are for practical things. In my middle grade mystery set in ancient Egypt, The Eyes of Pharaoh, the main character is a young temple dancer whose one goal is to win an upcoming contest. When her friend disappears, she has to decide if winning the contest is really more important than helping a friend. Perhaps your character simply wants an ordinary life. In my Mayan historical novel, The Well of Sacrifice, Eveningstar never dreams of being a leader or a rebel. But when her family, the government, and even the gods fail to stop the evil high priest who is trying to take over the city, she’s forced to act. The reluctant hero is a staple of books and movies because it’s fun to watch someone forced into a heroic role when they don’t want it. (Think of Han Solo in Star Wars.) To build conflict: · Start with the character’s goal. Create conflict by setting up situations which oppose a person’s needs and desires. · What does your main character want? What does he need? Make these things different, and you’ll add tension. It can be as simple as our football player who wants to practice football, but needs to study. Or it could be more subtle, like someone who wants to be protected but needs to learn independence. (Or the reverse, someone who wants independence but still needs to be protected. Those two characters could even be in the same story. Life is complex, with many shades of gray, and books can explore that.) · Even if your main problem is external (man versus man or man versus nature), consider giving the character an internal flaw (man versus himself) that contributes to the difficulty. Perhaps your character has a temper, is lazy, or refuses to ever admit she’s wrong. This helps set up your complications and as a bonus makes your character seem more real. · Your character may change or grow as a person during the story. This is called a character arc. A character who changes is usually more interesting than one who does not. However, growth does not always mean a reversal of attitude. The growth can come from reaffirming what the character already knew. For example, a child could know what is right but struggle to do it. In the end he does what is right, growing by following and reinforcing his beliefs. · A character’s growth can reflect your theme, by showing what the character learns. · Before you start, test the idea by considering different options. Change the character’s age, gender, or looks. Change the point of view. Change the setting. Change the internal conflict. What happens? Choose the combination that has the most dramatic potential. · The conflict must be important enough to sustain the story, and it must not be too easy to solve. This will vary by story length and readership age group. · It should take more than one attempt to solve the problem – three tries works well for shorter fiction. For longer fiction, add more attempts, or have each attempt made up of several parts. · To build original plots, brainstorm 10 possible things that could happen next. Pick the least likely, so long as it makes sense for the story. Some writers start with plot ideas and then develop the character who’ll face those challenges, while others start with a great character and then figure out what he or she does. Regardless, remember to work back and forth between plot and character, tying them together with conflict. You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers offers an overview on writing for young people. Learn how to find ideas and develop those ideas into stories, articles, and books. Understand the basics of character development, plot, setting, and theme – and some advanced elements, along with how to use point of view, dialogue, and thoughts. Finally, learn about editing your work and getting critiques. You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers is available for the Kindle, in paperback, or in Large Print paperback. Note: If you order the print or large print version from Amazon, you can get the Kindle version as a free add-on. You Can Write for Children includes many links to additional resources; in the Kindle version you can click to go directly to the websites or blogs listed. If you don't have a Kindle, download a free Kindle app for your computer.

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The teaching principle used in Aflatoun’s program is called child-centered learning. Children are given space to express themselves, to act on their own, and to solve practical problems together. They act in these situations according to the Aflatoun motto: ’Explore, Think, Investigate and Act’. Methods of learning include storytelling, song, drama and dance, games, Aflatoun club formation (Children club). All activities and books covered in the current Aflatoun programme address these issues through “Five Core Elements” that are balanced throughout the curriculum. Self-Understanding and Personal Exploration Aflatoun boost a child’s confidence and understanding by helping them explore their own identity from an early age. Children are strengthen to determine and assume about their place in the world as a child, a girl or a boy, a son or daughter, a student, and a citizen. Children are also familiarize with nationality, ethnicity and religion, which make children aware of and appreciate the different characteristics that make them unique individuals. Aflatoun programme material promotes compassion, respect for others, and stress the child’s position within a wider community. Rights and Responsibilities Aflatoun programme is grounded in the UN convention on the Rights of the Child. We look into four major rights i.e., Right to Survival, Right to Protection, Right to Development and Right to Participation. Children increase their understanding and knowledge of their rights as well as those of others. They are given an opportunity to initiate, plan and organize activities that may positively promote child rights. Rights does not exist alone it goes hand in hand along with responsibilities, children learn about their responsibilities towards themselves, their family, community and the environment. Saving and Spending Children as we all know are keen in collecting things that they think have value. The programme develops a broad and clear definition of savings. Children save money and learn how to spend responsibly. Even objects of personal value and natural resources are promoted as equally important as money (coins and bills). Aflatoun often use club and class approach to saving. Children set up Aflatoun club and elect a child leader who manages a group saving process under the supervision of trained teacher. It is place for democratic decisions and the club organize social and financial enterprises. Planning and Budgeting The concept of thinking ahead and planning is a skill, and is a key to individual development. Planning and budgeting let on children to set both personal and financial goals for the future. Children starts to think ahead by their experience and look at what their future may hold. They learn how to make a concrete steps towards a goal that they set for themselves. Social and Financial Enterprise In social and financial enterprise, children view themselves and act as active participants in their community. It is the rational extension of the different learning objectives and activities in Aflatoun programme. Social enterprise focuses on improving their own lives and the lives of the people around them through their collective activities and action, while in financial enterprise children make money through small business initiatives as a way to learn more about the market. The objectives of social and financial enterprise may seem very different however they are connected by the idea that children can play an active and solve a set of problem together. The money earned here is not important as much as their learning about the world and realizing that they are capable of accomplishing things together. Based on these concepts, a well structured and balanced curriculum has been drafted which referable by children aging between 6-14yrs. The curriculum itself was refined over 18 years of action research in India, followed by 10 pilot projects around the world. It has been adapted to be appropriate for children in different regions and of different ages, and to be taught both in classrooms and out of school. Aflatoun partners have translated the curriculum and have contextualized it for over a 100 countries. MelJol conducts training, facilitate interactions with the children and teachers and help them understand and implement the program during these sessions.

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To view this page ensure that Adobe Flash Player version 11.1.0 or greater is installed. DOUBLE TAP TO ZOOM WITH PHONE OR TABLET 8 CHAPTER 1 demonstrated, and encouraged to manifest during the earliest years: caring, hon- esty, integrity, respect, responsibility, and self-discipline. These six traits are also commonly found in other literature on character development. Caring The ability to show caring is a pillar of good character. There are benefits to cre- ating a world where people freely demonstrate caring. We would all be healthier and happier if we cared consistently for others, the environment, and ourselves. In a caring world, children would be nurtured (not neglected or abused), adults would demonstrate their care for one another, homes would be comfortable and inviting, and people would be safe and have access to fundamental services and comforts. Infants and young children intuitively yearn to be comforted and cared for by loving adults. Perhaps even more importantly, they are entirely dependent on adults’ care. Therefore, they are constantly learning and observing, through the type of care they receive, what it means to care for another. This happens long before they can cognitively process or describe the actions of caring. Like Becky in the opening story, very young children often demonstrate caring behaviors possibly driven by instinct, or maybe modeled after what they have experienced or observed in the past. Regardless, the expression of caring is one that can be easily affirmed, supported, and encouraged in very young children. As children grow physically and cognitively, they can begin practicing simple caring behaviors, such as gentle touches toward pets and friends, careful han- dling of toys and belongings, respectful treatment of flowers and nature, and regular hand washing and bathing. Very young children can also observe and mimic in a rudimentary fashion how the adults in their lives care for themselves, including personal safety, health, hygiene, nutrition, and appearance. Describing self-care actions to young children is powerful even if they don’t fully understand the words, and it can begin to build their caring vocabulary. For example, before meals we can demonstrate and describe hand washing by saying, “I need to wash my hands before I eat to get rid of all the germs. I’ll use soap and scrub, scrub, scrub until they are clean.” An ethic of caring for the environment can also begin forming in the first years. As adults we can intentionally pick up trash or maintain a backyard bird feeder and describe what we’re doing to children. We can care for our indoor envi- ronments by keeping them clean and arranging them aesthetically and efficiently. Intentional room arrangements with clear and accessible storage for toys can help toddlers and twos learn to care for their things. When we encourage children to COPYRIGHTED MATERIAL

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Structure and Character - Excerpted with Permission from the Book "Story" - Part One By Robert McKee Plot or character? Which is more important? This debate is as old as the art. Aristotle weighed each side and concluded that story is primary, character secondary. His view held sway until, with the evolution of the novel, the pendulum of opinion swung the other way. By the nineteenth century, many held that structure is merely an appliance designed to display personality, that what the reader wants is fascinating, complex characters. Today both sides continue the debate without a verdict. The reason for the hung jury is simple: The argument is specious. We cannot ask which is more important, structure or character, because structure is character; character is structure. They're the same thing, and therefore one cannot be more important than the other. Yet the argument goes on because of a widely held confusion over two crucial aspects of the fictional role - the difference between CHARACTER and CHARACTERIZATION. Character Versus Characterization CHARACTERIZATION is the sum of all observable qualities of a human being, everything knowable through careful scrutiny: age and IQ; sex and sexuality; style of speech and gesture; choices of home, car, and dress; education and occupation; personality and nervosity; values and attitudes - all aspects of humanity we could know by taking notes on someone day in and day out. The totality of these traits makes each person unique because each of us is a one-of-a-kind combination of genetic givens and accumulated experience. This singular assemblage of traits is CHARACTERIZATION... but it is not CHARACTER. True CHARACTER is revealed in the choices a human being makes under pressure - the greater the pressure, the deeper the revelation, the truer the choice to the character's essential nature. Beneath the surface of characterization, regardless of appearances, who is this person? At the heart of his humanity, what will we find? Is he loving or cruel? Generous or selfish? Strong or weak? Truthful or a liar? Courageous or cowardly? The only way to know the truth is to witness him make choices under pressure to take one action or another in the pursuit of his desire. As he chooses, he is. Pressure is essential. Choices made when nothing is at risk mean little. If a character chooses to tell the truth in a situation where telling a lie would gain him nothing, the choice is trivial, the moment expresses nothing. But if the same character insists on telling the truth when a lie would save his life, then we sense that honesty is at the core of his nature. Consider this scene: Two cars motor down a highway. One is a rusted-out station wagon with buckets, mops, and brooms in the back. Driving it is an illegal alien - a quiet, shy woman working as a domestic for under-the-table cash, sole support of her family. Alongside her is a glistening new Porsche driven by a brilliant and wealthy neurosurgeon. Two people who have utterly different backgrounds, beliefs, personalities, languages - in every way imaginable their CHARACTERIZATIONS are the opposite of each other. Suddenly, in front of them, a school bus full of children flips out of control, smashes against an underpass, bursting into flames, trapping the children inside. Now, under this terrible pressure, we'll find out who these two people really are. Continue to read Part One of this riveting book excerpt here: Who chooses to stop? Who chooses to drive by? Each has rationalizations for driving by. The domestic worries that if she gets caught up in this, the police might question her, find out she's an illegal, throw her back across the border, and her family will starve. The surgeon fears that if he's injured and his hands burned, hands that perform miraculous microsurgeries, the lives of thousands of future patients will be lost. But let's say they both hit the brakes and stop. This choice gives us a clue to character, but who's stopping to help, and who's become too hysterical to drive any farther? Let's say they both choose to help. This tells us more. But who chooses to help by calling for an ambulance and waiting? Who chooses to help by dashing into the burning bus? Let's say they both rush for the bus - a choice that reveals character in even greater depth. Now doctor and housekeeper smash windows, crawl inside the blazing bus, grab screaming children, and push them to safety. But their choices aren't over. Soon the flames surge into a blistering inferno, skin peels from their faces. They can't take another breath without searing their lungs. In the midst of this horror each realizes there's only a second left to rescue one of the many children still inside. How does the doctor react? In a sudden reflex does he reach for a white child or the black child closer to him? Which way do the housekeeper's instincts take her? Does she save the little boy? Or the little girl cowering at her feet? How does she make "Sophie's choice"? We may discover that deep within these utterly different characterizations is an identical humanity - both willing to give their lives in a heartbeat for strangers. Or it may turn out that the person we thought would act heroically is a coward. Or the one we thought would act cowardly is a hero. Or at rock bottom, we may discover that selfless heroism is not the limit of true character in either of them. For the unseen power of their acculturation may force each to a spontaneous choice that exposes unconscious prejudices of gender or ethnicity ... even while they are performing acts of saint-like courage. Whichever way the scene's written, choice under pressure will strip away the mask of characterization, we'll peer into their inner natures and with a flash of insight grasp their true characters. The revelation of true character in contrast or contradiction to characterization is fundamental to all fine storytelling. Life teaches this grand principle: what seems is not what is. People are not what they appear to be. A hidden nature waits concealed behind a façade of traits. No matter what they say, no matter how they comport themselves, the only way we ever come to know characters in depth is through their choices under pressure. If we're introduced to a character whose demeanor is "loving husband," and by the end of the tale he's still what he first appeared to be - a loving husband with no secrets, no unfulfilled dreams, no hidden passions - we'll be very disappointed. When characterization and true character match, when inner life and outer appearance are, like a block of cement, of one substance, the role becomes a list of repetitious, predictable behaviors. It's not as if such a character isn't credible. Shallow, non-dimensional people exist... but they are boring. For example: What went wrong with Rambo? In First Blood, he was a compelling character - a Vietnam burnout, a loner hiking through the mountains, seeking solitude (characterization). Then a sheriff, for no reason other than wickedly high levels of testosterone, provoked him, and out came "Rambo," a ruthless and unstoppable killer (true character). But once Rambo came out, he wouldn't go back in. For the sequels, he strapped bandoleers of bullets across his oiled, pumped muscles, coiffed his locks with a red bandanna until super-hero characterization and true character merged into a figure with less dimension than a Saturday morning cartoon. Compare that flat pattern to James Bond. Three seems to be the limit on Rambos, but there have been nearly 20 Bond films. Bond goes on and on because the world delights in the repeated revelation of a deep character that contradicts characterization. Bond enjoys playing the lounge lizard: dressed in a tuxedo, he graces posh parties, a cocktail glass dangling from his fingertips as he chats up beautiful women. But then story pressure builds and Bond's choices reveal that underneath his lounge lizard exterior is a thinking man's Rambo. This expose of witty super-hero in contradiction to playboy characterization has become a seemingly endless pleasure. Taking the principle further: The revelation of deep character in contrast or contradiction to characterization is fundamental in major characters. Minor roles may or may not need hidden dimensions, but principals must be written in depth - they cannot be at heart what they seem to be at face. © Robert McKee. Reprinted with permission from the author. Excerpted from Robert McKee's STORY: Substance, Structure, Style and the Principles of Screenwriting. Meet the Author: Robert McKee Robert McKee, a Fulbright Scholar, is unique among writing mentors. No matter what your writing credentials or story medium, your next project calls for an absolute command of creative decisions. With his distinctive blend of award-winning scholarship, professional acting, and directing experience and craft knowledge across all media, Robert McKee helps writers think beyond formula and take the best story decisions of their career – be it in cinema, literature, theater or television.

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Gatsby Chapter 1: The Evolution Lesson 3 of 24 Objective: SWBAT analyze the development of elements in a piece of fiction and cite strong and thorough textual evidence to support analysis. This lesson begins reading Chapter 1 of The Great Gatsby. To prepare students for coming events, I pop up on the projector an anticipation guide to help students begin to see the connotative meanings in words. I first ask students to note on a piece of paper what they believe is the connotative meaning associated with the words or questions in the anticipation guide. The questions on the Anticipation Guide are related to significant inferences that students will make in the first chapter. For example, question 1 asks students to determine the connotative meaning attached to the color white. Daisy is often related to this color, which connotes a feeling of innocence or purity. The irony is that she is neither. Question 2 refers to colors associated with wealth. Of course, I want students to suggest green because the green light at the end of the Buchanan's dock is a significant symbol in the novel. The buoy in question 3 is mentioned in chapter 1 to suggest how sedentary and relaxed Daisy and Jordan are in the Buchanan living room. The wedding cake reference in question 4 creates a fluffy, saccharine atmosphere. After students have a chance to answer the anticipation guide individually, I randomly call on students to offer their answers in a whole-class discussion. I also solicit other interpretations and reasons from the class. (This segment dates back to the first lesson Art of Interpretation.) My objective is for students to hear other interpretations other than their own. Additionally, students are assigned one vocabulary word from a list of words for the first half of the novel. The vocabulary list has words on one side and definitions and other information on the other. Students will find their word in the novel as we read and determine the meaning through context. If needed, I will instruct students to look up the word in the dictionary if further clarification is necessary. As we come upon the selected vocabulary words in the first part of the novel, the student assigned to the word will offer his or her definition. To reinforce the meanings of words, I will instruct students to create flashcards of all words by writing the word and definition on one side of the flashcard. They also include the connotative meaning of the word or what the word sounds like as related to its definition. The also provide a synonym and antonym, and they use it in a sentence. On the other side of the flashcard, students create a graphic representation of the word's meaning. This assignment is done for homework. For the first 10 minutes of every class until the vocabulary test (given one week after distribution of vocabulary list), I will give students an opportunity to flip through their flashcards with a partner to reinforce definitions. I chose the selected words based on those words that I thought students would have trouble with. Some words are indicative of early twentieth century vocabulary: words such as rotogravure and rivulets. Active Reading Reporters Students will be assigned an active reading reporter role. These roles consist of the following: - Setting Reporter: Identifies three details about the setting and accompanies these details with text evidence. - Character Reporter: Identifies three details about the characters mentioned in the chapter and chooses one quote per character which best captures the essence of the character. - Character Connections Reporter: Identifies how each character connects to the other characters. Identifies one quote per detail to support connections. - Symbols Reporter: Identifies two symbols with accompanying text evidence. - Point of View Reporter: Identifies specifically the narrative structure of the chapter/novel and identifies two quotes that indicate the point of view. - Conflicts Reporter: Identifies all conflicts in the first chapter: man vs. man; man vs. society; man vs. self, etc. Each example should have an accompanying quote. - Vocabulary/Unique Phrases Reporter: Identifies and hypothesizes on unusual words or phrases in the chapter. Each reporter will also be assigned to a group. There will be one of each reporter role per group. After the chapter is read, reporters will convene in their groups. Each reporter will share their findings and group members will complete a handout where they add all the findings from each reporter. Chapter may be read for homework or in class. The significance in each role is directly related to the CCSS shift of "students engaging in rich and rigorous evidence based conversations about text." Students are citing strong textual evidence to support their answers, and they are analyzing the development and relatable elements of a story. This is being done both through written responses and through speaking and listening. Following the completion of the Active Reading worksheet, students analyze the narrator's portrayal of Gatsby at the end of chapter 1 and compare it to the first two pages of the novel. I use a short music video that I made to get them motivated and to introduce this assignment. Students dig for specific words and phrases that are used to describe him in the first two pages of the novel; such as, "There was something gorgeous about him." "Gatsby represented everything for which I have an unaffected scorn." "An extraordinary gift for hope." Students then examine Gatsby's depiction at the end of Chapter 1 where he is described as emerging "from a shadow." "Silhouette of a moving cat." "He had vanished." I ask students to write a response to the following questions: - How do the descriptions of Gatsy at the end of the chapter differ from the beginning of the chapter? - What prediction can we make as to why Nick hates what Gatsby represents, but forgives him anyway? Students write their answers as a prompt for a class discussion. I will randomly call on students to read their answers.

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During autumn the attention of the children should be attracted to the leaves by their gorgeous colors. It is well to use this interest to cultivate their knowledge of the forms of leaves of trees; but the teaching of the tree species to the young child should be done quite incidentally and guardedly. If the teacher says to the child bringing the leaf, "This is a white oak leaf," the child will soon quite unconsciously learn that leaf by name. ~Anna Botsford Comstock, "How to Begin Tree Study" in Handbook of Nature Study And with these words of wisdom, let's start the 50th edition of the Festival of the Trees: Through a Child's Eyes. What better way to introduce children to the wonders of trees than a gentle walk in the woods? In Trees, JSK at Anybody Seen My Focus? takes us on a beautiful walk through Fort Yargo State Park in Barrow County, Georgia. At the Handbook of Nature Study blogspot, Barb has a list of ways to train your senses during Summer Tree Observations. We often forget our senses of touch, hearing and smell when walking in the woods, and children can definitely benefit from using all their senses to explore trees. Barb's blogspot has lovely nature sounds that play automatically when you visit. Once a child has developed an interest in trees, you might want to explore the life cycle of a tree. How do trees get there? How do trees make seeds? Welcome to Mike at Slugyard, who introduces us to how a walnut sprouts in Where do trees come from? How lucky to be able to find a seedling from a nut the squirrels hadn't eaten. We discovered ash samaras in our yard last week, and learned about ash trees. Anna Comstock was an artist as well as writer and naturalist, and she recommended classifying leaves according to color and form and "thus train the eye to discriminate tints and color values." Art, trees and children go together naturally. There are a number of art projects in the chapter on trees in the Handbook of Nature Study. You can download the book here. (Remember that this book was written near the turn of the last century and many things have changed. For example, in the instructions on how to make a leaf print, there is no need to dilute the printers ink with gasoline. Yikes!) In Art through a kid's eye, Kimber at A Journey in Creativity blog shows us a page from her niece's altered book project where she has done some torn paper collage trees. Altered books are a terrific way to re-purpose old books. Making bark rubbings incorporates both art and science, and is a great excuse to get outdoors to play around with trees. Hold a piece of paper firmly against a tree trunk and rub back and forth. You can use crayon or charcoal. While children are experiencing the tough, rough feel of bark, it is a chance to explain how the delicate cambium lives just under the bark and how removing or damaging the bark can kill a tree. Doesn't seem possible that something so tough could be so fragile. Children can also explore trees through reading, writing, and storytelling. In his ode to Trees, Joyce Kilmer said: I think that I shall never see A poem lovely as a tree.... Regardless of that sentiment, trees inspire poetry. Encourage your children to read and write poems about trees. Dave Bonta has translated the poem To a Child in a Tree, by Jorge Teillier at Via Negativa. The poem is a celebration of tree climbing (More about that in the next section). Kristine O'Connell George reads from her book of poems Old Elm Speaks at this link on her website. Carol at Where will you journey to? reminds us that trees inspire stories and tales, such as the adventures of Winnie the Pooh in the Hundred Acre Woods. She repeats a fascinating tale her husband dreamed when he was young called the woodcutter. Our own list of books about trees for children reflects our passion for nonfiction books. Reading books is always an adventure. For an even bigger adventure, how about tree climbing and tree forts? Anna Botsford Comstock once climbed a tree during recess at her school and then refused to come down when she felt her teacher treated her unfairly. A few years later she was teaching at that school herself. Caro at Caro & Co. has a celebration of sweet gum trees and a humorous report of tree climbing at Love me, love my conkers – Plants kids can play with #2. Jade Blackwater grabs our attention with a fabulous childhood activity in The Making of Good Tree Forts at Brainripples. She has many good tips about creating a tree fort and what to do if you don't have a backyard full of appropriate trees. Brings back fond memories, doesn't it? For more fun ideas of things to do outside, Emily has links to several kid-oriented nature organizations at The Maine Family: Outside Finally, a way to excite children about trees that doesn't require going outside is to brainstorm a list of all the foods that come from trees, and then have a tree-inspired snack. Here's a short list to get you started: - maple syrup - hickory nuts - mesquite (use the beans to make flour) - saguaro fruit I'll bet you can list many more. Here's a recipe for Bread from Trees. Can you guess all the ingredients that come from trees? In a large bowl combine: 2 1/4 cups all-purpose flour 2 teaspoons baking powder 1/2 teaspoon baking soda 1/2 teaspoon cinnamon In a separate bowl mix: 2/3 cup maple syrup, or to taste 1/2 cup warm decaffeinated coffee* 1 1/3 cup pitted, snipped dates (May substitute chopped dried apricots) 1 cup apples, peeled, cored and grated 1/2 cup chopped walnuts 1 egg beaten 2 Tablespoons melted butter or margarine Add moist ingredients to the dry ones, and stir until just moistened. Pour into a 9” by 5” by 3” greased loaf (bread) pan. Bake at 350° F for 60 to 65 minutes. *Please ask an adult to assist with preparing or heating the coffee And Jade just sent me a link to a wonderful Plum Cake recipe from Amid the Olive Trees. Looks scrumptious. It turns out the next Festival of the Trees host, Peg at Orchards Forever has chosen the theme "edible trees." If you write about one of these wonderful trees, send links to Peg at amberapple [at] gmail [dot] com by August 29. A special "thank you" to everyone who participated.

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Much Ado about Manners By Corinne Gregory, President and Founder, SocialSmarts Published in Momcentral.com; April 18, 2008 The first in a continuing series. We’re hearing a lot these days about the importance of teaching manners to our children, preferably at an early age. But, there are still many parents who aren’t sure what to teach, how to teach it, or why it’s even necessary. If you ask parents these days if they feel teaching their children etiquette is important, most will tell you “not really.” They feel that we are a much more informal society these days, that etiquette isn’t really as important today as it has been in the past. But, ask those same parents if they think their children would benefit from being more polite or having better social skills, they’ll overwhelmingly respond “yes!” So what’s the difference? Etiquette vs. Manners vs. Social Skills While people often use these phrases interchangeably, raising a courteous and kind child involves more than just teaching “etiquette” and behavior rules. Really we are teaching our kids the social “rules of engagement.” Not only how to behave, and in what circumstances but why. “Etiquette” refers to a strict set of rules for behavior in specific circumstances. Think “protocol.” “Manner,” too, are focused primarily on behaviors, but really refer to a commonly accepted norm of behavior given a certain situation. So, both of these concepts are about outward actions. “Social skills” refers to a deeper, more fundamental layer involving not only the actions, but also the fundamental foundations – the motivators – of these actions. For example, when we hold the door open for someone (manners), we do that because of the motivators of respect and courtesy (social skills). Our actions need to start from the motivators so that we are not only acting like a kind, courteous person when it suits us, we genuinely are that kind, courteous person all the time. The Importance of Social Skills So, why is this important? We are all working very hard to make sure our children are in good schools, are getting good grades, have a good balance of extracurricular activities between sports and artistic or creative pursuits. Why work on developing their manners and social skills? Because, it literally is the most important thing you can do for their future success! Repeated studies show that a child’s social skills will be the number one factor influencing his or her future success – more than academic achievement, more than family background and socio-economic status, more than the “who you know” factor. In fact, social skills are more important than all of those other factors combined! If that seems far-fetched, consider this: if you can’t get along with people, if you don’t know how to behave appropriately in a variety of situations, it really doesn’t matter how smart you are or how good you are at what you do, does it? And, the reverse is true: good social skills can make up for a lack in education, financial resources, or connections. If you know how to conduct yourself and how to get along with others, you’ll go much farther in this life than those people who can’t, or don’t. Not just a “Nice to Have” The issue of good social skills isn’t just a nicety to have in our interpersonal bag of tricks. Treating others with courtesy, kindness, and respect may actually be a survival skill in today’s often-abrasive and confrontational world. It really is rough out there, and we need to equip our children with the skills they need to smoothly navigate life’s challenges. You’ve no doubt heard of “street smarts”—the skills and learned behaviors you need to survive in the urban jungle of our inner-city streets. Well, we have coined a term for we are teaching kids that gives them social survival skills: “SocialSmarts™.” SocialSmarts provides our children with the ability to be socially adept and confident in any circumstance, even those they may not have encountered before. The increasing rate of violence and agression school-age children are encountering speaks to the need for a return to attitudes and behaviors that defuse conflicts before they occur, and promote greater civility towards one another. When current statistics show that our children stand a 1 in 4 chance of becoming the victim of some form of school-based violence or harassment, it’s clear that we have a major problem overall with the level of social skills and character development in many of our young people. Something has to change. We Can do Better The good news about social skills is that these can truly be learned at any age. Certainly the earlier you begin to instill positive behaviors and character lessons in your child, the easier it will come and the more likely the lessons will stick. But it’s never too late to start. Babies and toddlers will learn manners and behaviors – good or bad – the way they learn anything else: by observation, experimentation, and repetition. It’s important that we parents be aware of the modeling we are doing for our kids when we are trying to teach them good lifeskills and moral lessons. Older children, too, can learn better ways of conduct and behavior when they see why it’s important and what’s in it for them. Good social skills help us get more of what we really want, more easily and with less stress, and a whole lot less of what we don’t want. And, a terrific by-product is that it will make our entire society a better place – for all of us. Next month…what are the most important social skills we should we be teaching our children and how do we start?

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Mobile Apps in the Classroom Education, there's an app for that! Here, I'll show you a few mobile apps that could be used in an elementary classroom. All of the Apps listed are free to use! This App helps student learn to spell in a fun and exciting way! It's very accessible because it's free. Would be great for kids to use in class or at home, if the child does not have their own phone they could use a parent's phone (this could increase parental involvement as well!). One drawback is that this tool is only available through Apple, so an alternative could be chosen for student with different types of phones or with computer access. Puppet Pals HD allows students to put together stories using puppets. This could be used in a language arts class or drama class to begin to learn storytelling. Would also be great to use to demonstrate understanding of a story already read in class, much like students often draw comics of stories read in class. You could have the students use this tool, draw a comic or act out a play for an assignment to add an element of choice to the project. SkyView Free - Explore the Universe Skyview brings the night sky to life. For science units dealing with stars and the planets, this app could be used for when the students go out on their own to look at the stars. Provides info on planets and draws out constellations for easier understanding. This app provides more information on planets and has night sky maps built in. Could be used alongside the sky view app or on it's own. Students could even compare the two apps and suggest ideas for improvement in each to build critical thinking within the assignment. Toca Kitchen Monsters Teach kids cooking with monsters! This could be done as an introduction or an extension to a cooking activity. Users get to feed the hungry monsters using a variety of ingredients and prepare the food using different food prep techniques such as boiling, slicing, heating and mixing. This app could even be used as the beginning of a conversation about nutrition and different types of food or what different animals eat. Great app to help develop fine motor skills while learning the alphabet! Students trace alphabet letters with a variety of "pen" choices. Learn a second language with Duolingo! This app could be used to support a second language program. It provides immediate feedback and a variety of ways to answer questions. Available in Spanish, French, German, Portuguese, Italian, and English! A student whose first language is not english could use this to help them outside of school, or if the the whole class is learning a second language, this could be used as a support tool. The app provides tracking of points, so students could be assigned to finish up to a certain level. To further increase accessibility, this app is also available online for computer users at https://www.duolingo.com.

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Mla descriptive essay format What is a descriptive essay? The descriptive essay is a genre of essay that asks the student to describe something—object, person, place, experience, emotion. The Standard Format of a Descriptive Essay. Descriptive essays, derived from the word describe, are used to effectively provide the readers details of how something. Automatic works cited and bibliography formatting for MLA, APA and Chicago/Turabian citation styles. Now supports 7th edition of MLA. Citation putting together the writing example college essay format essay;. Mla 2016-02-08 08, good descriptive essays yale their belt in the precis for how to. Writing a descriptive essay takes time and some creativity. Some students make the mistake of using a free descriptive essay from the internet and used as their own. MLA, or Modern Language Association, is a formatting style most often used in the humanities and liberal arts. When writing a descriptive essay, or an essay that. MLA Essay Format (With Example) MLA refers to a set of rules and formatting guidelines that are used by researchers within the humanities and liberal arts. Mla descriptive essay format Sample research paper written following the style guidelines in the MLA Handbook for Writers of Research Papers, 7th Edition This document will show you how to format an essay in MLA style.. “MLA Format Papers: Step-by-step Instructions for Writing Research Essays” to our website. MLA Page Format: First page.. The opening page to your essay should use the format shown below: top: Only the first page should include the whole heading and … ... mla research papers MLA Style Essay Format - Word Tutorial. MLA Handbook for Writers of Research Papers, 7th Edition [Modern Language Association]. While the MLA guidelines are used widely in literature and other.narrative essay in mla Basic Dialogue Format for. edition of MLA.narrative essay in mla mla essay format works cited 2016 Compare and contrast essays The aim of a compare and contrast essay is to develop the relationship between two or more things. How to write a Descriptive Essay: Outline, Format, Structure, Topics, Examples How to Write a Descriptive Essay A descriptive essay is one of several forms of writing you may be required to use in college, with the other forms being the. We are glad to introduce You our database of free Descriptive essay samples. These examples of Descriptive essays are to help you understanding how to write this type. A guide from Purdue University on using MLA guidelines in research papers, and citing all sources from a single book to government documents. mla essay outline MLA Format for Essays and Research Papers Using Microsoft Word 2003 CLICK HERE if you use Word 2007 Introduction. The Modern Language Association. standard research paper format One type of standard research paper format is that which has a technical device. It may help explain installation, operation, and. Descriptive Essay Help Format Descriptive Essay Format Descriptive essays, derived from the word describe, are used to effectively provide the readers details of … type my essay mla format Write My Essay. Essays are the huge part of your college life. You know that the demands of professors grow and essay writing becomes a … Mla format essays essay examples college. College essays application example of apa format.sample resume writing format In this free Resume Writing tutorial,. - Mla format essays essay examples college. College essays application example of apa format.sample resume writing format In this free Resume Writing tutorial,. - mla format works cited essay online WORK CITED ESSAY. Watch video.MLA Page Format:. maybe just a response essay?MLA Format Works Cited. by Stephen on … mla essay thesis acknowledgements phd thesis The best dedications ever written:. Our Essay editing services are extremely cost effective to fit in your budget.mla. write a mla essay MLA Format Essay – How to Write a Good MLA Paper. MLA Formatted Essays as an Example of a Perfect Writing. writing an essay in mla format creative writing essay format Custom Essay Writing Service. Why risk an important project?. But I don’t know how!”mla format.

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Bibliographic record and links to related information available from the Library of Congress catalog. Note: Contents data are machine generated based on pre-publication provided by the publisher. Contents may have variations from the printed book or be incomplete or contain other coding. CONTENTS FOREWORD PREFACE INTRODUCTION Storytelling: The Rewards are Well Worth the Risks How to Use this Book and Companion DVD Storytelling is Fun! Ch 1. The Power of Storytelling in the Classroom An Ancient Tool with Enduring Power Differences Between Storytelling and Story Reading An Authentic Activity That Motivates Students Imagination and Visualization Ch 2. The Educational Benefits of Storytelling Literacy Benefits Enriching Emotional Development Appreciation of Diversity and Cultures Other Than One's Own Opening a World of Storytelling Ch 3. Getting Started with Storytelling The Importance of the Teacher as a Model Setting the Tone for Storytelling Telling Family and Personal Stories Telling Jokes and Reciting Poems Telling Stories with Puzzles or Riddles Telling Stories Using Wordless Picture Books Retelling Stories Story Games Story Theater Ch 4. Planning and Preparing for a Storytelling Unit Length of the Unit What You'll Need Planning for a Culminating Festival Why We Discourage Contests The Importance of Teacher Expectations and Encouragement Dealing with Family Members With Reservations or Concerns Enlisting the Aid of Others Physical Setting for Rituals for Storytelling How to Include Students with Disabilities Working with English Language Learners (ELLs) Cultural Differences The Use of Props Students Telling Stories with Partners Ch 5. Introducing a Storytelling Unit Observing Live Storytelling Understanding the Importance of Storytelling Past and Present Understanding the Practical Importance of Storytelling Skills A Sense of Safety Listening Skills Books for Teaching About Storytelling in the Past and Present Ch 6. Helping Students Choose Stories to Tell Tips for Selecting Stories to Tell Modeling Storytelling for Your Students A Story to Get You Started (If You Haven't Picked One) Problems, Problems, Problems: A Folktale from India Ch 7. Helping Students Learn Their Stories Creating an Awareness of the Oral Tradition Making the Stories Their Own Methods for Learning Ways of Practicing Specific Suggestions for Classroom Practice Developing Characters Ch 8. Helping Students Tell Their Stories Beginnings and Endings Change Your Voice in Many Ways Put Expression on Your Face Use Gestures to Help Listeners See Pictures in Their Minds Look at the Listeners Working with an Audience Ch 9. Teachers Coaching Students, Students Coaching Students Keep Your Priorities Straight Our Style of Coaching Young Tellers Coaching Older Students Creating a Safe Environment for Risk Taking Teaching Student Tellers How to Coach One Another The Teacher/Leader's Role Handling Various Problems Suggestions to Keep Things Interesting Tools That May Help Ch 10. A Celebration of Stories On the Road to Other Classrooms A Family Storytelling Festival A School Storytelling Festival on a Grand Scale How to Celebrate in Your Community More Creative Ways to Celebrate Storytelling Ch 11. Assessing Student Storytellers Self-Evaluation Working with Rubrics Using Assessments to Help with Fund-Raising Ch 12. Storytelling Clubs and Troupes Establishing Goals Get 'Em While They're Young Group Size Laying Down the Ground Rules How a Long Running Middle School Troupe Worked Where Troupes Can Tell Fund-Raising Ideas For More Activities Ch 13. Helping Students Develop Family and Personal Stories for Telling and Writing Sharing Your Own Stories Collecting Family Stories Developing a Story for Telling (Lesson Plan) A Culminating Family Stories Event Ch 14. Storytelling as an Integral Part of the Curriculum How to Use Storytelling to Enliven Various Subject Areas Character Education Stories as Healing Tools Integrated or Thematic Units Handouts That Can Be Found Throughout the Book How To Learn A Story How To Tell A Story Stories I've Read Student Story Sheet Student Peer Coaching Guidelines Keeping Storytelling Alive at Home Storytelling Star Certificate Storytelling Skills Rubric Student Self-Evaluation and Goal Setting Prompts for Personal or Family Stories Appendix A: Suggested Stories for Students to Tell Stories From Our Anthologies Categorized by Difficulty for Telling by Second Through Eighth Graders Bibliographies of Stories for Telling Suggested Picture Books for Telling in Four Categories of Difficulty Suggested Anthologies with Tellable Stories in Three Categories of Difficulty Appendix B: Storytelling Resources Finding the Best Recent Resources: Storytelling Awards Favorite Storytelling Sources Storytelling Recordings Storytelling Web Sites Works Cited Index Companion DVD Children Telling Stories: A Storytelling Unit in Action (twenty minute main feature) Four Students Sharing Stories at a Family Storytelling Festival Chandler telling "Oh, That's Good! No, That's Bad!" Ari telling "The Man Who Didn't Know What Minu Meant" Sunyoung telling "The Mouse and the Sausage" Hannah telling "The Hairy Toe" 25 Stories in Printable Format for Students to Tell About the Stories Aesop's Fables A Handful of Peanuts Wind and Sun The Belly The Frog and the Ox The Dog and His Reflection The Two Who Tried to Please Everyone Excuses, Excuses World Tales Two Stubborn Goats on One Narrow Bridge (Cameroon) How the Milky Way Came to Be (Iran) The Boy Who Turned Himself into a Peanut (Democratic Republic of Congo) Three Goats in a Turnip Field (Norway) Coyote and the Money Tree (Apache) Monkeys to the Rescue (Tibet) The Little House (Russia) The Rat Princess (Japan) Why Frogs Croak When it Rains (Korea) Why Deer and Tiger Fear Each Other (Brazil) How Rabbit Fooled Whale and Elephant (African American) The Jackal and the Lion (India) Like Meat Loves Salt (Europe) Sample Student Authored Story for Telling Sneezy (original story by third grader Erik Devenpeck) Sample Stories From Our Anthologies of World Stories for Kids to Tell Tilly (England, Canada, United States) Why Parrots Only Repeat What People Say (Thailand) Juan Bobo and the Pot That Would Not Walk (Puerto Rico) The Argument Between the Sea and the Sky (Philippines) Sources for Stories in the Book and on the DVD Library of Congress Subject Headings for this publication: Children's stories -- Study and teaching. Storytelling ability in children. Activity programs in education.

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The Big One Nobody understands why Joe loves fishing. But one day, he catches something very special. This witty, sweet story about a boy who makes a fishing fan out of his father has a special emphasis on character. Students will understand how the main character feels throughout the story, as well as the events that cause him to feel that way. Character, text features, vocabulary, close reading, inference, plot, character’s motivation, explanatory writing This article and lesson support the following standards: Common Core anchor standards: R.1, R.3, R.4, W.2, SL.1, L.4, L.6 TEKS: 3.2, 3.4, 3.8a, 3.8b, 3.20c, 3.29, 3.30 Activity SheetsDownload All Lesson planPrint All Preview Text Features (10 minutes) • Direct students to the text features, including the bubble on the first page that says “Fiction.” Ask: What does this tell you? Point out the subheads and the Pause and Think boxes at the end of each section. Explain that the questions in these boxes will help them better understand the story. Set a Purpose for Reading • We have created a fiction package that helps students focus on one important aspect of the story—in this case, how the main character feels throughout the story. The tasks in the Think and Read and Think and Write boxes work together to support this skill focus. Have one student read the task in each box. • Read aloud the first Pause and Think box on page 11. These questions will check basic comprehension. (Students will delve into higher-level questions with the close-reading questions, available in this guide and online.) (15 minutes, activity sheet online) • This story includes four vocabulary words highlighted in bold: bait, rippled, reeled, and grime. • The words are defined at the bottom of the column in which they appear. Discuss the meanings of the words, looking at how they are used in the story to help students further understand them. • Distribute our vocabulary activity for more practice with these words. Reading and Unpacking the Text (activity sheets online) • First read: Students should read the story through one time for general comprehension. Whether your students read as a class, in small groups, or independently, ask them to answer the Pause and Think questions along the way. • Second read: Distribute the close-reading and critical-thinking questions. (For struggling readers, you can distribute the sheet of Pause and Think questions, also available online.) Preview them as a class. • Have students read the story again, pausing to answer the questions. Close-Reading Questions (20 minutes, activity sheet online) • Read the last three lines of “On My Own.” How do you think Joe’s mom and dad feel when they say “Wow” and “Gee”? How do you know? (inference) They’re trying to act excited, but they’re just not interested. You know this because they don’t say anything else, and they don’t ask any questions to learn more about what Joe is telling them. • In “Time to Fish,” why does Joe feel embarrassed that his dad is drinking hot chocolate? (character) Joe feels embarrassed because everyone else’s parents were fishing, not inside the tent drinking hot chocolate. • In “A Surprising Catch,” why does Joe’s dad take the elephant home? What do the last three lines of this section tell you about the fishing trip? (plot) Joe’s dad wants Joe to understand that the stuffed animal is special, even if it wasn’t what he wanted to catch. The last three lines tell you that Joe’s dad really did enjoy himself on the fishing trip. • In “A New Fishing Fan,” how does Joe feel when his dad asks to go fishing? Why? (character) Joe is surprised and happy. He didn’t realize his father had such a good time on their trip that he would actually want to fish again. • In the last line, what does Joe mean when he says he caught The Big One? (inference) In this case, Joe’s dad is The Big One. Joe “caught” him as a fishing partner. Critical-Thinking Question (7 minutes) • By the end of the story, why does Joe’s dad want to join Joe on his next fishing trip? (character’s motivation) Joe’s dad ended up having a good time on the first fishing trip with Joe. It didn’t matter that they didn’t catch any fish because they were talking and laughing and creating memories together. He wanted to do that again with his son. • Call on a volunteer to read aloud the Think and Write box at the bottom of page 15. • Download and distribute our Fiction Reading Kit, which focuses on key reading skills, including the featured skill, character. Have students work in small groups to complete it. Some inside scoop to share with your students: This story was based on the experience of author Tommy Greenwald’s oldest son. But there was one key difference in real life: After their unsuccessful ice-fishing trip, Tommy never fished with his son again! Speaking of Tommy Greenwald, he recorded the audio version of “The Big One” for us. Make the most of audio in your class with these ideas. Have your students do a creative writing exercise about a time they felt at odds with the people around them. Maybe they have a hobby that their family and friends don’t understand. This could also be a class discussion! Your students will love Tommy Greenwald’s other books, including the super fun Crimebiters series.

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Effective characterisation is not achieved by describing visual features alone (‘He had a light blue top with a faded, frayed collar’) but rather by balancing this kind of descriptive writing with action, motive and a trait, or traits. As motive and actions (and therefore, to some degree, plot) evolve from the characters/s’ temperament/s, emphasising this aspect of characterisation in our teaching leads to more ‘rounded’ characters in pupils’ stories. A successful method of achieving this is for the teacher to dramatise particular character traits and then ask the pupils ‘What kind of character am I ?’ The author begins with sad, happy, angry and shy , all of which are easy to render dramatically. Pupils are then invited to dramatise, or suggest, other character traits. If the pupils are reluctant to dramatise further traits the teacher may wish to continue with some of the following : lazy, cruel, greedy, jealous, confident, talkative, helpful, argumentative, cunning etc. After a list of traits has been generated it is usually possible to reinforce previous work on synonyms by grouping some of the words on a basis of similarity e.g. happy, joyful, cheerful, blissful sad, unhappy, cheerless, miserable etc. This activity also provides an opportunity to discuss / use a Thesaurus in a meaningful context. One of the traits is then chosen and the teacher explains that a game of ‘Show not Tell’ is going to take place. A sentence, which includes the chosen trait, is then written for all to see e.g. He / She was sad. The teacher explains (whilst writing ‘TELL’ before the sentence) that this is ‘telling’ the reader about the character. It is then explained that it is better to ‘show’ the reader what kind of character is developing by describing things that such a character would do ! The word ‘SHOW’ is then written under the sentence already on the board and the teacher asks the following question. ‘If I came into the classroom and I was sad what would I do ?’ The sentence starter ‘He---‘ is then written after the word ‘SHOW’ and the pupils are invited to suggest ways of continuing the sentence which demonstrate what a sad person would do e.g. ‘He cried a lot’ At this stage in the modelling of ‘Show not Tell’ process, judicious teacher interventions and questioning can maximise the learning opportunities ; Firstly the teacher can place a range of connectives between each of the pupils’ suggestions, thereby avoiding the ‘and then-----and then’ trap ! Secondly the teacher can extend answers through careful questioning : Teacher : What did he do ? Pupil : He wept ? Teacher : How did he weep ? Pupil : (No answer) Teacher : Can you give me a word that will ‘go’ after wept which will describe how he wept ? Pupil : bitterly etc. The final question, asked by the teacher, in the above sequence could be replaced with, ‘Can you give me an adverb of manner which we could place after the word wept ?’ The complexity of the questioning is determined by both prior and future learning. When the process has been completed the pupils are asked to compare the two approaches ‘Show’ and ‘Tell’ and to describe which works best. As there is clearly no competition the pupils are then asked to work collaboratively (pairs – fours) on a further trait selected from the list. Deadlining functions as a useful motivator (‘You now have ten minutes to complete the ‘Show not tell’challenge !) as does explaining that they will be required to read their piece to the rest of the class who will be invited to guess which trait they have chosen. The activity can be differentiated so that ‘more able’ pupils develop more complex multi – faceted characters. To achieve this, two methods can be applied. 1. The pupils are asked to choose two (or three traits) to be combined in their character description so that the final piece of writing evokes a character who is both shy and sad ; both happy and talkative ; both cheerless and lazy etc. The teacher can then discuss how events in a story can alter the character trait of their protagonist or antagonist e.g. A happy character is involved in a plane crash which traumatises him /her. After the event he / she is both sad and shy. Clearly this approach can only be taken after the teacher is sure that the pupil has understood the ‘Show not Tell’ process using a single character trait. 2. The second method of eliciting more complex characterisation is to consider trait development. This is best achieved through modelling but essentially the story begins with the character exhibiting infrequent aspects of their trait. As the story develops so does the trait so that, for example, a character who, at the beginning of the story is mildly annoyed becomes, by the end of the story,very angry. Incidents which occur throughout the narrative will influence the the development of the specific trait.The interrelationship between plot and character development makes this quite complicated at Key Stage 2. It is , however, achievable with more able Y4 – 6 pupils. An interim stage, which the author uses, is to focus (after single trait writing) on analysis of characters in books which the pupils are reading. The undoubted benefit of this is that the link between reading and writing is made explicit. A grid like the one below can be used by pupils to consider how authors create multi – faceted characters. |Name of character:||Title of book:||Author:| |Trait||Very (quote evidence and page number)||Quite (quote evidence and page number)||Not a lot (quote evidence and page number)||Not at all (quote evidence and page number)| The column of traits on the left should be altered by the teacher so that it relates specifically to the book being read. It should be noted that some characters in published books are, sadly, uni – dimensional ; for this reason books should be pre – selected by the teacher. A further aspect of characterisation which can be developed through direct teaching is interaction. This can easily be linked to trait development so that a shy person, for example, talks infrequently to others ; speaks in short sentences ; never instigates conversations etc. The same approach works with other traits and explicit discussion (and modelling) of this should help pupils to integrate the process into their own story writing. In conclusion, effective characterisation is achieved by focussing on much more than what a person is wearing. The busy teacher needs practical strategies to raise the standard of pupils’ writing. It has been the aim of this article to provide a range of new, practical, ideas which will assist in developing the ability of pupils to evoke believable characters in their narrative writing.

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What is storytelling? Based on these and other definitions that can be found on the references from the bibliography below, we can conclude that: - Storytelling is literally “telling a story”… it makes use of the oral language. - Storytellers “know” the story… it is not read, and it is not memorized word-by-word, but it is re-created every time it is told. - Storytellers use the tone and sounds of their voice, hand gestures, and movement to convey the story. - In many cases, storytellers promote a brief participation of the public by inviting them to join in with refrains, sounds, or noises. - Storytelling preferably does not include the use of props, costumes, or other visual aids. - Storytellers usually have a repertoire of folktales, traditional stories, fables, cumulative stories, etc., as genres that are more appropriate for this practice. “Noche is a wonderful way to return to the roots of literacy and use orality as a way to promote literacy in families,” says Oralia Garza De Cortes, a founding member of the Noche de Cuentos Task Force. Storytelling in Latin America Augusta Baker said: “Children need to hear stories that give them a sense of their own culture as well as stories that introduce them to other ways of thinking and doing, and that inherently teach respect for other cultures” (as cited in Greene, 1996, p. 33). Likewise, a program like Noche de Cuentos emphasizes the use of stories as a way to connect Latino children and families with their Latin American origins, while making their culture known to others. But… what is Latin American storytelling? Latin America is a conglomerate of countries, nations, cultures, and ethnicities. There is not an actual “Latin American identity.” The geographical area known as Latin America is too diffuse and diverse to be encompassed in one definition. There are, however, some commonalities that make possible to refer to the Latin American cultures. What do Latin Americans have in common? – Languages: Note the plural! Yes, Spanish is the main, but not the only, language spoken in the region. – Pre-Columbian civilizations: Some traditions and cultural remains of the region’s ancient indigenous civilizations still have a place in today’s cultures. – Colonial past: The influence received by the influx of Spanish, Portuguese, and other European colonists complemented the authochtonous legacy to create an inventory of local lore. So… can we refer to Latin American storytelling? Yes, but that means recognizing the diversity of cultures included in that vague concept, and focusing on the connections that the oral traditions perpetuated from the three sources mentioned above. With these remarks in mind, we invite you to explore the different traditional tales and stories from the vast array of Latin American regions. Please refer to the following bibliography of resources that include examples and information about oral traditions of the many Latin American cultures. If you have materials to add to this bibliography, please send us a message with your recommendation. Storytelling in Latin America: A Bibliography Balcells, Jacqueline. The Enchanted Raisin. Trans. Elizabeth Gamble Miller. Pittsburgh: Latin American Literary Review Press, 1988. Campoy, F. Isabel and Alma Flor Ada. Cuentos que Contaban Nuestras Abuelas: Cuentos Populares Hispánicos / Tales Our Abuelitas Told: A Hispanic Folktale Collection. New York: Atheneum, 2006. Dance, Daryl C. Folklore from Contemporary Jamaicans. Knoxville: U of Tennessee Press, 1985. De Almeida, Livia and Ana Portella. Brazilian Folktales. Ed. Margaret Read MacDonald. Englewood, Co: Libraries Unlimited, 2006. DeSpain, Pleasant. The Emerald Lizard: Fifteen Latin American Tales to Tell in English and Spanish / La Lagartija Esmeralda: Quince Cuentos Tradicionales Latinoamericanos. Trans. Mario Lamo-Jimenez. Little Rock: August House, 1999. Gerson, Mary-Jo. Fiesta Femenina: Celebrating Women in Mexican Folktales. Ill. Maya Christina Gonzalez. Cambridge: Barefoot Books, 2005. Gonzalez, Lucía M. “Storytelling and Recently Arrived Latino Children.” Celebrating Cuentos: Promoting Latino children’s Literature and Literacy in Classrooms and Libraries. Ed. Jamie Campbell Naidoo. Santa Barbara: Libraries Unlimited, 2011. 213-225. Greene, Ellin. Storytelling: Art and Technique. 3rd ed. New Providence, NJ: Bowker, 1996. Hernández, Antonio. The Eagle and the Rainbow: Timeless Tales from Mexico. Ill. Tomie de Paola. Golden: FulcrumKids, 1997. Leeming, David A. and Marion Sader. Storytelling Encyclopedia: Historical, Cultural, and Multiethnic Approaches to Oral Traditions Around the World. Phoenix, Az: Oryx Press, 1997. Lenox, Mary F. “Storytelling for Young Children in a Multicultural World.” Early Childhood Education Journal, 28.2, (2000): 97-103. Academic Search Complete. Web. 1 Feb. 2012. Lopez, Asbel. “Weaving Magic with the Spoken Word.” Unesco Courier May 2001: 48-49. Academic Search Complete. Web. 12 feb. 2012. MacDonald, Margaret Read. Traditional Storytelling Today: An International Sourcebook. Chicago: Fitzroy Dearbon, 1999. Montejo, Victor. Popol Vuh: Sacred Book of the Maya. Ill. Luis Garay. Trans. David Unger. Toronto, Ontario: Groundwood Books, 1999. Naidoo, Jamie Campbell, ed. Celebrating Cuentos: Promoting Latino children’s Literature and Literacy in Classrooms and Libraries. Santa Barbara: Libraries Unlimited, 2011. Perez, Elvia. From the Winds of Manguito: Cuban Folktales in English and Spanish / Desde los Vientos de Manguito: Cuentos Folklóricos de Cuba, en Inglés y Español. Ed. Margaret Read MacDonald. Trans. Paula Martin. Englewood, Co: Libraries Unlimited, 2004. Salles-Reese, Veronica. From Viracocha to the Virgin of Copacabana: Representation of the Sacred at Lake Titicaca. Austin: U of Texas Press,1997. Smith, Mary Morgan and Mary Ann Gilpatrick. “Storytelling 101: Resources for Librarians, Storytellers, and Storytelling Librarians.” Children and Libraries 3.1 (2005): 37-39. Vigil, Angel. The Corn Woman: Stories and Legends of the Hispanic Southwest / La Mujer del Maíz: Cuentos y Leyendas del Sudoeste Hispano. Englewood: Libraries Unlimited, 1994. Valdez, Mario J. “Storytelling and Cultural Identity in Latin America.” Latin American Narratives and Cultural Identity: Selected Readings. Eds. Irene Maria F. Blayer and Mark Cronlund Anderson. New York: Peter Lang, 2004. 9-27. [Alicia K. Long, 2012]

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Benefits of Inclusion for Typically Developing Children Part 1 of a two-part series, academics and advocacy The benefits of inclusive education for children with special needs have been well documented, including increased positive gains in academic skills, as well as motor, cognitive, self-help, language, and social skills. Increasing positive outcomes, both short term and long term, for children with special needs in general education classrooms is the goal of inclusive education, but those with special needs are not the only fortunate recipients. Despite the benefits of inclusive education for typically developing children being just as dynamic, they are not as well dispersed. For the next two months, the Haring Center Today will explore the advantages typically developing children receive from participation in inclusive classrooms. The most prevalent concern of inclusive education voiced by parents of typically developing children is that children will not receive the same amount of challenging instruction, or that being taught in an inclusive classroom will slow a child’s progress. This has been demonstrated as untrue. Research has consistently shown that children without disabilities do equally well or better academically when taught in inclusive classrooms when compared to children who are in classrooms that do not include children with disabilities. Both children with and without disabilities benefit from the individualized instructional support that comes from teachers who are skilled at modifying the teaching strategies they use to help students overcome learning challenges. This practice of differentiating instruction to meet the learning needs of all children is used in inclusive classrooms, regardless of whether a child has a diagnosed disability or not. Studies show that inclusive classrooms tend to be of higher quality and employ staff who use state-of-the-art practices. Children without disabilities also learn skills that are not explicitly taught as part of a traditional educational core curriculum, but are skills that are beneficial to children throughout their school years, and beyond. For example, an Experimental Education Unit (EEU) preschooler’s parents explain an important set of skills their daughter has learned as a result of her time in an inclusive classroom: "At the EEU, Olive is learning how critical it is for everyone to have a voice. As a result, she is finding her own." — Cassie Martin (mom) “Olive is learning important things at the EEU, like how to read and write. While these are great, what matters most is that she is learning to be socially responsible. Our favorite recent example of why inclusion matters: Olive has a friend in class who uses picture exchange as a method to communicate. Once, he dropped one of his pictures from his communication book. Olive picked it up, handed it to him and said, ‘Friend, you dropped one of your words!’ She knew it wasn’t his picture. She knew it was his word. At the EEU, Olive is learning how critical it is for everyone to have a voice. As a result, she is finding her own.” Recognizing and appreciating the differences amongst her friends in how they communicate, Olive is developing a mindset that might not have been possible if not for inclusive education. By learning to embrace diversity from an early age, she developing a skills and attitudes that will set her up for success throughout her life. Former EEU student Delaney Foster is a recent graduate of King’s High School, a private school in Shoreline, and was a leading member of the school’s robotics team. Delaney’s sister, Kendall Foster, was diagnosed with autism in early childhood and now attends Roosevelt High School in north Seattle. While Kendall attended all of Delaney’s King’s robotics practices and competitions, cheering along as the team’s biggest fan, there weren’t options for her to participate in her passion for robotics at her own school. This lack of opportunity for her sister motivated Delaney to make a change and impact the quality of life for her sister and others like her. Delaney worked hard to organize a unified robotics team that would include students with and without disabilities, and three years ago her hard work paid off. In 2013, a unified afterschool robotics program launched, a collaboration between King’s High School and the special education program at Roosevelt High School. More than 20 students with special needs are now participating in this program, all with teammates and mentors who are students at King’s. Delaney Foster’s motivation to advocate for and include people of all abilities in quite common for children who participate inclusive education. Studies have shown not only the academic benefit of inclusion, but also the long term impact on the social and character development of children without disabilities. Among many other benefits, it has been shown that children without disabilities who are in inclusive classrooms more often go into ‘helping’ professions, such as social work, teaching and medicine. In short, inclusion is good for everyone. Children without disabilities who are part of inclusive classrooms, through their increased awareness and acceptance of difference and diversity, are helping to make the world better for everyone. Academics and advocacy are just two benefits for children without disabilities are taught in inclusive classrooms. Next month we will explore more.

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Organizing Reading Instruction In grades four and five most teachers have a large block of time for reading and can organize instruction into three or at the most four guided reading groups. Once students enter middle school, teachers have 42 to 50 minutes to teach reading, therefore, meeting frequently with guided reading groups becomes impossible. Whether your curriculum is based on guided reading, reading workshop, or a more traditional model, three teaching and learning practices should be an integral part of instruction: Instructional Interactive Read Aloud, Instructional Reading, and Independent Reading. In this newsletter, I will discuss the benefits of each one of these teaching practices. Instructional Interactive Read Aloud Reading can be taught, and having the teacher model in a think aloud how she applies a reading strategy builds and/or enlarges students’ mental model of how a strategy works. For this aspect of instruction, I suggest that the teacher models with a short text that matches the genre and/or theme that ties a reading unit together. Short texts can include a picture book, an excerpt from a longer text, a folk or fairy tale, myth or legend, a short, short story, or an article from a magazine or newsletter. Once you’ve modeled how to apply a strategy such as making inferences, add the interactive component. The goal is to involve students as soon as possible for two reasons: - You can observe students’ thinking process. You can also identify students who don’t respond and confer with them to explore their reasons not participating. Once you know why active involvement is minimal, you can help them gain the confidence to participate by helping them prepare to answer a question. - You’ll involve students in the lesson and make it interactive instead of passive. Involving students in the lesson can lead to engagement and an investment in the learning. Here are some skills and strategies that you can model in interactive read aloud lessons: - Making inferences - Identifying big ideas and themes - Identifying central ideas and themes - Locating important details - Skimming to find details - Author’s purposes - Purposes of informational texts (nonfiction) and literature (fiction) - Literary Elements and how each supports comprehension: setting, protagonist, antagonists, plot, conflicts, other characters, climax, denouement - Informational text structures and how these support comprehension: description, compare/contrast, cause/effect, problem/solutions, sequence, question/answer - Word choice as a guide to pinpointing mood or tone - Vocabulary building with an emphasis on: general academic vocabulary, figurative language and comprehension, using roots, prefixes, suffices, discussing concepts, diverse word meanings, and different forms of a word. During class, the teacher can continually circulate among students to observe and offer quick, desk side conferences. Instructional reading should happen during class. Students need to read materials at their instructional reading level—about 95% reading accuracy and about 85 % comprehension. Organizing instructional reading around a genre and theme—for example biography with a theme of obstacles—permits students to read different texts and discuss their reading around the genre and theme. The reading workshop model is ideal for this type of reading instruction. The class opens with an interactive read aloud lesson that lasts about ten minutes and occurs daily. These lessons include vocabulary and word building. You can find books for students in your school library, your community public library, and in your class library and school’s bookroom (if you have one). Instructional reading books stay in the classroom, as students from different sections will be using the same materials each day. Teachers have students chunk instructional texts by putting a sticky note at the end of every two to three chapters. When students reach a sticky note, they stop to discuss their books with a partner and then a group of four. During this stop-to-think time, students can write about their books, connect the theme to the book, and apply strategies and skills the teacher has modeled during interactive read aloud lessons. Partners should be no more than one year apart in reading levels so they have something to contribute to each other. Students reading far below grade level learn with the teacher. Reading forty to sixty self-selected books can become the achievement game changer, especially for students who read below grade level. Students can read graphic novels, comics, magazines, e-books, and print books. By encouraging them to read accessible books on topics they love and want to know more about, you develop their motivation to read, read, read! Have students keep a Book Log of the titles they’ve read and reread. Do not ask students to do a project for each completed book, for that will turn them away from reading. A book talk a month and a written book review twice a year on independent reading is enough. Trust and a personal reading life are what your building. In the archived newsletter, “Independent Reading” you’ll find directions for four book talks and for writing book reviews. You’ll find this newsletter under the tab, “Resources” on my website. Students should complete thirty minutes of independent reading a night, and that should be their main homework assignment. Try to set aside two days a week for students to complete independent reading at school. TEN Ways to Improve Students Reading To develop students’ reading proficiency and motivation to read, you need to balance instructional and independent reading. Both kinds of reading are the foundation of these ten suggestions. - Instructional Reading: teach students to comprehend and think deeply about instructional materials to enlarge their vocabulary, enlarge their prior knowledge, and develop understandings of complex concepts such as human rights. - Independent Reading: in addition to instructional reading, students read thirty to fifty books a year —books they can read with 99% to 100% accuracy. Like sports, to improve their reading students practice skills and build automaticity in applying specific strategies. - Choice: give students choice in independent reading materials and as much as possible with instructional texts. Choice results in motivation and engagement because students explore their passions and interests. - Easy Access to Reading Materials: one of my eighth graders pointed out, “we need all kinds of reading [materials] at our fingertips.” My hope is that teachers will build class libraries with 700 to 1000 books and magazines on a wide range of topics and reading levels. - Teacher Reads Aloud: read aloud to introduce students to different authors and genres and model how you think about texts. Choose materials students will enjoy! - Discussions: these make learning interactive, help students clarify their hunches, and provide accessible peer models for thinking about texts. - Book Talks: invite students to present a book talk a month to advertise favorites. Over ten months, students will be introduced to 250 to 300 plus books recommended by peers. - Silent Reading: set aside twenty to twenty-five minutes of silent reading at school. This can be instructional and independent reading. Have students read at home for thirty minutes each night. - Readers Notebooks: 4invite students to complete informal written responses in their notebooks. Students can draw, draw and write, or write their reactions to read alouds and instructional and independent reading. - Conferences: hold three to five minute conferences to discover students’ reading strengths, build self-confidence, and determine whether scaffolds are needed. Show students how to confer with one another and document their paired discussions. These ten ways to improve reading provide research-based practices that can help students develop positive attitudes toward reading and read, read, read to build stamina and proficiency. The Principal’s Corner Including the three layers of reading into a middle school curriculum brings balance, engagement, and motivation to the curriculum and holds the potential of improving reading for all students. When the teacher models how she/he applies a skill or strategy to a specific text, the teacher provides opportunities for all students to observe how a skill or strategy works. Instructional reading asks students to apply specific skills and strategies to texts that can improve students’ comprehension, vocabulary, and skill because these texts stretch students’ thinking with the teacher, the expert, as a supportive guide. Equally important is independent reading: easy, enjoyable texts that students self-select on topics, genres, or by authors that interest them—texts about two years below students’ instructional level. In my school, I hold teachers accountable for the three types of reading. I encourage teachers to set an independent reading goal for students of forty books a year in addition to their instructional reading. Independent reading that offers students multiple opportunities to practice what they learn from instructional reading can develop students’ personal reading lives and accelerate their reading achievement. To support independent reading, try to find and allocate funds to build teachers’ classroom libraries so students have quick access to books. Once-a-week-visits to the library are not enough to meet the forty-book challenge. Here are some sites to Google to find outstanding books for class libraries: - Teachers Choices and Children’s Choices: a yearly list from the International Literacy Association - Orbis Pictus Annual Awards for Nonfiction - American Library Association’s Annual List of the Best Young Adult Books. - The National Association of Teacher’s of English (NCTE) annual list of Books for a Global Society - The Newbery Award Winners - The Children’s Book Center’s annual list of multicultural books Evan Robb, Principal Johnson Williams Middle School and author of: The Principal’s Leadership Sourcebook, Scholastic, 2007.

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Facts and Fun Information about the California Gold Rush What started as a discovery of Gold nuggets initially in the Sacramento Valley in 1848 became "one of the most significant events to shape American history during the first half of the 19th century." (History) The California Gold Rush was a significant event because it helped usher in an era that greatly expanded the West and built an economy. Thousands of prospectors came by sea and land to get their hands on the riches that were so abundant in the northern California region. Once rumors spread about the discovery of the nuggets, it took little else to gather the masses. There are many tales about the California Gold Rush. While some may be true, others are exaggerated for the sake of show and storytelling. Here are seven facts and fun information about the Gold Rush of 1849. 7 Facts and Fun Information About the Gold Rush - It all started with a man named James Marshall. When working as a carpenter, Marshall discovered Gold flakes at the base of the Sierra Nevada Mountains. The mill he was working in at the time was owned by John Sutter. Despite trying to keep the news of Gold on the property a secret, word leaked out and the masses came running. - The Gold Rush caused the largest migration of people to one location ever documented. Prospectors and business owners came from as far as China to explore the rumors of Gold. After the Gold Rush died down, it was estimated that 100,000 non-Californians settled there. Because of the migration, San Francisco became a forefront of a bustling economy and a shining light on the new frontier. - California was admitted into the Union in 1850, becoming the 31st state, in response to the Gold Rush. The United States had obtained California as a free state after being ceded by Mexico after the Mexican-American War in 1848. Little did anyone know the Gold Rush would put California on the fast-track to officially becoming a state. - The California Gold Rush was a short-term event in relation to years. From 1848 to 1857, Gold was mined and excavated in force. Millions of dollars in Gold were either pulled from the ground or deposited due to blast mining and surface excavations. The largest haul in one year was $81 million in 1852. - There were no banks in California in the early parts of the Gold Rush. California passed a constitution in 1849 that prohibited creating state or commercial banks. Banking was conducted by private individuals who could set their interest rates and loan amounts. Free of government regulation, these bankers could also change Gold into currency. - Merchants made more than some miners. Because it was vital to provide a support hub to miners, merchants and business owners opened shops to feed and clothe the miners and supply the necessary materials for excavation. Many merchants made a fortune offering support to the miners and after the Gold Rush many stayed in the area to conduct business. - Ships played an important role in building San Francisco. Even though there were settlers and miners who came in on wagons and foot, some came through the ports of San Francisco. Many ships were abandoned while others suffered greatly on their way into harbor. The ships were either repurposed as hotels or shops while others were torn apart for lumber. The ships incidentally provided San Francisco much needed and important supplies. (History) The California Gold Rush offers many important historical narratives. Most importantly, it shows the importance of Precious Metals and the role they play in an economy. Gold would soon become an important part of cultural and financial lore.

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What Are Open-Ended Materials? Open-ended materials have potential use (typically re-use) for purposes different than for which the items were originally manufactured. Research and practice has demonstrated that open-ended materials are a powerful, economic and often-overlooked resource in education where stimulation of creativity is an important ingredient. Open-ended materials take many forms including • Different sizes, textures, shapes, and colors of paper, fabric, carpet, plastic and metal. • Pre-made blank books. • Envelopes, folders. • Canvas and plastic bags. • Jar lids and bottle caps. • Containers, jars, vases, and boxes. • CDs, CD cases. audio tapes and cases. • Seasonal decorations and components thereof. • Manufacturing scrap. • Packaging such as foam, styrofoam, and bubble wrap. • Out-of-date promotional items. • Foam core and poster board (even if used on one side). • Picture frame molding, corners, and mat samples. How are Open-Ended Materials Used? The follow links to indicated articles contain a wealth of information on how others have used open-ended materials in effective ways. Check them out and you might find some ideas you can try. • Promoting Creativity for Life Using Open Ended Materials. • Endless Possibilities: Free play helps your child build knowledge, skills, and creativity at his own pace. • Introduction to Open-ended Materials. • Creating with Open-Ended Materials. • Early Childhood Open Ended Art Projects. • Writing to Share – Open-Ended Materials. • Open-Ended Play with Blocks and Simple materials. • Open-Ended Inquiry in Science Education. • Your Inspiration. • A to Z Teacher Stuff: Lesson Plans. A Great Example To learn about a great example of how a Waste Not Center member used open-ended materials in a creative writing class visit: http://www.cosa-oh.org/wnc_creativity.php. Where Do I Find Open-Ended Materials? The Waste Not Center is stocked with open-ended materials. If you do not live in Columbus, OH we may be able to direct you to a similar resource in your area. Give us a call at (614) 278-9445 or send us an email at firstname.lastname@example.org.

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news & tips A collection of helpful articles on teachers and teaching Comic Books in the Classroom? How Reading and Writing Comics Boosts Literacy by Monica Fuglei Teaching is a tough job, and teaching literacy in underserved areas can be particularly challenging. With an increased focus on student performance, many teachers must push literacy for their students but can sometimes meet resistance from disinterested students who feel their assigned reading is boring. It’s no wonder so many teachers are feeling beat up these days. Wham! Biff! Kapow! How comics help win the battle for literacy Never fear — help is on the way. As superheroes often can be, this help is in disguise, wearing the brightly-colored pages of a comic book. With a little work, they can sweep in to help save the day. Comics are winning increased respect in the academic field as a powerful combination of storytelling and art that builds student engagement with course content. Jason Tondro, author of the blog Doctor Comics, provides an excellent review of several books about comics and their positive effect on literacy. These publications speak to an increased movement among teachers to find material that combines attractive form with content. This both engages students and allows them to attach the curriculum to their own worlds, reinforcing content knowledge by making it personal. Comic books in the classroom: A powerful storytelling tool Comic book heroes have been taking over classes in Denver, Colorado since 2010. Comic Book Classroom is a non-profit group whose mission is to improve literacy and arts by providing a free comic-based curriculum as well as support for the teachers who use it. While much of their current outreach is local to Denver, CBC provides curricular support to teachers across the nation and has helped increase the literacy and arts engagement of over 400 students in their first three years. They currently provide a unit called “Problems in My World,” a two-45-minute-class unit that helps introduce comic book language and techniques to students while connecting five Common Core Standards to their own experience. Comic Book Classroom’s website also provides an area for teachers to share and discuss their own comic-based lesson plans. Literacy outreach to kids at Comic Con Comic Book Classroom recently had their second annual Comic Convention. With a focus on their mission, the CBC ensures that the Denver Comic Con pays ample attention to their Kids’ Corral, which highlights their goal of connecting youth with the power of comics by providing age-appropriate comics, a reading area, a stage for youth-oriented presentations, and plenty of hands-on activities to exhilarate young people. This year, Kids Corral highlighted special reading guests. Peter Mayhew (Star Wars’s Chewbacca) read from his own children’s book. William Shatner snuck into the Kids’ Corral to read “Where the Wild Things Are” to the crowd: Beyond engagement: Writing comics teaches students plot analysis, story elements and problem solving Comic Book Classroom is far from alone in their mission: several other organizations seek to marry curriculum content with the excitement of comics. The National Council of Teachers of English and several other online resources like Edutopia focus on the importance and benefits of using comics in the classroom while other sources like Free Technology for Teachers and Comics In The Classroom provide tangible strategies for integrating comics into the curriculum. As the Comic Book Classroom describes, the visuals of a graphic novel can provide an excellent means for teaching basic movements of plot. Because so many of the features of writing are apparent right on the brightly-colored pages, one excellent way to use comics is to show early readers the parts of a story and help them with plot forecasting and recall. More developed writers and readers can use a graphical representation of a story to ensure that all major story elements are present in their own writing or to easily identify them in the comics they read. Additionally, the marriage of classroom content with a graphical interface can further open students’ eyes to literacy content in their own at-home worlds. A homework assignment that encourages students to find an example of a comic to discuss in class encourages them to explore reading and writing online, in print media, or even in advertisements. Sending students home or to the library to find comic books provides opportunities for content discussion that further reinforces the idea that writing and reading are a part of their world and can help save the day, one student at a time. Monica Fuglei is a graduate of the University of Nebraska in Omaha and a current adjunct faculty member of Arapahoe Community College in Colorado, where she teaches composition and creative writing.

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NC 2014-15 Overall Performance Score - 72; Grade - B NC 2013-14 Overall Performance Score - 76; Grade - B Mathematics at our school is taught by giving students opportunities to solve engaging problems and by building on the natural ways children make sense of numbers. Rather than primarily giving students worksheets of problems and prescribing formulas to find answers, teachers convey the fundamental concepts that will allow students not only to make calculations and memorize math facts, but also to solve problems that are meaningful to them. Teachers ask students to explain their thinking. By explaining how they solve problems, children learn that math is a process of thinking and a tool to use in life. Students’ thinking moves developmentally from the concrete to the abstract. In this way, students become adept at higher levels of critical thinking, such as synthesizing, analyzing, and applying. Research has shown that when children construct for themselves new ways of thinking about problems, understanding is deeper and can therefore be applied to new situations. While all students at Evergreen learn to use math for problem solving and abstract thinking, we also work to differentiate our math curriculum for students of different abilities and learning styles. For this reason, students will sometimes work in flexible ability groups for math instruction. Specific components of mathematics include: The commitment of math facts to memory, so that recall of addition, subtraction, and multiplication becomes “automatic” Measurement, time, money, and other areas of “practical” math Calculations, geometry, algebra Word problems and hands-on problem solving with manipulatives or real-world situations Differentiated assignments, homework, and/or instruction Heterogenous grouping or ability grouping, as appropriate Social Studies is explored through interdisciplinary units in which our students gain a better understanding of the diverse world in which we live. Students develop the awareness that they are a small, but important, part of a broader civilization, culture, and world. Students will gain an enriched knowledge about the world through reading, film, and direct experiences such as: Creation of communities, cities or villages within the classroom Exploration of the broader community, especially Asheville and the French Broad River region Internships, shadowing community leaders, or mentoring Individual and cooperative research projects Community and international service projects Our Language Arts curriculum makes literacy relevant to children’s lives. We foster a love of reading and communicating. Learning strategies that enable one to effectively read, write, speak, think, and listen extend the child’s natural inclination to communicate ideas, fantasies, emotions, thoughts, questions and experiences with others and for themselves. Our curriculum is based upon the premise that communication involves complex processes and skills, all of them basic not only to communication, but to living as a fully-functioning, creative human being. It is rooted in the Language-Experience approach and Piaget’s assertion that a child’s interests and experiences are used as a springboard into further investigation via reading and writing. Specific components of our curriculum include: Reading for fluency Vocabulary development and word exploration Reading comprehension strategies Individual reading conferences Small group guided reading Homework reading nightly Writing: journal writing, report writing, dictation, writing as a process which involves brainstorming, outlining, creating rough drafts, critiquing, revising, creating a final draft and publishing. Writing with a focus on the six traits: ideas, organization, word choice, voice, sentence fluency, and conventions Read aloud daily where developmentally appropriate Silent, sustained reading Shared reading and drama Speaking and viewing experiences: class meetings, project presentations, storytelling Science is the process of discovering and understanding the physical world and its dynamics. We provide opportunities for students to explore and experiment actively, and to supplement hands-on activities with projects involving research. Teachers will guide students in scientific inquiry and in constructing logical conclusions. The primary grades emphasize the wonder of the world around us. In the upper elementary grades, students learn the formal scientific method and a format for performing and writing up scientific experiments. In middle school, students use formal scientific inquiry regularly and determine findings through research. Scientific inquiry includes: Observing, classifying, questioning Predicting and forming hypotheses Experimenting, identifying and controlling variables Gathering information from many sources, including the internet, books, magazines, encyclopedias, film, field trips, guest speakers, etc. Collecting and analyzing data Drawing conclusions and communicating them effectively Learning from “mistakes” and revising experiments or conclusions ASSESSMENT AND TESTING Assessment at our school is a tool for growth. We begin by assessing what the child can do, observing how the child learns, gathering information about learning obstacles the child might encounter, and then we differentiate lessons accordingly. Throughout the school year, teachers assess students’ skills and knowledge regularly, provide written feedback to students and parents, and provide instruction that enables the student to build on strengths and address weaknesses. Evergreen Community Charter School has a balanced system of assessment consisting of three components: performance-based assessments reflecting all disciplines; portfolios; and standardized state tests in communication and mathematics for grades three through eight, for writing in grades four and seven, for science in grades five and eight, and for computer skills and algebra in grade eight. This system generates needed diagnostic and achievement information for the individual student and for our school. Performance-based assessments are defined as rubrics that indicate the level of performance on assigned tasks, and on-going teacher observation/evaluation of skills needed for the student’s particular grade level. We do not issue traditional grades of A,B, and C; instead, teachers provide ongoing dialogue and written feedback about students’ work, as well as narrative and rubric reports each trimester that detail students’ progress and abilities in all subject areas. In addition, teachers and parents will confer on student progress twice each year, once in the fall and once in the spring. Student-led conferences 1-2 times per year allow students to report on their progress to parents. Portfolios are defined as writing, math samples, social studies, and science samples from each of the three assessment periods that provide evidence of academic growth, as well as the student’s strengths and weaknesses. The portfolios are used to support student placement decisions, identify areas needing further study, and, at conference time, provide parents with a resume of what their students are able to do. The school does not rely on "one-shot-tests” and seat time to determine student progress. Instead, students demonstrate their proficiencies in a variety of ways. Standardized state tests include all required North Carolina state tests for 3rd through 8th grade. Students in grade 3, 5 and 8 shall demonstrate proficiency by having test scores at Level III or above on end-of-grade tests in both reading and mathematics. We are required as part of our charter with the State of North Carolina to administer all state-mandated tests. These tests are part of our balanced assessment. The End-of-Grade/End-of-Course tests are always administered during the last three weeks of school. Want to know more about how Evergreen uses MAP testing to inform planning for instruction and differentiation for individual student needs? Call or email email@example.com Cameron Brantley, Associate Director.

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The International Council of Museums explains that museums serve our society by sharing the “heritage of humanity and its environment for the purposes of education, study and enjoyment.” As you can imagine, it takes a lot of time and money to create, develop, and support a traditional museum. New digital-age tools make it easy to create a user experience that doesn’t exist physically, providing opportunities for community members to learn without having to travel. Your local community wants you to share the history and influences of how the community was founded and has grown over the years. They don’t have money or space to build a physical museum; instead, they hope that technology can help share this heritage using online exhibits. Your task is to build an online museum to share the stories of the people, historical sites, and artifacts that make the history of your community unique. Bring an object from your home that has is both historical and important to your family. For example, grandma’s rolling pin, a quilt made by your aunt, or a few baseball cards from your dad’s collection. Share a story or two about the object or the time period from which it came. Talk with your students about your decision whether or not to let them touch the object or objects. Can they touch objects in a museum? Why or why not? It is important to see the object in real life, even if they can’t touch it? To help get your students thinking about how to share stories through artifacts at a digital exhibition, show examples of online museums with your students. Examples might include History Day exhibitions like Out of the Box and Into the Oven and digital extensions of existing brick-and-mortar structures like the Anne Frank House. How do these sites connect the viewer with artifacts and information? Rather than providing students with a survey of the history of your community and boring them with facts and dates they may not care about, ask students to share what they already know about local celebrities and important historical events. You can prompt them with pictures of people and places if necessary, but you will likely be surprised at what they already know. Record the people, events, and information students share in this discussion. Don’t organize by timeline; instead, work together to group similar items together. You may want to give students a day or two to add to the list. You can also task studentes with asking a parent, older family member, or neighbor about the past of your community. Great exhibitions include human stories, and learning to talk to adults will help them be more confident if they need to conduct interviews for their online museum exhibition. Choose a group of student team leaders. Have them choose an item from the list they want to learn more about. Then let other students form groups of 3-5 around the selected topics. If some topics do not generate sufficient interest or you have leftover students, have them choose another topic with the caveat that they must find at least 3 like-minded team members. Student teams should begin the research process with a brainstorm about how and where to find information. It may be hard to find books on local, so be prepared to encourage them to move beyond the library and Wikipedia to include local experts and community institutions. Part of this process is learning how to be a historical detective. Giving them a set list of research resources doesn’t require them to think about how to find information. Have them share their initial ideas with the other teams in the class. Encourage groups to share ideas for resources. As teams begin collecting factual information, images, and maybe even interviews, they should begin to determine the story they want to tell. Who are the central characters? What is the conflict or problem? A great museum isn’t just a collection of artifacts. Compelling collections include stories to place the objects in their historical context. As they begin research and developing the story for their exhibition, teams should create a flow chart storyboard that outlines the progression of artifacts and supporting media people will experience in their museum. As students clarify their flow charts, they should continue to research and collect facts, stories, and media artifacts. They will need to collect media for each part of the exhibition’s story. Media artifacts can include: At this point, or possibly even earlier, you will want to talk with students about issues of copyright and permissions. Because they are creating an online museum intended to be a real community resource, student work will not fall under the Fair Use Guidelines for Educational Multimedia. Rather than relying on copyrighted work, have students take original photographs of physical objects they have found during their research. They should request written permission from the subjects of photos and videos as well as from people who have allowed students to take photographs of their property or possessions. Local history sites may also have archives that include copyright-free media. The Library of Congress is a great resource for primary source documents, all of which include information about the copyright status of the artifact. When in doubt, assume you do not have permission. Remind students to ask sources for permission and to create as much original content as possible. Teams should write informational text, narration, and captions for each stop in their online museum. As they work to build their collections, they can organize each stop on the flow chart tour with a single artifact or story. Students can use online tools like Wixie or Google Sites to create their virtual exhibitions. Since so much work has gone into using storytelling to connect the viewer with the past, teams may want to make their exhibitions self-running. By definition, the online museum can be shared with the world by distributing its URL. Although these virtual exhibitions exist online, you may want to invite parents and community members to a celebration to showcase the work students have done. If students use Wixie to develop their virtual museums, have them share the URLs with potential “visitors.” Students can use Share to create an online museum complete with images, narration, and videos, or use other tools like Google Sites to create the pages. You may also want to create a web page or classroom blog post with links to each group’s project. You can also use Share to create a home page with links to each student-created exhibition. If students create virtual museums related to local history, be sure to invite your city council person and members of the historical society. Remember to have a sufficient number of devices on hand so students can act as docents while sharing their online museums. The virtual museum is a great “writing across the curriculum” performance task, where students engage much more deeply with content as they read and write outside of language arts class. This allows you to evaluate students’ content knowledge about a time you are studying in a fun way. The research process helps them build important literacy skills in Social Studies and Science as they practice finding and evaluating research materials and reading data and primary source materials. Their use of graphic organizers and charts can help you “see” their understanding. Their writing gives them an opportunity to practice sharing scientific and historical information through a combination of informative and narrative writing. During the process, you will also want to complete formative assessments so you can better determine which supports or additional instruction students need to better comprehend the content they are exploring and the skills they need to complete the project. For example you could do a 3-2-1 style exit ticket after work each day, where individuals share three things they learned, two things they found interesting, and one question they have. You can also evaluate student groups for teamwork, responsibility, organization, and problem solving during the process. Janet Hoskins. Biographical Objects: How Things Tell the Stories of Peoples’ Lives. ISBN: 0415920124 Dawn Raffel. The Secret Life of Objects. ISBN: 193754303X Literacy in History/Social Studies CCSS.ELA-Literacy.RH.6-8.1 Cite specific textual evidence to support analysis of primary and secondary sources. CCSS.ELA-Literacy.WHST.6-8.2 Write informative/explanatory texts, including the narration of historical events, scientific procedures/ experiments, or technical processes. CCSS.ELA-Literacy.WHST.6-8.7 Conduct short research projects to answer a question (including a self-generated question), drawing on several sources and generating additional related, focused questions that allow for multiple avenues of exploration. 1. Creativity and Innovation Students demonstrate creative thinking, construct knowledge, and develop innovative products and processes using technology. 2. Communication and Collaboration: Students use digital media and environments to communicate and work collaboratively, including at a distance, to support individual learning and contribute to the learning of others. What can your students create? Create custom rubrics for your classroom. Graphic Organizer Maker Create custom graphic organizers for your classroom. A curated, copyright-friendly image library that is safe and free for education.

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Celtic music is about 3000 years old- so how do we know what it sounds like? Come with me to ancient Europe and check out what the Celts were listening to! As you may have guessed, we know how Celtic music sounds because of oral tradition. Long before the times of smart phones, people had to actually remember things (I know, shocking, right?). They would memorize songs and teach others for generations to come. As millenia passed by, the music evolved and changed; however, the quintessential “Celtic” sound stuck around and is staying alive 3000 years later thanks to artists like Adrian von Ziegler. What was it about? History was recited and stored in Celtic songs and poems. Martin J. Dougherty notes in his book, Celts, that if a bard (highly revered professional poet) made a mistake in the dates, names, etc., it would be easy to spot because it would throw off the entire song. Of course, with human memory acting as unwritten textbooks, many legends have formed from these poems. Songs weren’t just historical recitations, though. They could cause some serious social damage. Praise and satire were commonly employed by bards. Satire would be used to mock a fallen enemy or disgrace someone for an unjust action. If a bard were to satirize someone, that person could kiss his reputation goodbye. A bard could even satirize a king without punishment. What if someone wasn’t particularly fond of being satirized? It could be undone with a song of praise. A song of praise could also unimaginably raise a person’s reputation. But bards didn’t just shame or honor people- they could prevent wars. Wars between tribes could start from a simple insult. There were songs about wars, but sometimes they prevented them. A bard was supposed to be able to grab and hold people’s attention. If a dispute arose, the bard could cool the hostility with a song. Why should people have a war over dishonoring someone’s pride? Music didn’t just save lives, it helped make them more fun! As in any party, music was essential. How can you have a party without music? The Celts, like any culture past and present, would hire bards to entertain at parties. Some were hired in royal courts to entertain the family or guests to a party. Their voices were their primary instrument, but the Celts developed numerous other instruments to aid in their poems and storytelling. The bagpipes that we’re used to are the Scottish highland pipes. The uilleann pipes are like the Irish version, except that they are much quieter and have different numbers of the same types of pipes. There’s the chanter pipe (main pipe), drone (tuned an octave lower than the chanter), and the bass (tuned down two octaves). Uilleann pipes have 3 or 4 drones, whereas the bagpipes have 2. The uilleann pipes also have extra pipes called regulators that allow certain chords to be played. The hammered dulcimer is similar to the zither. It originated in India around 900 AD. It is played using-you guessed it-hammers. These little wooden hammers are used to hit the strings and produce smooth sounding pitches. A common instrument which works using hammers is the piano. On a piano, you hit a key which triggers a hammer to hit a string. With this dulcimer, you’re skipping a step and hammering it yourself! Bouzouki and other Guitars Guitars were used for background rhythm rather than taking on melodies. The bouzouki (pronounced “boo-zoo-key”) sounds like a tinny lute. That’s not a bad thing! The unique sound of the bouzouki gives some Celtic music its flair. Other guitars include the banjo, cittern (like a bouzouki, but with a more reverberating sound), and mandolin. All of these but the banjo have “double strings.” I.e., every string has another string right by it tuned the same way. This gives the chords a fuller sound. Imagine a twelve-string guitar- it’s the same thing. The Irish drum, or Bodhran (pronounced “boh-rawn”), was traditionally made with wood and goatskin. Now, other skins or synthetic materials are used. It is played with a type of drumstick called a tipper. One would hold the drum with one hand using a handle on the inside, and use the other holding the tipper. The player would hit the ends of the tipper against the drum, with two-headed tippers allowing for faster drumming. Playing using the fingers and knuckles is also common. For plenty of bodhran information, check out this link. The bombarde is a small oboe-like instrument. It takes a lot of breath out of the player, since high pressure air is needed to play it. It’s used for shorter parts because of this. The bombarde shines in short and sweet melodic parts. It is in the shawm family of instruments, meaning it has two reeds instead of a clarinet, per se, which has only one. - Flutes were made of wood and gave a much smoother sound than metals ones. - Harps were typically leaned against one’s leg while performing.Harps have been symbolic in Irish nationalism since the 10th century, and were originally a trade good from Egypt. They typically have 12-19 strings, with the ones played by the Celts having 12 or 15. These harps were played sitting down with the harp resting on the player’s leg. - Fiddles are violins. The name “fiddle” really refers to the folk music which is played on one. - Melodeon/Accordion/Concertinas are so-called “squeezeboxes” and differ either by rows of buttons or body shape. For example, the concertina has two hexagonal ends with buttons on both ends. You may have never heard of a melodeon, likely due to the fact that there’s only one difference between that and an accordion: accordions have an extra row of buttons. Celtic Music Theory For my fellow music theory geeks out there, here are some methods used in Celtic music. If music theory isn’t your thing, don’t worry, there are explanations below. For more, click here. - Major, minor keys - Dorian, mixolydian modes (give a minor and major feeling, respectively) - Grace notes used frequently - 6/8 meter used frequently - Lively and quick tempo - Pentatonic scales used frequently - Emphasis typically on beat one - The two main types of keys in music (a key dictates what notes are played in the song). - Modes: take a key, start on any note and play the scale with the same notes as the original key. For example, C major has notes CDEFGABC. D dorian is the C scale starting on D, so the scale is DEFGABCD. Major and minor are the ionian and aeolian modes, respectively. - Grace notes are quickly played notes in between main notes used in a piece. - Meter dictates what type of note gets one beat and how many beats are in a measure. 6/8, for example, counts eighth notes as one beat and has six beats per measure. Reading from top to bottom, X amount of Y notes. - Played faster and maybe with some “swing.” - A normal scale but without the 4th and 7th note (typically). - The first note of every measure may be accented or played with a tenuto (slightly longer). Many other methods could be employed. If you thought this was interesting, just wait until I finish up the rest of my Celtic posts. If you think someone else might like this, feel free to share it! As always, thank you very much and I’ll see you next post! Celtic Design: https://www.pinterest.com/carolsuekreisch/celtic-tapestry/ Uilleann Pipes: http://www.ehx.com/forums/viewthread/2710/ Celtic Tribe: https://www.pinterest.com/pin/400538960585007253/ Bard Re-enactor: http://annoyinglizardvoice.deviantart.com/art/Celtic-bard-176666682

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"Lob's Girl" Literature Study Unit In this 8-day unit students will develop a deep understanding of Joan Aiken’s short story “Lob’s Girl” . Its tale of loyalty and friendship combined with mystery and suspense make it an incredibly engaging read. Students develop skills in understanding short story elements, mood development, theme, foreshadowing, vocabulary, dialect, and writing in this unit. Through whole class, small group, and independent work students not only stay actively engaged with their instruction, they also build crucial skills in reading, listening, and writing. Common Core State Standards - R.1, R.2, R.3, R.4, R.5, R.10 - W.1, W.4, W.10 - SL.1, L.4, L.6 In this unit, students will... - Understand and appreciate short story elements: plot, setting, characters, theme - Recognize cause and effect to help understand foreshadowing - Build background information on Joan Aiken, Cornwall, England, and British English - Build understanding of mood - Develop understanding of dialect (British English) - Increase vocabulary - Make personal connections to text to increase comprehension - Creatively write in response to the text ”Lob’s Girl” Unit Highlights: - Pre-Reading Writing Prompt - Reading Toolkit Graphic Organizers for Ongoing Comprehension Development - Small Group Discussion Activity - Making Predictions Graphic Organizer - Foreshadowing Discussion Starters - Hands-On Mood Analysis Lesson - Small Group Vocabulary Sort - Creative Writing Activity Included in Student “Lob’s Girl” Packets: - Building Background Information - Connect to the Reading - Dialect Graphic Organizer - Plot Log - Setting Chart - Character Log - Predictions Graphic Organizer and Writing - Group Discussion Questions and Record Sheet - Mood Analysis and Web - Literary Analysis - Foreshadowing - Theme Analysis - Creative Writing Prompt and Pre-Write Teacher and Instructional Resources for “Lob’s Girl” Unit: - Vocabulary Sort Activity - Mood Analysis Activity - Unit Overview - Detailed Lesson Plans (8) - Final Assessment (Multiple choice, matching, and short answer test) - ALL Instructional and Assessment Keys This unit is part of a Six-Week Incredible Journeys Multi-Unit Bundle Project . In this project students study a short story about a dog’s journey to his owner, investigate Lewis and Clark’s journal entries, analyze speeches about journeys, research explorers, write speeches about incredible journeys, analyze journey poems, write poetry and reflect on their personal journey while actively meeting 38 Common Core State Standards. Find out all about the Incredible Journeys Multi-Unit Bundle Here! You may also like… Descriptive Writing Unit Context Clues - Reading Comprehension Mini-Unit How to Respond to Short Answer Questions - Test Prep Following is Fun! Get the inside scoop on all store discounts, free products, and product launches. Just click the green “Follow Me” star under my store name on this page or click the green “Follow Me” star on my store homepage. *** Click HERE to receive the Brain Waves Instruction Newsletter filled with exclusive FREEBIES and Teaching Tips! *** Click HERE to become a seller on TpT (Referral by Brain Waves Instruction) Brain Waves Instruction FYI - Due to copyright regulations, the text for “Lob’s Girl” is not included in this unit. However, you can easily get a copy of the story by searching for a pdf of “Lob’s Girl” on the internet.

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The Bronte Sisters, Jane Eyre And Wuthering Heights Essay, Research Paper The Bronte Sisters Various aspects of Charlotte and Emily Bronte s background greatly influenced them to write the novels Jane Eyre and Wuthering Heights. The death of their mother influenced them as young children when she died of a lingering illness, and this loss drove the Bronte children into an intense and private intimacy (Dunleavy 239). But their father remained, and he directed their education at home, letting his children read freely and treating them as intellectual equals (Stabenau 179). Similarly, both of the main characters, Jane Eyre and Catherine Earnshaw, lose their mothers to illnesses as young children and the remaining parent or relative must raise the child. Both stories make use of the popular nineteenth century motif of the orphaned child who must make his or her own way in an antagonistic world (Dunleavy 242). Besides the absence of a mother figure, both sisters spent most of their lives in isolation on the Yorkshire moors, another important influence on the novels (Abbey and Mullane 414). Rebecca Fraser, a biographer of the Bronte family, believes that they clearly preferred a reclusive lifestyle admist the primitive beauty of the moors (23). By comparison, the bleak, lonely moors of Yorkshire serve as the same setting for two of the greatest novels of the nineteenth century, Jane Eyre and Wuthering Heights ( Bronte CD-ROM). According to an essay written in The Eclectic Review in 1851, Charlotte and Emily Bronte were at home amongst the moors; therefore, a vividness and graphic power in their sketches present them before the reader (108). The Bronte s work was shaped by the wild and lonely moors where they spent most of their lives. Although quiet and withdrawn women, they possessed a mystical streak that responded to the natural environment around them ( Heights 1). Many unique individuals in both sisters lives also influenced their novels since they base many of the main characters in the stories on these individuals. Vividness, cogency, plausibility these attributes of exceptional writing result from characters in both stories exhibiting personalities exactly like ones in the novelists lives. In order to create these characters, Charlotte and Emily Bronte selected an actual living person they knew, collected traits from his or her personality, and modified this person to make another (Roscoe 51). This background, together with a Gothic setting, convincing characterization, and important literary devices enables Charlotte Bronte in Jane Eyre and Emily Bronte in Wuthering Heights to develop the theme of exploration into different kinds of love. The combination of literary elements from both novels constitute them as Gothic romances. To be considered as such, a story must present a stormy love affair within a violent brooding atmosphere often entwined with supernatural occurrences. The stormy love affair in Jane Eyre exists between Jane and Rochester and, in Wuthering Heights, between Catherine and Heathcliff. Literary critic, David Cecil, observes that love is indeed the central theme of Charlotte and Emily s stories, for it is inevitably the main preoccupation of such passionate temperaments. Characteristically, the Brontes describe frustrated love, but the fact that it is frustrated does not make the love of their heroines less intense; indeed, it makes it more of an obsession (66). And although this love, which devours life itself, devastates the present, and desolates the future, may seem violent and turbulent, it contains nothing less pure in it than flame or sunshine (Tucker 137). The hero or heroine must also counter threatening circumstances for the story to be classified under the genre of Gothic romance. Under an atmospheric dome of brooding unpredictability as such, Emily Bronte explores the violent and unpredictable elements of human passion in her novel (Dunleavy 251). Cecil describes her sister s methods similarly: Charlotte Bronte s plots are full of sinister secrets and inexplicable happenings. The lurid light of her vision does invest these with a weirdness beyond that of ordinary mundane horror (Cecil 66). The combined atmosphere of both novels seems charged with suppressed electricity and bound in with blackness of tempest and desolation (Tucker 137). An environment of mystery and supernatural happenings constitute the final ingredients typical of a Gothic romance. Charlotte Bronte s power of creating a scene directly relates to her power of suggesting the eerie although she never actually brings in the supernatural (Cecil 66). Gweneth Dunleavy describes much of the supernatural in Emily s Wuthering Heights as the lack of established borders between life and death because the main characters communicate as ghosts and in dreams through the veil of time, in a setting that simultaneously assumes supernatural qualities (250). The author also heightens the experience of supernatural imagery with descriptions of characters as angels and devils living in heaven and hell ( Heights 2). The romantic tendency to invent and delight in monsters, the love of violence in speech and action, and the abnormal in situation–of all these are abundant examples in Jane Eyre and Wuthering Heights (Draper 419). When analyzing characterization in Jane Eyre and Wuthering Heights, many other comparisons can be made since all the main characters of both stories are placed into similar typecasts and circumstances concerning theme. The central figure of the authors themes involve a strong-willed, passionate young heroine who must decide between the wild, unpredictable man whom she loves, or the honest, Christian gentleman who would be the most suitable for matrimony. Such a description perfectly embodies Charlotte Bronte s heroine, Jane Eyre, whose best recommendations are her tranquil devotion and perfect virtue (The Times 46). In 1847, G.H. Lewes describes her in his essay when he states: We never lose sight of her plainness, no effort is made to throw romance about her– no extraordinary goodness or cleverness appeals to your admiration; but you admire, you love her– love her for the strong will, honest mind, loving heart, and peculiar but fascinating person (44). Edward Rochester is the character that opposes everything that Jane knows to be morally correct and socially acceptable. He is strong and yet weak, a very thunderbolt for strength and exploisiveness and yet a bundle of ordinary human weaknesses (Smith 55). The most that can be said for Rochester is that he truly loves and values Jane. This trait is his sole defense in his attempt to marry her while he still has a wife living under his own roof (Tucker 138). The foil to Rochester is the clergyman, St. John Rivers. He is the medium through which Charlotte represents her father, a symbol of everything she has learned to be the adequate amount of discipline and devotion required of a Christian (Draper 408). Charlotte s goal is to balance one kind of temptation with its reverse. If Rochester is all romantic passion, urging her to give in to emotional desire, St. John Rivers is all Christian ambition, urging her to attempt a spiritual asceticism of which she knows herself incapable (Oates viii). Emily Bronte s heroine is Catherine Earnshaw. W. Somerset Maugham, English dramatist, short story writer, and novelist known best for his autobiographical novel Of Human Bondage believes that her consuming, obsessive passion differs greatly from the more conservative personality of Jane (117). Catherine vibrates with passions that fictional conventions only partly construct or gloss over. Within her exists an almost violent devotion that has a fire of independence, a spiritual energy and vivid sexual responsiveness. This is enhanced by her self-righteousness, a sense of power, sometimes self-pity, and enviable competitiveness (Draper 69). Catherine s heart undoubtedly belongs to Heathcliff, a representative of natural man and pure passion (Abbey and Mullane 415). His appeal comes from his unwavering passion as inexplicable and terrible as it is unalterable. It is a passion that makes him and his beloved believe that the two of them are one life, one soul (Shaeffer vii). Heathcliff s rival is Edgar Linton, whom Catherine believes to be more socially inclined for marriage. Through her marriage to Edgar, she yields to that destiny, but her yielding is uneasy, her resistance tormented, and she finds her way out of it by death (Draper 425). Edgar s refinement and delicate beauty stand in stark contrast to the degraded, unkempt Heathcliff whom Catherine describes as an arid wilderness of furze and whinstone (Cerrito and Keppos 107). We obtain from the Bronte novels no multitude of characters, but those we do get, we become closely familiar with, and one being of veritable flesh and blood is worth a thousand imitations (G.B. Smith 55). Besides characterization, literary devices are another contributing factor to the theme of the novels. Symbolism, pathetic fallacy, and realism… The rest of the paper is available free of charge to our registered users. The registration process just couldn’t be easier. Log in or register now. It is all free!

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Alice Walker was born on February 9, 1944, in Eatonton, Georgia. She worked as a social worker, teacher and lecturer, and took part in the 1960s Civil Rights Movement in Mississippi. Walker won the 1983 Pulitzer Prize for Fiction for her 1982 novel, The Color Purple, and is also an acclaimed poet and essayist. Novelist, poet and feminist Alice Malsenior Walker was born on February 9, 1944, in Eatonton, Georgia. Alice Walker is one of the most admired African-American writers working today. The youngest daughter of sharecroppers, she grew up poor. Her mother worked as a maid to help support the family's eight children. When Walker was 8 years old, she suffered a serious injury: She was shot in the right eye with a BB pellet while playing with two of her brothers. Whitish scar tissue formed in her damaged eye, and she became self-conscious of this visible mark. After the incident, Walker largely withdrew from the world around her. "For a long time, I thought I was very ugly and disfigured," she told John O'Brien in an interview that was published in Alice Walker: Critical Perspectives, Past and Present. "This made me shy and timid, and I often reacted to insults and slights that were not intended." She found solace in reading and writing poetry. Living in the racially divided South, Walker attended segregated schools. She graduated from her high school as the valedictorian of her class. With the help of a scholarship, she was able to go to Spelman College in Atlanta. She later switched to Sarah Lawrence College in New York City. While at Sarah Lawrence, Walker visited Africa as part of a study-abroad program. She graduated in 1965—the same year that she published her first short story. After college, Walker worked as a social worker, teacher and lecturer. She became active in the Civil Rights Movement, fighting for equality for all African Americans. Her experiences informed her first collection of poetry, Once, which was published in 1968. Better known now as a novelist, Walker showed her talents for storytelling in her debut work, Third Life of Grange Copeland (1970). Walker continued to explore writing in all of its forms. In 1973, she published a set of short stories, In Love and Trouble; the poetry collection Revolutionary Petunias; and her first children's book, Langston Hughes: American Poet. She also emerged as a prominent voice in the black feminist movement. The Color Purple Walker's career as a writer took flight with the publication of her third novel, The Color Purple, in 1982. Set in the early 1900s, the novel explores the female African-American experience through the life and struggles of its narrator, Celie. Celie suffers terrible abuse at the hands of her father, and later, from her husband. The compelling work won Walker both the Pulitzer Prize for Fiction and the National Book Award for Fiction in 1983. Three years later, Walker's story made it to the big screen: Steven Spielberg directed The Color Purple, which starred Whoopi Goldberg as Celie, as well as Oprah Winfrey and Danny Glover. Like the novel, the movie was a critical success, receiving 11 Academy Award nominations. Walker explored her own feelings about the film in her 1996 work, The Same River Twice: Honoring the Difficult. In 2005, The Color Purple became a Broadway musical. Walker incorporated characters and their relations from The Color Purple into two of her other novels: The Temple of My Familiar (1989) and Possessing the Secret of Joy (1992), which earned great critical praise and caused some controversy for its exploration of the practice of female genital mutilation. Walker has proved time and time again to be a versatile writer. In 2004, she published Now Is the Time to Open Your Heart. Two years later, in 2006, she published a collection of essays, We Are the Ones We Have Been Waiting For: Light in a Time of Darkness, and the well-received picture book There Is a Flower at the Tip of My Nose Smelling Me. Continuing her work as a political activist, Walker also wrote about her experiences with the group Women for Women International in 2010's Overcoming Speechlessness: A Poet Encounters the Horror in Rwanda, Eastern Congo and Palestine/Israel. She published another poetry collection, Hard Times Require Furious Dancing, that same year. After more than four decades as a writer, Alice Walker shows no signs of slowing down. In 2012, she released The Chicken Chronicles; in this latest memoir, she ruminates on caring for her flock of chickens. Following the release of The Chicken Chronicles, she began working on The Cushion in the Road, a collection of mediations on a variety of subjects slated to be published in 2013. Walker married activist Melvyn Leventhal in 1967. The couple had one daughter, Rebecca Walker, before divorcing in 1976. We strive for accuracy and fairness. If you see something that doesn't look right, contact us!

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Lesson 7 of 7 Objective: Students will be able to demonstrate their understanding of photosynthesis Purpose of Lesson: The purpose of this lesson is to assess student learning of photosynthesis. This is also the final shot at making connections within the unit. Major Strategies to Watch for: Wrap -up- At the end of units I use an animated, interactive power point to review the content and make deeper connections with kids. Concept map - I use a shared concept map to make connections with the unit and with previous and future student learnings. Learning Goal: Prove what you have learned about photosynthesis. Opening Question: Fill in the blanks of these sentences using your word glossaries. Photosynthesis creates __________ for plants. This food is _____________. The __________________ of photosynthesis are carbon dioxide, water, and sunlight. The ____________________ of photosynthesis are sugar and oxygen. Students record their opening question on their learning goal sheet and are ready to start class 3 min after the bell has rung. I reward students who get started early with ROCK STAR SCIENTIST tickets. This video of photosynthesis, from the point of view of the seed, is a funny way to end this unit. I ask kids to listen for specific things like ATP, mitochondria, chloroplasts, molecules. I stop the video at certain points to emphasize the most important learning that we've done this unit and to give kids a chance to share their thinking with their partner. On the day of any summative assessment, I like to take the time to wrap-up my instruction by using an animated interactive power point review. The purpose of the review is to give the students one more look at the content this time at a global perspective so that students can make connections and solidify their understanding. In this review I want to focus students on some of the main ideas. 1) Photosynthesis produces food for plants. 2) This food is sugar. 3)Understanding the reactants and products of this process. For me, there are two important instructional aspects of the power point. First, I set it up to be interactive with several processing slides within the presentation so that students can hear thoughts from their peers as well as me. Second, I use animation techniques in the powerpoint to capture student attention, include non-verbal visual cues, and allow for storytelling. Making animated powerpoints can be time consuming and tricky, but I love it and find it well worth the time. Below are several screenshots of how to do different animations. Once you have the skills, the rest is up to your imagination! Making basic entrance and exit animations Using animations to tell a story Adding in movement lines The purpose of this section is to reexamine the shared concept map we made at the beginning of the unit and to add connections and thinking. To do this I pull students to the back of my room by one of my unused white boards. We have three norms at the board. -Everyone sits on the floor. -Everyone brings their map paper and a pencil. -Everyone raises their hand to talk. Each unit, I print out the Essential Learnings on tag board for the students. This also includes the success criteria for each standard and a tracking device. I give students a plastic cover to keep them in. This simple structure increases their worth to kids, showing them daily how important the student trackers are. Because this shows the tracking of learning it makes a very logical place to put the picture or concept map of learning on the back. With students, I sketch out the unit on the board and fill in some details. Students have the freedom to add more details to their maps. With each mini- unit, the maps grow in detail and connections. This is a picture of what one students' map looked like. In later units, I want to bring kids up to do the thinking on the concept maps. Below I loaded a video of a student walking us through the map. The purpose of this section is to assess the students. This test assesses the essential learnings of the unit and also looks at whether students are being able to count atoms in a chemical formula. This information is actually a pre-assessment for some conservation of mass learning we will be doing later in the year. When students are done with their tests, they can read or finish their Animotos. Closing Statement: "This week we have been studying photosynthesis and looking at how plants make food. Next unit will be all about how plants and animals use that food to make energy." Closing Question: "Now that we know where the plants get food, what do you think they DO with the food?" Closure depends greatly on timing and is not as easy to plan in advance as opening. You can find more information about how I manage closure here.

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2 Answers | Add Yours A novel is a piece of literature written in narrative prose. Prose is different from Verse. Verse is the style of poetry - even dramas and histories had always tended to be written in verse: think Beowulf, The Odyssey, and The Canterbury Tales. Most cite Cervantes' Don Quixote as the first novel in 1604, but the novel as a genre did not gain popularity until more than a century later. Novels gained popularity in the 18th and 19th century in England with books such as - Robinson Crusoe (1719), Pamela (1750), and later with novels like Jane Eyre (1847). As the middle class expanded, so did readership in general with an increasing amount of those reading novels. Novels continued to increase in popularity, eventually becoming as, or more, read than poetry. Fiction has sort of become synonymous with "novel." However, Fiction is just a type of novel: others are nonfiction, epistolary, and historical. A "Novel" is a narrative in prose with a specific setting, plot, rising action, climax, declining action, and characters to portray it. In the English language, the term "novel" did not come to be of household use until the 1740's and later on in the 18th century, as Romances, Histories, and other genres were still taking most of the works of the time. The first English Novel, as accepted within theory was written in 1688 by Aphra Benn Oroonoko or The History of the Royal Slave. As far as popularity goes, however, it is accepted that the Robinson Crusoe by Daniel Defoe was actually the work (1718) which set the wheels in motion and began the novel writing movement in all of England. Yet aesthetically and in form, the first English novel that is accepted as modernist was Samuel Richardson's Pamela (1740). Being that the 18th century began the formal introduction of the English Novel, the themes began to adapt from the enthralling and captivating fiction to more of a mirror of society. This is how you move from the 18th century Robinson Crusoes and Fielding, Defoe, and Chaucer to the 19th century commedies of manners of Jane Austen and Charles Dickens which, instead of removing the reader entirely from the present perspective through fiction and storytelling, they want to keep you in a realistically fictional stage exposing issues and making their own witty observations. The move has been gradual and representative of its social changes, but it has mirrored universally the mental and psychological state of its writers for over 300 years. We’ve answered 319,811 questions. We can answer yours, too.Ask a question

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Spice Up Poetry by Incorporating American Sign Language Signs Most elementary and even preschool teachers have poetry centers or do a poetry unit with their students. They can help with word play, rhyming words, introduction and reinforcement of different poem styles, similes, word comparisons and more. Because poetry centers are usually set up as a bunch of poems for students to read quietly, it’s not very interactive or fun – especially for your kinesthetic learners. An easy way to make your poetry center more interactive and fun is to incorporate some American Sign Language signs. Integrating ASL With Poetry Is Easy and Fun! Here are a few tips for integrating ASL with your poetry unit. - Choose a poem that goes along with and supports your curriculum, to make the content more meaningful. - Choose one or more words on each line for the students to sign. Be sure to pick out the keywords (or the most important words in the poem) as your signing words. - If you don’t already know how to sign the words, look up the signs in an American Sign Language Dictionary. I highly recommend Michigan State University’s ASL Web Browser. - Teach your class how to read and sign the poem. You may want to explain to your class that you aren’t really signing the whole poem, just the keywords or the most important words. (This could make for a great keyword lesson as well.) Then during poetry center time, your students can practice reading the poem again, but they can also practice the signs that go along with the poem as they read. They will then, in a sense, be storytelling or acting out the poem with their hands. You can even make cards with pictures of the signs on them and they could match the words in the poems with the sign cards. This strategy will also help your struggling readers as many signs are iconic in nature, that is they look like the actual object, so give a great visual representation of new words they are trying to learn/read. If your students are good at their dictionary skills and at finding keywords, you could put an American Sign Language Dictionary in the poetry center with a new poem and see if the children can find and figure out how to do the signs for the keywords in the poem on their own. If correct, they could even teach and/or show the rest of the class how to sign the poem they worked on. By integrating American Sign Language signs into your poetry center or your poetry unit, you can create a new, fun, and interactive way for your students to learn about the joy of poetry.

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GME: Neuro Linguistic Programming in ELT NLP (Neuro Linguistic Programming) has been around in language teaching longer than we may realise. Those teachers who incorporate elements of suggestopedia, community language learning, music, drama and body language into their lessons are already drawing on NLP as it stood twenty years ago. The roots of NLP NLP, with its roots in psychology and neurology, is about the way the brain works and how the brain can be trained for the purpose of betterment. It encompasses or is related to 'left / right brain' functions, 'visual / auditory / kinesthetic' learning styles, multiple intelligence and other areas of research which are attempting to identify modes of learning whilst recognising the importance of the individual learner. NLP and related subjects have their sceptics, particularly in terms of general classroom applicability and how NLP is commercially marketed as a method of self-improvement. NLP has been labelled a 'quasi science' and criticised on the grounds of lack of empirical studies, but there are sound reasons why NLP is compatible with current classroom practice. - NLP is about recognising patterns. - NLP is concerned with process rather than content. - NLP provides a model of how we communicate with ourselves and others. NLP and language learning The NLP model explains how we process information which comes to us from the outside and is based on the work of Richard Bandler and John Grinder, who initially recognised the importance of eye contact and movement in identifying emotional states and how (rather than what) individuals think. In NLP, information arrives via the senses, and 'six modalities' are identified as ways that different individuals perceive the messages. These modalities are: - Visual Remembered - Visual Constructed - Auditory Remembered - Auditory Remembered - Auditory Digital These clearly form the basis of what we now know as 'VAK'- The identification of visual, auditory and kinesthetic learners and the need to cater for different learning styles in the classroom. As externalities arrive, our perception of these is modified by three major elements - deletion, distortion and generalisation. These processes are instantly recognisable in language learners: There is too much information for the learner to handle. Learners delete or omit some information in order to make input manageable. From the teacher's point of view, we have already learnt not to present too much new language at once, and the principle of 'less is more'. Language learners will distort information into forms which are understandable and learnable. This process is both negative, in that it produces errors and misunderstandings, and positive in that it contributes to learnability and motivation. This is one of the ways that we learn, by taking the information we have and drawing broad conclusions. At its worst, over-generalisation occurs, causing misuse of rules and poorly formed hypotheses. However, what is actually learnt by individuals is dictated by their own personal filters. NLP identifies these as 'beliefs', 'values', 'decisions' and 'memories', broadly defined as the way someone handles information. In NLP, these filters affect our model of the world and our behaviour. In language learning, they explain a wide range of learning styles and strategies: - Learners make decisions based on beliefs and value judgements. They are often in a state of conflict because their previous learning experiences do not coincide with their current learning environment. - Values provide the basis for decisions about what is right and wrong, what they want / need to know and don't want / need to know. In certain cultures, some beliefs are disabling, in that they prevent learners adopting strategies such as risk-taking which teachers would like to encourage. - Memories and prior decisions create beliefs which are affect our current behaviour. Learners often revert to previously adopted strategies and require deconditioning, while it can be argued that adult learning patterns merely replace earlier learning strategies which have been forgotten. NLP also recognises the importance of non-verbal communication, particularly eye contact, posture, breathing and movement. 'Congruency' is achieved when there is a match between verbal and non-verbal communication. Congruency, here, may have a language learning parallel in the concept of fluency, suggesting that non-verbal communication should be taught alongside functional language and phonology in order to achieve natural language production. NLP in the classroom Teachers using music to create atmosphere and stimulate creativity, or using mime and drama techniques to build confidence and add body language to speech acts are already drawing from the NLP repertoire. Only recently, however, have classroom activities specifically and overtly based on NLP been developed by ELT practitioners. Many of these activities also integrate the skills and are extensions or modifications of existing techniques such as storytelling, guided fantasy, role-play and simulation. Areas where NLP can have a real impact, however, are those which explore the relationships between students and between students and teacher, and those which help to create a healthy and positive learning environment: Rapport is the sense of ease that develops when people are interacting with others they feel comfortable with, and is essential for meaningful communication to take place. Rapport is most likely when like-minded people interact. In the classroom, mingle and 'getting to know you' activities, as well as continuous negotiation between teacher and students foster rapport, while communication gap activities and group work reinforce it. One way of establishing good rapport is to mirror the behaviour of those we wish to influence or to be influenced by. Mirroring of posture, gestures, facial expressions and even breathing can easily be practised in the classroom, while simple drilling achieves the same results with phonological features of connected speech and key lexical phrases. To achieve natural communication, verbal and non-verbal aspects need to be combined in communicative activities. Learners may be asked to mirror the behaviour of characters on television before mirroring each other and the teacher. Creating positive states and anchoring This is about motivation and maintaining positive attitudes to learning. In NLP, a positive state is created through a mental image formed by the process of achieving something mentally or physically, and this state is anchored by a gesture, expression or body movement which is repeated to maintain or recall the state. Guided fantasy may be used to create the state, and a movement or sound selected to represent it. Some teachers, often subconsciously, opt for different positions in the classroom to carry out certain actions, such as give instructions, teach grammar or tell a story. In ELT this is a type of anchoring by which students automatically know what is going to happen next in a lesson, and are prepared for it. NLP fits in nicely with 'Flow Theory', the notion that learning flows like water and that the best learning takes place when uninterrupted. For the purposes of lesson planning, flow is achieved when there is a balance of skills development and new challenges, clear task goals and the need for concentration. Successful learning takes place when learners feel a sense of control over what is happening in the classroom, do not feel self-conscious, and receive positive feedback from each other and the teacher. In good lessons, time seems to pass quickly. There are clear messages here about balance of activities, interest, attitude to errors, confidence building, learner training and autonomy. Competitive and collaborative games, jokes, songs and anecdotes, personalisation and well-stuctured information gap activities all help to maintain flow. Pacing and leading A set of strategies requiring the listener to 'tune in', accept and correctly state the speaker's point of view (pacing) before suggesting an alternative point of view (leading). Acceptance of an argument will be accompanied by the listener's mirroring of the speaker's behaviour. Activities involving listening without response, turn-taking, planning and decision making are useful for raising awareness of this process. This is an extension of mirroring used in NLP for resolving conflicts and involving a neutral third party as a mediator in disputes. An ELT application here would be in a reading or storytelling lesson, where one position is taken by the writer / teller, another by a character in the story, and a third by a reader or neutral observer of events. Modelling good practice NLP asks us to mirror what others do well. In ELT, much of this is about learner training, particularly when learners discover each other's strategies or adopt new study skills, for revision and examination preparation for example. Whether one is a disciple of NLP or not, what is clear is that NLP and ELT are complementary in that NLP learns by observing communication patterns, and ELT learns from what NLP suggests as best practice in improving interpersonal communication and therefore learning. There is nothing in NLP that is contrary to current ELT methodology in terms of communicative language learning and humanistic approaches, while NLP has much to contribute to the already vast repertoire of the informed eclectic. Revell and Norman, In your Hands, Saffire Press Ravell and Norman, Handing Over, Saffire Press Rinvolucri and Baker, Unlocking Self-expression Through NLP, Delta Publishing O'Connor and Seymour, Introducing Neuro-Linguistic Programming, Thorsons first published 01 December 2005 http://www.teachingenglish.org.uk/think/articles/neuro-linguistic-programming-elt

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The Legacies of War Curriculum for Middle and High School Students The Legacies of War (“Legacies ”) curriculum is the only educational unit in the U.S. addressing the impact of U.S. bombings on Laos and teaching a new generation about this history. Already taught in Seattle and Boston schools, we are offering the curriculum nationwide. The unique set of five lesson plans includes trainings from Legacies of War consultants to teachers and community members. The curriculum was developed to encourage collaboration between the school and community. Hence, we offer a series of community programs in conjunction with the curriculum. We hope the information is helpful in exploring the possibilities of implementing the Legacies of War curriculum and complementary programs in your school. Please feel free to contact us with questions. General Overview of Curriculum The Legacies of War Curriculum is an educational unit designed to introduce students to the history and aftermath of Vietnam Era bombings of Laos. The curriculum weaves together introductory elements of social studies, English, human rights and war and peace studies, alongside world history, geography and statistics. The curriculum provides a flexible framework, which the instructor may adapt to the needs and structure of the students and class. Ultimately, the curriculum aims to raise awareness of Lao culture and community—often forgotten in U.S. history—while demonstrating its relevancy to students’ current lives and world events. The curriculum is designed to function as a five lesson block unit with each lesson plan filling roughly an hour-long time period. Each unit can function as a week-long unit within the broader context of a high school Social Studies/U.S. History curriculum. Ideally, the Legacies curriculum would serve as a challenging counterpoint to a standard American textbook interpretation of the Vietnam War and the political events surrounding it. As mentioned above, the target age-group for the curriculum is junior and high-school but can be modified (intensified or downgraded) to function above or below these age groups. The framework can be adapted to accommodate a college-level course as well, though significant adjustments and workload increases would be in order here. The work itself falls heavily on the writing component, but the intention is to avoid strict academic prose and enhance the artistic and creative writing/thinking skills of the students involved. Thus, nearly every lesson incorporates a “free-writing” component, which offers students the opportunity to put pen to paper and document their thoughts and attempt to tie the story of Laos into their own lives. The materials involved are not extensive, and a comprehensive listing of the reference literature, media articles and reports are all provided in this unit. In addition, the curriculum is designed to be flexible so that other suggested lesson alternatives can be substituted in the absence of accompanying reference materials. Legacies of War uses historic illustrations drawn nearly 40-years ago by Lao villagers who survived the secret U.S. bombings. These vital primary source materials speak to the human impact of war and offer a window into the role of art and creativity in conflict resolution and prevention. While some of the curriculum works to tease out these themes explicitly, there are many implicit lessons to be learned from the activities in which the students engage. The expectation is that by first starting at the level of the individual experience in the illustrations, then broadening the historic context, and finally returning to the story in the illustrations, students may be able to draw these connections on their own. At Legacies , we envision this curriculum as playing a vital role in learning about Laos and the Vietnam War, and thinking critically about the current landscape of peace and security.

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Preorder our new book, “The Big Fish Experience” to see everything we’ve learned over the years, all the resources we use to do what we do, and our tips on how to present experiences. Stories have existed long before recorded history, and the telling of stories has changed forms drastically throughout the ages. From cave painting to novels to movies, stories have always fascinated mankind. Although the methods have changed, the desire to tell and hear stories has remained unchanged, and still greatly impacts the way we look at life. The earliest form of storytelling that has been discovered is from the Lascaux Caves in the Pyrenees Mountains in southern France. Discovered in 1940 by a group of French children, a series of cave paintings that date back to sometime between 15000 and 13,000 B.C. depicted a variety of animals and one image of a human being. When closely examined, this mural of sorts actually follows a very simplistic series of events. It tells of rituals performed and hunting practices. It tells a story. Flash forward to 700 B.C. The first printed story, the epic of Gilgamesh, was created and began to spread from Mesopotamia to other parts of Europe and Asia. The story was carved on stone pillars for all to see, which spread the story around very quickly. In the 200s B.C., Aesop’s fables were written down, and continue to teach lessons today in many areas of life. Aesop lived in the 500s B.C., but his stories were remembered for hundreds of years without a single shred of paper or other printed material. Isn’t that amazing? Oral storytelling was so powerful and people remembered Aesop’s tales so well that even 300 years later the stories were revered enough for mass production. Storytellers began to arise as very important figures in a community. The ability to tell stories effectively and memorably was a very valuable skill. Why? As wars were fought and valiant deeds were done, the people needed some way to remember them. Instead of simply stating what happened, stories began to emerge as a way to preserve the raw emotions and sequence of events of the actual event. The Bible’s Old Testament spoke of men and women, of tales and lessons learned that occurred many, many years before they were written. A majority of the books relied on solid resources for their writings. What were these resources? Stories. People witnessed events, heard the stories and kept them alive through word of mouth. They told their friends, families and communities about the events, and a chain was formed, one link, one storyteller, at a time. Shakespeare’s plays and sonnets weren’t meant to be published, but his status became legendary once they were. He was known as a great storyteller to many of his close friends, but soon became immortalized in the pieces that he produced. From a young street rat in London to being taught in every school hundreds of years later, he made his mark on literature forever. How did he do it? Steve Jobs was famous for his keynotes. Whether launching new products or making an announcement, he agonized for hours over the details of his presentations. People were amazed at his ability to craft a narrative, to create and maintain suspense and to deliver a solid message. It wasn’t dazzling special effects or crazy props. It was storytelling. History is nothing but a series of stories that, when told correctly, can teach us lessons, give us insights into a variety of concepts, or entertain us. Every story serves a purpose, even if to simply relay a message. Without history, without chronicled stories, mankind would never learn from his mistakes, would never dream to emulate past heroes, would never see anything but the now. We would be clueless to the past, and therefore helpless for the future. We all crave stories because they allow us to sympathize with characters. Tell your audience a story, and you will gain their support. You will create a following for your cause and inspire your audience to act and believe. In your next presentation, remember the power of storytelling. Remember that even in a straightforward business presentation, a story helps to illustrate a point better than a set of facts. A story gives people a reason to care about what you’re saying. They relate to the characters, the plot and the lessons learned. They relate to your story, and therefore your message. So, what’s your story?

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Online Games (Websites & Apps): - 4th Grade Education Websites - 4th Grade Language Arts Games - Fun English Writing Games (Letters) - Fun English Writing Games (Newspaper) - Fun English Writing Games (Stories) - Vocabulary Games - Comic Master - Slide Story - Story Bird Games & Activities: - Take a look at the secondary characters in your story idea. Try some of the same work with a secondary character that you did with your main character. You can make an internal/external T-chart or explore different things about them that we have on our lists. Whichever you try, the most important thing to keep in mind is that writers know all the characters in their stories well, not just the main characters. - Spend some time thinking about your favorite titles for books, and then try to figure out why you think authors chose them. After you’ve done that, don’t just slap the first title that comes to mind on your story. Jot down a list of titles and then choose the one that truly connects to some big ideas you have in your story, one that will really catch a reader’s interest. - Pull out a mentor fiction story, ideally one you know very well, such as Fireflies! This time, I’d like you to study it for punctuation. How does this author use quotation marks with dialogue? How does she use commas? Paragraphs? Choose a few lenses to look through; focus on things you know you need to pay more attention to in your own writing. Then go back to your story and apply some of what you learned from your mentor author to your draft. - Create a storybook with your family. Have each member write a story about the same topic, or using the same central character. Bind them together to create a series! - Writing Worksheets and Printables - 5 Favorite Fourth Grade Writing Sheets - Language Arts Creative Writing Games & Activities: - Pull out a book or two that you’ve read and loved. Don’t limit yourself to chapter books, either. Often some of the best stories are in picture books. Look through these books and put a sticky note wherever you find a place you love, one that gives you goose bumps. Read that part again and again. Read it aloud. Then, put the book aside and bring out your draft. Reread what you’ve written so far. Perhaps you’ll find yourself drafting or even revising! - I want you to spend a little time watching television. It can be a movie or a TV show, whichever your grown-ups say you can watch. I’d like you to watch a little bit with your writer’s notebook in your lap. As you watch, look for the setting. Try to watch a part where the setting stays the same for a little bit. Watch, for example, a scene in a living room or in a park. While you’re watching, jot a few notes about what you notice about the setting. Can you tell what the weather is? What time it is? Day or night? What colors do you see? What’s high up in the setting? What’s low? What does the camera show with more detail? Once you’ve jotted a few notes, I’d like you to think about which parts of the setting helped you, as the viewer, understand the story more deeply. Then make some notes on your draft, suggesting ways you can weave more setting details into the draft when you come to school tomorrow. Articles & Resources:

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In Key Stage 3 students develop a range of reading-and writing based skills through studying novels, poetry, non-fiction and drama. Students learn how to structure an essay in preparation for GCSE and beyond as well as how to enhance their creative writing skills for a variety of purposes. Year 7 is created around interactive units of work that aim to build students’ skills through speaking and listening, reading and writing. Through the exploration of fertile questions, students are encouraged to use English as a pathway to their understanding of the world around them. The course starts with: ‘Monsters, fear and adventure: what entertains a reader?’ allowing students to understand what elements make a story engaging. Using the novel Darkside as a backdrop, students will create their own gothic narratives, with emphasis on descriptive writing skills. In addition to this, students will reflect on their understanding of the text by producing analytical paragraphs on key parts of the text. Later in the course, students will also read and analyse texts such as Two Weeks with the Queen, a collection of Greek myths and Shakespeare’s Macbeth. Students will gain an insight to the progression of English over time, as well as develop interpretation skills necessary for exams and assessments. Assessments will consist of written analysis, dramatic and formal presentations and exam style tasks. Year 8 begins with the novel Private Peaceful by Michael Morpurgo, where students are able to explore the themes of love, innocence, courage and cowardice. Alongside the study of the novel, students explore war, patriotism and the notion of power through war poetry. Further in the year, students focus on the theme of crime and punishment, where students explore the fertile question: ‘Is punitive punishment the only option for criminals?’ While studying the novel Holes, students will engage in dynamic discussions as a means to build their presentation and debate skills. Alongside Holes, students will analyse similar characters and themes in Charles Dickens’ Oliver Twist. This unit will assist students in developing their formal writing skills, with emphasis on writing to inform and explain. Moreover, students are given an array of opportunities to learn and apply a range of grammar and punctuation which will then assist them in writing tasks. The rest of the year consists of analysing, interpreting and engaging in texts such as Roald Dahl short stories, poetry and Blood Brothers. Such variations in texts, authors and time periods, will force students to challenge their ability to make links within the English classroom and the world they live in. Assessments will consist of written analysis, writing to inform/explain, formal presentations, creating poetry and exam style tasks. Year 9 is a very significant year for students, as we further enhance the skills they require for success at GCSE. Year 9 begins with the classic Of Mice and Men, where students are challenged by analysing key extracts in light of language and structure. Additionally, students begin to think more critically about the significance of social and historical context to a text and its purpose. Students then continue their study of classical texts with Shakespeare’s Romeo and Juliet. Here students work on their reading and writing skills, with the focus being their ability to write creatively and with flair. The rest of the course explores ‘Victorian Murders’ through texts such as Sherlock Holmes, a collection of GCSE poems and An Inspector Calls. Each unit of study provides students with the opportunity to build upon their analytical skills, their writing skills and their knowledge and application of grammar and punctuation. Assessments will consist of GCSE style questions, formal presentations and a blogging project. Year 9 students will develop their analytical skills as well as building their understanding and interpretation of various texts, through formal exam style assessments.

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In order to meet the needs of each individual reader at his or her level, I organize reading workshop into three major parts: Independent Reading, Shared Reading, and Guided Reading groups using the Café model and The Daily Five. Here are a few documents to help explain the Cafe model: - Independent Reading: Students will read independently in class and at home every day. Students may read books on their level from the school library, public library, or personal library! Students will be required to complete a written reflection for an independent reading book conference each week. - Shared Reading: This includes all the wonderful literature we will read together as a class, read alouds by the teacher, and whole class reading lessons and activities. We will explore the genres of reading: poetry, fiction, nonfiction, fairy tales, fables, fantasy…ect. - Guided Reading: Guided reading groups are based on student interest and reading levels. Students will meet regularly with their group and will complete activities to practice reading and language arts skills. CAFE Parent letter.pdf CAFE Menu 2nd grade pdf.pdf Ways to help your Child to Read Better - Take time to read daily. Set up at least 10 minutes of reading time each day to show your child the importance of reading and time spent together. Practice Cafe skills at home. - Do a picture walk before you read a story. Flip through the story and look at the pictures. Ask your child, “What do you think the story will be about?” “What is happening in the pictures?” “What do you think will happen next?” - Help your child become an independent reader. Don’t be too quick to tell them a difficult word. Remind them to use the Cafe reading strategies. This helps children become problem solvers. When they make a mistake, ask, “Did that make sense?” Work on stamina - use a timer to help. - Encourage your child to use the reading strategies taught in school. When at a difficult word, ask questions such as: “Did you look at all the letters in the word?” “What word would make sense that begins with this letter?” “What word would make sense in the sentence?” “Skip the word, and read to the end of the sentence and then return to the unknown word.” If the child still struggles after using these strategies, you may help to “figure out” the word yourself. - Talk about the story after you read it. Ask your child questions such as: “Did you like the story?” “What did you like or dislike?” “Was it real or make-believe (fiction)?” Share your views too. Let them know it’s okay to have your own opinion. - Get excited about your reading time together! Show your child that you love to read too. Parent Pipeline - Here is an explanation of the Cafe strategies we have learned so far: Parent Pipeline ~ Check for Understanding.pdf Parent Pipeline ~ Predict What Will Happen_ Use Text to Confirm.pdf Parent Pipeline ~Recognize Literary Elements 2.pdf Parent_Pipeline_~_voracious reading - fluency.pdf Parent Pipeline ~ Use Pictures, Illustrations, and Diagrams.pdf Parent Pipeline ~ Use Word Parts to Determine the Meaning of Words1.pdf Parent Pipeline ~ Use Main Idea and Supporting Details to Determine Importance.pdf Parent Pipeline ~ Chunk Letters and Sounds.pdf

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Vikings (ages 11-12) This scheme of work enables students to create and maintain many different characters ranging from ‘humans’ to Norse gods and mythical creatures. Using Norse beliefs, myths and well researched facts about the Vikings themselves, the students get to understand this nation of people that ruled Britain for 400 years in a fun and engagingly practical way, whilst being able to take part in exciting, interactive activities and develop their knowledge and understanding of essential drama forms. Each lesson plan has clear objectives and learning outcomes. They are structured to include introductory warm up, development and plenary sessions. A homework task is also included. This scheme of work contains 6 drama lesson plans. - Lesson 1: Who Were the Vikings? The students are introduced to who the Vikings were and where they came using the included presentation. This is then developed by the students creating the Vikings arrival in Britain using frozen pictures and vocal collages. - Lesson 2: Norse Gods & Goddesses. After an entertaining game involving elves, dwarves, giants and Valkyries, the students work on one of the stories involving Thor, the god of thunder. The story is brought to life through the use of flashbacks, narration and physical theatre. - Lesson 3: The Creation (Norse version.) In this lesson students are introduced to the Vikings beliefs about how the world began. The students take part in a very physical activity to recreate the different places in the Vikings world and then use sound scapes to add atmosphere to them. - Lesson 4: A Viking Feast. This lesson sees the students taking part in a whole class spontaneous improvisation set at a Viking feast. They are challenged by their ability to stay in character and work with the Teacher in Role. - Lesson 5: Ride of the Valkyries. The students listen to Richard Wagner’s ‘Ride of the Valkyries’ and then in small groups create a movement piece based on a dead soldiers arrival at Valhalla, the underworld. - Lesson 6: Assessment. For their assessment students devise a documentary style piece of drama based on a discovery at an archaeological dig at a site near York. The work includes the use of duologues, split scene, mime, frozen pictures and flashbacks. Supporting materials include - Story: Thor in Utgard - The Creation Story - Ride of the Valkyries (MP3 file) - Who were the Vikings? (PowerPoint Presentation) Additional resources are included in the appendices - Basic Drama Skills - End Of Unit Self-Assessment Form The scheme of work is supplied as a zip file containing a PDF file, readable on most computers, and 1 piece of music (MP3 format) and 1 presentation (PPT format). More Lesson Plans Drama inspired by the tale of a metropolis under siege! (Year 7) Active unit featuring the lost boys, Captain Hook and a ticking crocodile. (Year 7) Entertaining stock characters with Ali Baba and the Forty Thieves (Year 7) From cave paintings, flags and flashlights to the telephone (Year 7) Using bullying issues as a backdrop for drama education (Year 7) Drama scheme set on that fateful night to remember in 1912 (Year 7) Creating drama using social and economic issues and tensions (Year 7) Character development using the traditional Chinese legend (Year 7) The Tortoise and the Hare and the origins of the Olympics (Year 7) Introducing facial expressions, gestures and body language (Year 7) Physical drama based on the tales of Pirates and lost treasure (Year 7) Spend a night at the spooky, haunted house of Miss Screech (Year 7) Drama based on the issues and experiences faced by refugees (Year 7) Learn mime using the magic of Charlie Chaplin and The Kid (Year 7) Introducing new students to a range of drama techniques (Year 7) Mysterious new neighbours, clashing cultures, alienation and bullying (Year 7) Magical drama unit inspired by the legendary Arthurian wizard (Year 7) Longboats, Norse Gods and the Ride of the Valkyries (Year 7)

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Download the free teaching resource: ‘Building materials – a collection of inspiring images’ (PowerPoint, 5.0 mb). This PowerPoint resource is a collection of 23 images showcasing a range of different building materials in context. It is designed to be a flexible resource useful for any student from key stages 1 to 5. (Due to copyright restrictions it can only be used by non-profit making organisations, ie. schools). Child helps at St James Church, Strichley © Virginia Simpson, The Churches Conservation Trust The images on the ‘Building materials’ PowerPoint can be used in many ways. For example, the photos could introduce younger students to the wide range of possible construction materials and their key characteristics. Alternatively, the images could highlight different types of buildings and, for example, be used to elicit emotional responses from the students. Teaching activities: Key stages 1-4 Science – ask your students to sort the images into categories. Younger children could sort according to simple properties, for example shininess, older students could be encouraged to make up their own categories or consider the sustainability of the materials. Geography – these images could be compared to buildings in your local area. Do you have similar structures? Why or why not? This discussion could be widened out to consider the relative availability of materials in different areas and how this has influenced human behaviour and construction. History – students could consider the relative ages of the different buildings, for example, by placing the images in order of age. Alternatively you could pick a subsection of the images representing a time period students are studying and ask them to compare these to contemporary buildings. English – display the images to your students to develop the setting for a piece of creative writing. Alternatively in groups, ask students to reach a consensus about their preferences by ordering the images based on their personal likes and dislikes. This will help practise their discussion skills. Maths – For younger children, basic numeracy could be practised by counting and comparing the prevalence of certain features in these images, for example the number of windows on the buildings. Green Day – a climate change event for schools Use the ‘Building materials’ PowerPoint resource to help you deliver key activities from the free Green Day teachers’ activity kit available on CABE’s website. You will find it particularly useful to support the topic of ‘Building materials’ on page 13. Disclaimer for images By downloading these images you agree to abide by copyright restrictions and use them only in the course of your normal teaching. You also agree to credit the photographer of each image you use. If you want to use any of the images in a different context then permission must be sought from Engaging Places and CABE (in the first instance) and the photographers concerned, email firstname.lastname@example.org.

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April is National Youth Financial Literacy Month. Teaching your children about financial literacy can help them develop and carry financially savvy habits well into adulthood. The basics of a financial education should include guidance on spending, saving, and managing money. Ensure that your child is on the path toward a financially stable future by teaching them these basic lessons. Teaching Young Children to Save Kids are never too young to learn the basics of handling money. While younger kids won’t need to pour over financial spreadsheets with you, they can benefit from learning about the meaning of making, spending, and saving money. Introduce coins and paper bills to your child to help explain counting, currency, and equivalency. Encourage your kids to begin saving coins in a clear jar. A clear jar will help them visualize the savings. If it works for your family, an allowance is a novel way of learning about money management. Consider a few of the following tips as you set an allowance: - Set clear expectations of what your child has to do to earn an allowance. Whether they have to finish chores or keep their grades up, this will help them learn about goal-setting and the value of money. - Set a clear amount. Give them a “raise” as they get older or take on more responsibilities. - Be clear about using an allowance as a tool of money management, not as reward or punishment. This can help your child develop a healthy relationship with their finances and a better understanding of money. - Encourage them to set goals on spending. What do they want to save for and how can they get there? Now is the perfect time to open a savings account and teach them about saving and contributing. Savings Tips for Pre-teens Framing how you discuss money with your kids can affect how they perceive money management. Encourage honest communication about money. Be forthright with your own money mistakes from overspending, not saving enough for college, or not being financially independent until adulthood. Also share your successes—paying off debts, successfully budgeting for a down payment, etc. Encourage your children to ask questions about money. Teach your children about budgeting and include them on family budgeting for things like groceries, Holiday gift shopping, and planning family events. Explore online resources, like Kids.gov to learn more about money management together. Important Teen Saving Plans Now is the time that your child becomes more financially independent. Encourage them to take on more responsibilities at home and to find a job. This way they can learn, with guidance, about managing their own money. As your teen gets closer to high school graduation, make sure that they know about the following on money management: - Have a solid understanding of the basics of saving and spending - Review the costs of tuition, living, meal plans, education, etc. of college - Set up financial accounts and have an understanding of their student loan system - Safety when handling secure financial and private information including, but not limited to passwords, account numbers, PIN, ATM transactions, and more Free Youth Financial Literacy Sessions from TopLine We believe that it’s never too early to talk with your kids about money, which is why we have the program Get Smart With Your Money — a financial education initiative that encourages conversation about money among your family. There are three different age-specific groups that tailor to the needs and understandings of your children: Building Dreams (ages 5-8) This is a baseline course about the concepts of spending, saving and sharing. It will involve storytelling, worksheets, and other fun activities. Dollar Power (ages 9-13) This course teaches the difference between needs and wants, planning and goal setting, saving and paying yourself first, spending wisely and gift cards. Kids will be given real-life scenarios and asked questions about the importance of saving and spending wisely. Dollars & Sense (ages 14-18) This course digs deeper into the concepts that were taught in Dollar Power and expands further on sound money management, checking accounts, debit and credit cards and the significance of credit. Again, students will be taught by example with real-life scenarios and thought-provoking questions. These sessions are offered Saturday, April 22 and Thursday, October 19 starting at 9:00 AM. They will be held at TopLine’s Maple Grove Learning Center located at 9353 Jefferson Highway. For more information, give TopLine a call at 763-391-9494 or you can register online.

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10 reasons why play is important 26 Jul 2010 Play is integral to the acquisition and development of communication skills in children. Because of its importance, TTYB has brought together the top 10 reasons why we think play is important. They [children] are learning key scientific concepts, such as what sinks and floats; mathematical concepts, including how to balance blocks to build a tower; and literacy skills, such as trying out new vocabulary or storytelling skills as children “act out” different roles. ... they are also learning — that they are loved and important and that they are fun to be around. These social-emotional skills give them the self-esteem and self-confidence they need to continue building loving and supportive relationships all their lives." Zero to Three Journal The top ten 1. Play lays the foundation for literacy. Through play children learn to make and practise new sounds. They try out new vocabulary, on their own or with friends, and exercise their imagination through storytelling. 2. Play is learning. Play nurtures development and fulfils a baby’s inborn need to learn. Play takes many forms, from shaking a rattle to peek-a-boo to hide-and-seek. Play can be done by a child alone, with another child, in a group or with an adult. 3. Play encourages adults to communicate with the children in their lives. Adults support play by giving children the opportunity to engage in play, by knowing when not to intervene, and by knowing when to intervene. 4. Play gives children the chance to be spontaneous. You may think your child should be rolling the truck on the ground but that doesn’t mean that truck is not equally useful as a stacking toy. 5. Play gives children choice. Having enough toys or activities to choose from will allow children to express themselves. 6. Play gives children space. To practise physical movement, balance and to test their own limits. 7. Play gives adults the chance to learn how to play again. One of the most challenging parts of play is incorporating yourself in it. 8. Play allows adults to learn their child’s body language. Knowing when you should incorporate yourself in your child’s play is key. 9. Play teaches adults patience and understanding. If you do choose to join in your child’s play make sure that you do not try to take it over and force incorporation of your ultimate learning objectives into their play. Structured adult-led activities have their time and place but remember to allow for time for children to control and decide their own play. 10. Play is fun. Learning to play well, both by themselves and with others, sets children up to be contented and sociable.

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My favorite type of art is art that expresses feeling–art that makes my breath catch in my throat, makes me gasp or cry, or makes my heart churn. These expressions of humanity and raw human emotion can be created in so many different ways by so many different artists from different times and places. One artist who work does this for me is an expressionist artist from the late 1800s and early to mid 1900s, Käthe Kollwitz. Experiencing art like hers is why I love art and dedicate my life to helping others experience art the way I do. Some of the below images are small. Please click them to view a larger image. Käthe Kollwitz lived in Germany from roughly 1883 to her death in 1945 and dedicated her life to documenting the pain, suffering, and trauma of war. Even before World War I and World War II, which she lived and suffered through, she documents other hardships and human suffering such as the German Peasants’ War and others. She lost her son in World War I, and this solidified her stance as a pacifist and socialist. It is my duty to voice the suffering of men, the never-ending sufferings heaped mountain-high. — Käthe Kollwitz Her art is so simple, but so incredibly powerful. Her work is often drawings or prints of individuals or groups of people. There is often no setting or context, but you don’t need it. The expressions on the faces, the quality of the lines, the texture, and the absence of color capture the deep emotion of the figures in such a compelling way. Lesson and Activity Ideas In my mind, there are three tracks of lessons you can take in your classroom with her work: using her art to support lessons on the World Wars, discussing her work to teach about expression in art, and using her work among others to teach about different elements of art and principles of design. As I have mentioned, her artwork displays amazing expression of emotion. Have students study the work to analyze the artist’s choices. What artist choices did she make and how do the impact the emotion? Have students practice drawing different emotions using Kollwitz’s work as a guide. Give the students mirrors and let them practice expressing emotion on their own face. You could also so some character analysis activities or creative writing exercises to analyze the emotions even further. While I drew, and wept along with the terrified children I was drawing, I really felt the burden I am bearing. I felt that I have no right to withdraw from the responsibility of being an advocate. — Käthe Kollwitz Art Analysis with the Elements and Principles Kollwitz’s work is masterful in its use of elements and principles of art. Have students analyze the works using the elements and principles worksheets in my Art Appreciation Printable Worksheet Bundle. Here are some talking points for this activity and things your students may point out with this activity. Of course, let them discover these for themselves. I was looking at a large grouping of her work as a whole for this, so you could have students look at several of her works and look for commonalities with the use of elements and principles. - Line — The artist uses a variety of thick and thin lines to create texture, form, and expression. She varies the value of the lines as well. - Texture — The artist uses lines and shading to create on the faces to both add form. - Value — Dark areas highlight special focus areas like hardworking hands or sunken sad eyes. - Space — The negative space along the edges focuses our attention and doesn’t distract us from the main figure. She presses figures together in her artworks that include many figures leaving no personal space between them. - Color — The absence of color intensifies the emotion. - Emphasis — The artist uses line, value, and space as described above to emphasize the emotions of the figure. - Unity — The color and texture lines create a sense of unity. The whole artwork works well together. Art is a great way to study the impact on people and the emotions of history. Use these works when studying World War I and World War II. I’ve also written a post about Franz Marc’s Fate of the Animals which goes along with World War I. Have students look at both artworks and talk about how the different artists took the same emotions and themes and expressed them in two very different ways. Women’s History Month on MKB I am in the world to change the world. — Käthe Kollwitz This post is a part of the Women’s History Month on Multicultural Kid Blogs. Please click the image to check out other posts from the series! If you like this post, you might also like:

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Wilhelm Grimm was born on February 24, 1786, in Hanau, Germany. He and older brother Jacob studied German folklore and oral traditions, publishing a collection of stories eventually known as Grimms’ Fairy Tales which includes narratives like Briar Rose and Little Red Riding Hood. Wilhelm oversaw editorial work on future editions of the collection, which became more geared towards children. Wilhelm Carl Grimm was born on February 24, 1786, in the town of Hanau, Germany, to Dorothea and Philipp Grimm. Wilhelm Grimm was the second oldest of six siblings, and would later embark on an industrious writing and scholarly career with his older brother, Jacob. Wilhelm and Jacob studied law at the University of Marburg from 1802 to 1806, following the path of their lawyer father. Due to health issues, Wilhelm didn't start regular employment until 1814, when he obtained a position as secretary at a royal library in Kassel, Germany. Jacob Grimm would join him there in 1816. 'Grimms' Fairy Tales' Influenced by German Romanticism, a prevailing movement of the time, the brothers robustly studied the folklore of their region, with an emphasis on recording village oral storytelling that was vanishing with the advent of new technology. Jacob's and Wilhelm's work culminated in the book Kinder-und Hausmärchen (Children's and Household Tales), the first volume of which was published in 1812. A second volume followed in 1815. The collection would later come to be known as Grimms' Fairy Tales, with famous stories that include Snow White, Hansel and Gretel, The Golden Goose, Little Red Riding Hood and Cinderella. Despite the emphasis on village oral traditions, the stories were in fact an amalgamation of oral and previously printed fairy tales, as well as information shared by friends, family members and acquaintances, with non-German influences. For instance, French writer Charles Perrault had earlier written a version of The Sleeping Beauty, known as Briar Rose in the Grimm collection. The brothers aimed to make the collection more palatable to children by its second edition, and hence made note that they had altered and expanded the language of the stories. Wilhelm, seen as the more easygoing of the two with a passion for the arts, served as editor on future editions of Tales. Marriage and Later Years While Jacob remained single, in the mid-1820s, Wilhelm married Dortchen Wild, with whom he would have four children. By 1830, the brothers had taken on work at the University of Göttingen, with Wilhelm becoming an assistant librarian. The two left the university in the mid-1830s—the result of being banished by the king of Hanover after they protested changes he'd made to the region's constitution. In 1840, the brothers decided to settle in Berlin, Germany, where they became members of the Royal Academy of Science and lectured at university. They subsequently took on a massive project—a comprehensive dictionary of the German language. The book reached completion years after Wilhelm's passing. Wilhelm Grimm died on December 16, 1859, in Berlin, Germany. Throughout his life, he authored or co-authored nearly two dozen books. The Brothers' Legacy Grimms' Fairy Tales have been retold in a wide variety of media formats over the past several decades, and as such, the storylines have often been tweaked to fit varying ideas of what's appropriate for children. Much dialogue has been had about the violence contained in the stories' original forms, with controversy also arising over some of the tales' anti-Semitic and anti-feminist themes. Nonetheless, the Grimm legacy continues to be celebrated. Marking the 200th anniversary of the brothers' historical collection, 2012 saw a number of special tie-in publications and special events, including the release of a bicentennial edition of The Annotated Brothers Grimm, edited by Harvard mythology scholar Maria Tatar, and a retelling of the brothers' classic tales by Philip Pullman, Fairy Tales From the Brothers Grimm. We strive for accuracy and fairness. If you see something that doesn't look right, contact us!

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ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, videos, activities, or other ideas you'd like to contribute, we'd love to hear from you. Find the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals. Teacher Resources by Grade |1st - 2nd||3rd - 4th| |5th - 6th||7th - 8th| |9th - 10th||11th - 12th| Creating Character Blogs |Grades||6 – 12| |Lesson Plan Type||Standard Lesson| |Estimated Time||Five or six 45-minute sessions| - Improve media literacy by viewing a variety of well-written and designed blogs - Learn about web design and development by constructing and editing their own blogs - Engage with a given text through identification with a character by creating a blog from the perspective of that character - Improve creative writing ability by selecting an appropriate style, tone, vocabulary, and set of topics for their chosen character - Develop their ability to infer details from text and use their imaginations by constructing a creative character blog that draws heavily on the original text |1.||Begin by telling students they are going to take part in a media literacy project in which they will learn how to create blogs for a fictional character. Let them know that this first session will be spent learning about what makes a good blog—interesting design elements, creative writing, clear theme, strong organization—by viewing a few key ones. Encourage students to begin thinking about what character they’d like to choose from a book or books the class has recently finished reading. |2.||Pass out copies of the Blog Exemplar WebQuest and ask students to follow the directions provided, navigating to the blogs listed and filling out the questions. They may talk about the blogs they find with each other, but under no circumstances should they use the Internet for any other purpose. |3.||Circulate around the room and answer questions as needed. Students may begin asking about how to create the elements they see, but let them know you will get to that soon. If students ask if they can explore other blogs, suggest they use this time to focus on the given blogs. |4.||For homework, students should complete the Blog Exemplar WebQuest if they have not already done so and choose a character for the next session. |1.||Greet students in the computer lab and explain to them that today they will begin building their blogs. Pass out copies of the Character Blog Requirements and give students a few minutes to read it. Ask them to wait with their questions until it is time for individual work. Draw students’ attention to the requirement of having at least four posts—one significant entry each from their character’s perspective from four different moments in the book. Emphasize that posts and all design elements should be consistent with the chosen character and his/her history, relationships, and dreams, and also consistent with the time period and setting of the book. |2.||Pass out copies of Blog Creation Steps. On an overhead projector, go through each step of creating a blog. Allow students to follow the steps on their computers. Wait for a few minutes between each step, checking to be sure students are with you and allowing them to help each other if they encounter problems. Use the blog you created as a model of a finished product. |3.||Call up A Post from Juliet and inform students that it is a very basic example of a character blog—theirs should be more extensive. |4.||Give students the remainder of the session to begin building their blogs. Tell them they may always click “edit posts” from the post page to go back and change something or to delete a post, so they should feel free to create rough drafts to which they can return. Remind them to look at their Character Blog Requirements handout if they forget a step and to experiment with posting images and other elements. Circulate around the room and answer questions as needed. As students work, pass around a copy of the Character Blog: Assessment Rubric so they can clearly see how they will be graded. Let them know they will receive two kinds of grades—the final grade for an excellent product, and a process grade for their level of effort and focus along the way, both out of 40 points. |1.||Invite students to begin working in earnest on their character blogs. Remind them that they should work on posts first and graphic design afterward. Remind them that the blog is for their chosen characters, and that entries should be written in first person and graphic design choices should be appropriate. Inform students that they will begin this work period with a process grade of 40/40, and can only lose points by failing to stay on task or distracting others. |2.||Circulate around the room, helping students stay focused, preventing them from getting too caught up in design before they have enough content, and assisting with any technical issues. Using an attendance list, jot notes for the process grades. |3.||For homework, students should continue to work on their blogs. If students do not have computers at home, continue to Session 4 for next time. If they do have computers at home, continue to Session 5. By Session 5, students should have completed about three-quarters of their blogs to prepare for peer editing. Note: This session is optional, depending on whether or not students have access to computers at home. |1.||Have students continue work on their blogs. Again jot notes for process grades. Allow media-savvy students to explore the many possible additions to the layout page, including video, music, photo collages, or widgets, encouraging them to go beyond the requirements of the assignment. |2.||Explain to students that they need to be prepared with at least three-quarters of a complete version of their blogs next session. Inform students that this is worth 10 process points.| |1.||Hand out copies of the Peer Editing Questions, explaining to students that they will be helping each other strengthen their blogs by noticing both the strong and potentially confusing or disparate elements on the blogs. Assign partners. Have students trade chairs to view each other’s blogs, fill out the questions for their partner’s blog, and then trade handouts and return to their own computers. |2.||Circulate around the room as students work to be sure everyone has completed a reasonable amount of work. Use an attendance list to jot notes for the process grades. |3.||Students should use the remaining time to make improvements to their blogs based on the responses of their partners. |4.||For homework, students should tie up any loose ends with their blogs, making sure they are complete by Session 6. |1.||Welcome students with the news that they have completed their work as designers and bloggers and now have the opportunity to become media critics. |2.||Ask students to navigate to their blogs. Distribute copies of the Peer Nominations for Excellence. Inform students they will be spending the period viewing the wonderful work of their classmates, then filling out nominations for two classmates, and that secrecy is vital. Remind them that the nominations do not represent a popularity contest, and that they should vote for blogs with strong writing and unique design elements that really seem to capture the chosen character. You may choose to create certificates for the winners of the Excellence Awards, or simply to recognize them verbally in the next class period after you have counted up the votes. Have each student choose a blog and sit down to read it. Call for a circular rotation every few minutes, planning your time so that all students will view all blogs and have a few minutes to vote for their favorites at the end of the period. |3.||Walk around as students view the blogs, breaking up any inappropriate conversation. Point out interesting features and ask students why they like what they see, encouraging them to be specific. Feel free to compliment students on innovative ideas as they are rotating. |4.||In the last five minutes of class, ask all students to fill out their ballots, then to e-mail you the URL of their blog. Encourage their conversations with each other about what they have just seen, asking questions of authors and complimenting excellent work. As a final note, congratulate them on a job well done and collect their nominations as they leave the room. - As a year-end project, ask students to create a blog reviewing the books from the year. Choose the best one to share with your incoming classes the next year. - Create a blog for your class, posting photos, announcements, or even assignments using Google docs. Give everyone in class the URL. - Ask students to bring in posts from major news blogs for a Current Events day. - If working with seniors, suggest personal blogs as a nice way to keep in touch with family and friends when they move away or go to college. - Using an attendance list, note any disruptive behavior among students during the lab periods. Deduct points from their process grades (40 points) if necessary. - Assess students’ blogs using the Character Blog: Assessment Rubric. The final blog is worth 40 points.

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Learn more about Montana history, native cultures, and artistry and introduce primary sources (including art, photographs, and documents) into your classroom through these lessons, while providing your students insight into the Essential Understandings regarding Montana Indians. NEW! Neither Empty nor Unknown: Montana at the Time of Lewis and Clark Lesson Plan (4-7). For teachers able to bring their students to the Montana Historical Society, this lesson plan offers pre- and post-tour lessons and other resources to complement a tour of the Neither Empty nor Unknown exhibit. (Find information about scheduling tours here.) For those unable to tour the exhibit, the lesson plan offers instructions for modifying the lesson and a "virtual tour" via PowerPoint and script. You can preview the virtual tour PowerPoint here. The Art of Storytelling: Plains Indian Perspectives (K-12). These materials are designed to provide you and your students with an exciting way to incorporate Indian Education for All into your art curriculum. The material includes grade-appropriate lesson plans which are aligned with the Essential Understandings and the Montana Art Content Standards; three PowerPoint presentations, one focused on winter counts and two about ledger art (one of which is designed for grades K-6 and the other for grades 7-12); and additional material that explores winter counts and biographical art. “Russell on Indians” (grades 7–12) explores the topic of stereotypes, especially about Indians. After class discussion, students will examine several Russell paintings during a “gallery walk” to explore how the artist did and did not reinforce Indian stereotypes. A Beautiful Tradition: Ingenuity and Adaptation in a Century of Plateau Women's Art (Designed for 4th-12th) These materials are designed to provide you and your students with an exciting way to study this colorful art form while incorporating Indian Education for All in your classroom. There are three grade-appropriate versions of this curriculum: fourth/fifth grade, middle school, and high school. These interdisciplinary units include grade appropriate lesson plans, aligned with the Essential Understandings; PowerPoint presentations; worksheets; and other material that explores this remarkable art form. NEW! Resilience: Stories of Montana Indian Women Ordinary People Do Extraordinary Things! Connecting Biography to Larger Social Themes Lesson Plan (Designed for grades 8-12) This lesson uses essays published on the Women’s History Matters website to help students explore how ordinary people’s lives intersect with larger historical events and trends and to investigate how people’s choices impact their communities. After analyzing two essays on American Indian women from the Women’s History Matters website, students are asked to conduct interviews with people in their own community to learn about how that person has chosen to shape the world around him or her. NEW! "Sun Dance in Silver Bow: Urban Indian Poverty in the Shadow of the Richest Hill on Earth" is a PowerPoint-based lesson plan that explores the complexity underpinning the change-over (or reconfiguration) of the West (and particularly Montana) from Aboriginal lands into Euro-American hands at the end of the nineteenth century. "Native American Trade Routes and the Barter Economy" includes two learning activities intended designed to complement Chapter 2 of the Montana: Stories of the Land textbook. Designed for use in grades seven through nine, Activity One, "Resources and Routes," focuses primarily on mapping pre-contact trade routes, with a special emphasis on Montana. Activity Two, "Trading Times," asks students to simulate the process through which various products from different regional tribes were bartered and disseminated to gain a better understanding of pre-contact barter economy and how it compares with the modern-day cash economy. "When Worlds Collide: The Salish People Encounter the Lewis and Clark Expedition" is a flexible one- to four-day learning activity designed to complement Chapter 4 of the Montana: Stories of the Land textbook. Recommended for use in grades seven through nine, the activity challenges students to grapple with historical evidence and to better recognize the complexity of native-white encounters. "Blood on the Marias: Understanding Different Points of View Related to the Baker Massacre of 1870" is a flexible one- to three-day learning activity designed to complement Chapter 7 of the Montana: Stories of the Land textbook. Recommended for use in grades seven through twelve, the activity challenges students to grapple with historical evidence and to better recognize the complexity of native-white encounters. In considering a variety of historic documents, students will have an opportunity to raise questions and draw meaningful conclusions about a historically significant event: the Baker (also known as Marias) Massacre. "Hearing Native Voices: Analyzing Differing Tribal Perspectives in the Oratory of Sitting Bull and Plenty Coups" is a flexible one- to three-day activity designed to complement Chapter 7 of the Montana: Stories of the Land textbook. Recommended for use in grades seven through twelve, the activity focuses on excerpts from a number of speeches and addresses given by two well-known leaders of native peoples closely associated with the story of Montana's past: Sitting Bull, of the Hunkpapa Sioux, and Plenty Coups, of the Crow. This lesson seeks to challenge students' preconceived stereotypes of American Indians as one-dimensional, inflexible caricatures who were merely acted upon by outside forces. In comparing and contrasting brief excerpts of these leaders' speeches, students will come to appreciate that great diversity existed among individual American Indian leaders and the ways they responded to changing circumstances during the late nineteenth century. Library of Congress "Mining Sacred Ground: Environment, Culture, and Economic Development on the Northern Cheyenne Reservation" is a learning activity designed to familiarize students with an important and contentious issue now facing Montana's native peoples: whether or not to develop their reservation's coal and coal-bed methane resources. Recommended for use in grades seven through twelve, this activity challenges students to better appreciate the complexities of promoting resource-based economic development when such action conflicts with traditional cultural values. "Montana's Landless Indians and the Assimilation Era of Federal Indian Policy: A Case of Contradiction" is a week-long primary-source based unit designed to introduce students to the history of the landless Métis, Cree, and Chippewa Indians in Montana between 1889 and 1916, while giving them an opportunity to do their own guided analysis of historical and primary source materials. In this Common Core-aligned unit, students will wrestle with issues of perspective, power, ideology, and prejudice and will closely examine the role Montana newspapers played in shaping public opinion toward the tribes’ attempts to maintain economic independence and gain a land base and political recognition. "Picturing the Past: Understanding Cultural Change and Continuity among Montana's Indians through Historic Photographs" is a two-day learning activity designed to complementChapter 11 of the Montana: Stories of the Land textbook. Recommended for use in grades seven through twelve, the activity challenges students to examine historical photographs while considering issues of cultural change and continuity over time. Montana Ancient Teachings: A Curriculum for Montana Archaeology and Prehistory (Designed for 4th-8th). Introduce elementary and middle school students to the world of archaeology and what archaeologists have learned about Montana prehistory through archaeology and related scientific disciplines. Hands-on History Footlockers relating to Montana Indians Learn more about our footlocker program and reserve these titles by visiting the Hands-On History Footlocker page. Contemporary American Indians in Montana - Highlights the renaissance of Montana's Indian cultures and tribal efforts to maintain their identities and traditions. Land of Many Stories: The People and Histories of Glacier National Park Focuses on the commemoration of the centennial anniversary of Glacier National Park. It is thematically tied to the MHS' exhibit The Land of Many Stories: The People and Histories of Glacier National Park. It examines the human experience in the area now known as Glacier National Park, from pre-contact to the recent past, focusing on human-environmental interaction. Lifeways of Montana's First People - Emphasizes the various tribal lifeways of the people who utilized the land we now know as Montana in the years around 1800. Montana Indian Stories Lit Kit - Immerses students in storytelling and the oral tradition with seven class sets of Montana Indian stories collected for the Indian Reading Series (1972) and reprinted by the Montana Historical Society Press. The lit kit includes animal puppets and User Guide. NOTE: Out of respect for the storytelling customs of many Montana Indian people, this kit will be made available for use in the winter months (November through March.) Prehistoric Life in Montana - Exposes Montana prehistory (10,000-12,000 years ago) and archaeology through a study of the Pictograph Cave site in eastern Montana. Stones and Bones - Uncovers the earliest evidence of Montana's human history through a study of casts and reproduction stone and bone tools, including replica artifacts from the Anzick collection found in Wilsall, Montana. To Learn A New Way- Through a child's voice, as much as possible, this footlocker explores the late 1800's and early 1900's time in which Montana Indians were moved to reservations, experienced allotment and boarding schools - all of which resulted in dramatic changes in their lands, languages, and way of life.

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Programming 101: Key Mental Models Programming is about casting spells on machines so that they serve your will. Okay, okay. So maybe it’s not really magic. But it is magic-like. You have to learn a cryptic language, and you have to speak (type) the symbols in the right order for your spell to work properly. So why does programming have a reputation for being hard? Because there are many pieces involved, which require many different “Mental Models”. What’s a mental model, you ask? A mental model is something in your head that helps you make predictions about how things in the world (people, animals, machines, etc.) will react in response to your actions or events in the world. Suppose you’re a teen and you stay out late—past midnight on a school day. You know your parents will be very upset with you, and possibly yell at you the next day. How do you know that? You have a mental model of your parents! Another example: Don’t stare a dog in the eye because you might make it mad and it will bite you. How do you know that? You have a mental model of dogs. A mental model doesn’t have to be 100% accurate. It’s merely a guide for your expectations and actions. You create mental models constantly and you constantly update your mental models in response to new information. So let’s go through the mental models you need to know for programming. Mental Model: Programming as Communication Setting aside colorful magic, wizard, and spell metaphors, how should you think about programming? Programming is communicating directions to a computer. So, you know how you sometimes give driving directions to other people? It’s like that. But instead of driving directions to a person (in English), it’s directions to a computer (in a language like C# or Java) for taking information and either - Storing the information in memory, disk/USB drives, across the network; - Calculating new information by using information in equations; - Displaying the information. And technically it’s only storing and calculating, because displaying information is a kind of storing of the information on screen or on paper. So if someone asks you what programming is, tell them: B. Computers only know how to follow three directions: - store information, - calculate new information, or - display information. Mental Model: Programming as Communicating With Computers But how exactly do you communicate with a computer? Can you simply talk to it? Technically yes, but let’s pretend our computer doesn’t have voice recognition like our smart phones. And let’s continue using “communicating with people” as our starting point for understanding programming computers. When we communicate with other people we simply talk and if they’re paying attention, they hear us and respond appropriately. When we’re communicating with a computer, instead of speaking words in English, we’re: - Typing code from a computer language into an editor. - Saving our code as a file on the computer. And then telling the computer to - Run the code. Mental Model: Coding as Storytelling Almost every well-written story consists of three parts: a beginning, a middle, and an end. In the beginning, the hero encounters a problem. The middle is spent searching for a solution. And in the end the hero solves the problem. Similarly, almost all code also has a three-part structure: - Input: getting information from the user, or from storage or from the network - Processing: running calculations on the information - Output: displaying the information to the user, or storing it, which may involve sending the information across the network. Mental Model: Syntax as Grammar Just like you can’t randomly mix words in a sentence and expect people to understand what you’re saying, you can’t randomly mix programming terms and expect the computer to run your program without crashing. English has a grammar, and Programming Languages have a syntax. When you hear the term “syntax” think grammar. Bad syntax leads to your code crashing, just like bad grammar leads to people misunderstanding you (a kind of human crash). Mental Model: How Software and Hardware Interact A computer consists of storage (hard drive, usb drive), memory (RAM), a processor (Intel or AMD), and a graphics card (NVidia, AMD). Yes, there’s the network too, but let’s ignore it for now. - Your program is kept in storage. - When you run your program, it gets moved into memory. - The processor reads and executes each line of code in memory. - Any code for displaying information gets sent to the graphics card.

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To view the slideshow full screen click on far right button. To view more slideshows click on far left “gallery” button. The seventh grade is a bridge between a student’s middle school experiences, similar to how a ligament bridges muscle to the bone. This important year finds the student no longer new to middle school rituals nor yet faced with the intensity of 8th grade. As a result, it can be a year with great internal focus as they develop and immerse themselves in their academic and artistic pursuits. While the period of adolescence can be trying for any parent and child as the separation between the student with the parent and teacher continues to grow, this in no way minimizes the importance of adults in the child’s life. At thirteen, a child begins to make critical character-building choices usually by copying what she sees in others. This is why it is so important for the students to have many strong role models not only to observe in real life, but to encounter and study in the curriculum. This year offers a mix of mastering past skills and learning new concepts. The general categories include: Operations with Rational Numbers, Proportional Reasoning, Consumer Math, 2-d and 3-d Geometry, Pythagorean Theorem, and heavy concentration in Pre-Algebra. In middle school, developing good homework habits and learning to persevere through challenging problems are two overarching goals. The student will continue to develop and strengthen listening, speaking, reading, and writing skills while studying biographical stories and written documents from the Age of Exploration, the Italian Renaissance, the Reformation, and the Scientific Revolution. Expository and creative writing skills will be further expanded. In the Dramatic Arts Block, students study Shakespeare through his sonnets and plays, and present a full or abbreviated version of one of his plays in a live theater setting. Science continues to be a proportionally dominant block area, with several distinct areas of study. In Chemistry, students observe the process of combustion and delve into the elements of the periodic table, and investigate acids, bases, and salts. In Physics, students learn about machines, including the six simple machines, the internal combustion cycle, and electromagnetism. This also includes a large group project to design and build a Rube Goldberg machine. In two Physiology blocks, students review both the male and female reproductive systems and understand human fertility. Students also learn about our metabolic process that involves: respiration, circulation, digestion, and cellular activities. Students learn about important health topics such as the effect of alcohol on their cells, sexually transmitted diseases, the effects of smoking on their lung capacity, and general nutrition as part of these studies. Students continue to develop their ability to play violin, viola, and cello in a string orchestra. They are taught more advanced music reading concepts and more advanced playing techniques. They will also continue to develop their ability to play soprano, alto, tenor, and bass recorder in an ensemble, and learn choral singing skills. Students will learn to identify stylistic characteristics of music periods and composers and the key periods and dates of music history. The 7th grade music class performs in two formal string orchestra concerts. The historical period known as the Renaissance forms the basis for artwork in Seventh Grade, so we begin an intensive study of the basic laws of perspective drawing, which were first formulated at the dawn of the Renaissance. As they slowly master the technicalities of vanishing points, converging lines, interpolation and extrapolation, students will gain the ability to create the illusion of three-dimensional space on a two-dimensional sheet of paper. We will continue our watercolor work with a focus on the wet-on-wet approach. History and Social Studies The study of the Renaissance, Reformation, and the Age of Exploration reflects what the children are experiencing within. The children learn biographies of great figures that went against the traditional, prevailing views of their day in their own search for truth, freedom, and self-expression. Through studying the lives of key figures such as Galileo, Martin Luther, Christopher Columbus, Elizabeth I, and others, students find reassurance that in their struggle to become who they are, they also can contribute to the world. Crowing their studies on the Renaissance, students travel to Oregon for a weeklong stay in Ashland during the Oregon Shakespeare Festival, watching a minimum of three performances and participating in drama workshops. Foreign Language (Spanish) An emphasis is placed on the reinforcement and acquisition of grammar and other vocabulary study that will prepare students for high school level Spanish. Students continue to formally study various aspects of grammar, including deeper work into a range of regular and irregular verbs and tenses, possessive adjectives and superlatives. Students apply their burgeoning fluency in Spanish to reading short stories and passages in Spanish. Students conduct a research-based investigation of the African continent with a focus on report writing using external sources, including a “Keynote™” computer presentation to the class. The Keynote aspect will help prepare the students for their 8th grade project presentations. Students will also learn the current physical and political geography of modern Africa. Students expand the use the computers and the computer lab to write essays and other Main Lesson content. They use teacherweb.com to communicate with their teachers online, gather details of assignments and find copies of Main Lesson chalkboard drawings. Through digital literacy studies, students learn the essential skills to be digital citizens and safe and ethical online. The goal of this program is to instill a love of games that promote cooperation versus competition. Each game is designed to refine motor skills, and also challenge the class to work together to find a solution or to improve the game. To promote fitness, health and wellness, the seventh grade student participate in weekly exercises to improve overall fitness and strength. Each child will run the mile, perform sit up and push up tests and will perform stretches to improve overall flexibility. Students will also learn basic stretches to support muscles for exercise.

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This page contains a non-exhaustive list of useful reference points in the National Curriculum relevant to the teaching of classical civilisation and the classical tales storytelling resources hosted on this website. It is based on the statutory and non-statutory National curriculum in England for teaching from September 2014 (last revised July 2014). At Key Stage 2, the curriculum specifies that children should study the Roman Empire and its impact on Britain. It lists non-statutory examples of material that could be covered: - Julius Caesar’s attempted invasion in 55-54 BC - the Roman Empire by AD 42 and the power of its army - successful invasion by Claudius and conquest, including Hadrian’s Wall - British resistance, for example, Boudica - ‘Romanisation’ of Britain: sites such as Caerwent and the impact of technology, culture and beliefs, including early Christianity It also makes reference to the legacy of Greek or Roman culture (art, architecture or literature) on later periods in British history, including the present day and Ancient Greece – a study of Greek life and achievements and their influence on the western world. Learning at key stage 3 ‘should extend and deepen pupil’s chronologically secure knowledge and understanding of British, local and world history, so that it provides a well-informed context for wider learning’. The curriculum for history provides explicit opportunities for building on knowledge of classical civilisation and making links to classic tales. The aims of the English curriculum focus on pupils’ acquisition of ‘a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language’. It states that spoken language underpins the development of reading and writing and notes that ‘the quality and variety of language that pupils hear and speak are vital for developing their vocabulary and grammar and their understanding for reading and writing. Teachers should therefore ensure the continual development of pupils’ confidence and competence in spoken language and listening skills’. There are clear opportunities for use of classic tales story telling materials here; providing a rich seam of resources for expanding vocabulary, exploring linguistic conventions and improving written work. The statutory guidance for English states that in years 3 and 4, pupils should continue to have opportunities to listen frequently to stories and in years 5 and 6, they should be able to summarise and present a familiar story in their own words. Classic tales story telling materials very clearly meet these aims and can be built upon here. At key stage 3, the emphasis is on developing an appreciation and love of reading, and read increasingly challenging material independently and ‘reading a wide range of fiction and non-fiction, including in particular whole books, short stories, poems and plays with a wide coverage of genres, historical periods, forms and authors, including high-quality works from English literature, both pre-1914 and contemporary, including prose, poetry and drama; Shakespeare (2 plays) and seminal world literature’ Classic tales materials can greatly contribute to encouraging a love of reading and introducing more challenging material e.g. through making classic tales accessible to lower level readers and spurring on better readers to looking at different translations of the texts on which the recordings are based. There is a strong emphasis on the development of listening, discussion and debating skills including listening and responding in a variety of different contexts, both formal and informal, and evaluating content, viewpoints, evidence and aspects of presentation. Discussing themes of classic tales recordings are a rich resource to meet these curriculum aims. There is also reference to ‘improvising, rehearsing and performing play scripts and poetry in order to generate language and discuss language use and meaning, using role, intonation, tone, volume, mood, silence, stillness and action to add impact’. The classic tales recording provide ample examples of performance aspects which can contribute to this type of learning. The statutory guidance for teaching citizenship at key stages 3 and 4 also places emphasis on the skills required for debate and skills to think critically and debate political questions which could be linked thematically to classic tales. Pupils must also: - acquire a sound knowledge and understanding of how the United Kingdom is governed, its political system and how citizens participate actively in its democratic systems of government - develop a sound knowledge and understanding of the role of law and the justice system in our society and how laws are shaped and enforced There are links to be made here about the origins of democracy and the role of storytelling in exploring political and values-based themes.

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Over 15 years in the making, an unprecedented one-volume reference work. Many of today's students and teachers of literature, lacking a familiarity with the Bible, are largely ignorant of how Biblical tradition has influenced and infused English literature through the centuries. An invaluable research tool. Contains nearly 800 encyclopedic articles written by a distinguished international roster of 190 contributors. Three detailed annotated bibliographies. Cross-references throughout. This edition of the classic reference has been thoroughly revised and updated, offering unrivalled coverage of English literature. It continues to offer detailed and authoritative information on authors and works, alongside extended coverage of popular literary genres, as well as of the themes and concepts encountered by students. Challenges students to think beyond a narrowly defined canon and conventional disciplinary boundaries. Includes close readings of frequently studied texts, including texts by Chaucer, Langland, the Gawain poet, and Hoccleve. Alexander’s A History of Old English Literature is an outstanding introduction to a difficult period of literary history. It provides a simple historical and cultural context for the study of the Anglo-Saxons, and offers a history, illustrated by many passages in translation, of the whole of the literature that survives. While it contains solid, insightful and sensible criticism of individual literary works, its overall historical organization suggests that Old English literature was created in a cultural context that changed from one century to another. Although its intentions are scholarly, this history of Old English literature is also an introduction, assuming little knowledge of this period or its surviving products, and none of its language. This edition has been revised and rewritten throughout, and offers a new preface as well as an updated bibliography. It would be difficult to overestimate the importance of the Bible in the medieval world. For the Anglo-Saxons, literary culture emerged from sustained and intensive biblical study. Further, at least to judge from the Old English texts which survive, the Old Testament was the primary influence, both in terms of content and modes of interpretation. Though the Old Testament was only partially translated into Old English, recent studies have shown how completely interconnected Anglo-Latin and Old English literary traditions are. Old English Literature and the Old Testament considers the importance of the Old Testament from a variety of disciplinary perspectives, from comparative to intertextual and historical. Though the essays focus on individual works, authors, or trends, including the Interrogationes Sigewulfi, Genesis A, and Daniel, each ultimately speaks to the vernacular corpus as a whole, suggesting approaches and methodologies for further study. Details the evolution of literature during a period representing a staggering amount of change, moving from one-dimensional action stories and religious lessons to stories with subtleties of plot and character development. Offering new readings of works by Shakespeare, Spenser, and their contemporaries, this study examines the profound impact of the cultural shift in the English aristocracy from feudal warriors to emotionally expressive courtiers or gentlemen on all kinds of men in early modern English literature. Jennifer Vaught traces the gradual emergence of men of feeling during the sixteenth and seventeenth centuries, to the blossoming of this literary version of manhood during the eighteenth century. First published in 1985, Between Men challenged old ways of reading while articulating critical byways for two emerging disciplines. Its iconoclastic approach gave queer studies and gender studies scholars further reason to crack open the canon, scrutinize its contents, and add unconventional texts on sound theoretical grounds. Striking a devastating blow to the hegemony of heteronormative critique, it opened not only literature but also politics, religion, society, and culture to broader investigations of power, desire, and sex. Between Men still has much more to tell us, and much work left to do. It has kept pace with Western societyÕs evolving ideas of and debates on gender and sexuality...

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Newby states that a case study is a thorough analysis of a typical or unusual event or occurrence which was either successful or encountered a problem. Case studies analyse particular instances rather than search for the general truth. They usually have two goals: to find the patterns created by the processes at work and to uncover variations from the expected. Case studies are methodologically eclectic. The numerous types of case studies involve ethnography, experiment, action research, surveys, illuminative, observational and documentary research that allow flexibility in using different ways of data collection such as quantitative and qualitative data collection, as well as flexible means of analysing the data which can be both short and long term. Case studies possess different advantages (Adelman); the source of data is based from real situations, they allow generalizations about an instance, recognise the complexity and ‘embeddedness’ of social truths, hold the archive values for other researchers and users whose purposes are dissimilar to each other. Their results instigate action for staff or individual development, formative evaluation and educational policies. The research findings and data from case studies are more accessible than other types of research because they are easier to understand. They can also serve multiple purposes and audiences for they allow readers to judge the situation themselves before making decisions. There are also disadvantages of case studies (Nisbet and Watt). If there is not an application, for instance, the results may not be generalizable. Moreover, the results can be selective, biased, personal and subjective. If the researcher or observer is biased, the results may be problematic to use. Additionally, the complexity of the case may make the analysis harder. Even though everything may appear relevant, one might find that they are irrelevant when writing up the actual case. Finally, with case studies it can be difficult to know where ‘context’ begins and ends (Blaxter, Hughes & Tight) Lewin (1946) named this method of research, which originated from ‘action’ and ‘research’ (Pollard). It requires teachers, researchers and other practitioners to plan, act, observe and reflect in a cyclical process. Action research aims to directly improve practice through self-development (Pollard) and its characteristic methods are cyclical designs, based-on self monitoring using a range of data in a practitioner’s workplace. Action research is evaluative; it describes and analyses personal practice. Action research can be used in different areas such as: in teaching methods, learning strategies, evaluative procedures, attitudes and values, continuing professional development, management and control as well as administration (Cohen, Manion and Morrison). Action research is a device which includes identifying the problem, planning an intervention, implementing the intervention and evaluating the outcome. The research in appendix 3 is a typical example of action research. It was planned by an elementary school teacher and the new head teacher of the school. The aims of the research are to find out if there was significant increase in learning using the inquiry-based strategies and also to see if the students were motivated more by learning science concepts using inquiry- based instruction versus traditional teaching practices. One of the biggest strengths of action research is that it is quite straightforward in tackling issues. The methodology and data gathering are not complicated therefore an action researcher does not need to learn analytical skills. There is no need to rely on researchers, experts or outside authorities. (Kember) However, there are also difficulties in undertaking action research. The first one is making sure that the experiment and control are genuinely comparable. Educational settings are quite difficult to control or design experiments for, because of their variables which interact with one another in unexpected ways. There are also ethical issues during the investigation; one side may feel disadvantaged. Designing different teaching programmes, arranging for the separation of groups and holding extraneous variables constant becomes more difficult the longer the trial. The meaning of ‘ethnography’ is to describe peoples and cultures. Originally, it was used as a research method by anthropologists and aimed to provide an account of the cultures and lives of small, isolated tribes (Denscombe). For instance, a book called ‘The Navaho’ by Clyde Kluckhohn and Dorothea Leighton is written after an ethnographic research about the biggest American- Indian tribe in 1946. The purpose of this research was to understand the traditions & culture in Navahos, to find out how they were coping with the American-Western way of living, if it is possible to protect their heritage despite the pressure of industrialization. According to Whyte ‘ethnographic’ research requires the researcher to spend a long time in the field amongst the people whose lives and culture are being investigated. The ethnographer needs to share the same life as all aspects of ‘everyday life’ are considered to be valuable data. Special attention should be paid to those whose lives are being studied. It generally prefers a holistic approach towards relationships, connections and interdependency. It is a construction which requires particular writing skills and is influenced by the ethnographer’s own experiences (Denscombe). The advantages of ethnography are: it is a direct form of observation and empirical which involves direct contact with relevant people and is also possible to link with theory. The data is relatively rich in detail and seeks holistic explanations which put things in context. Furthermore, it allows the comparing and contrasting of other culture. The ‘actors’ point view and perceptions are open and explicit. Finally, it is ecologically valid so that the researcher should have little impact on the setting (Denscombe). According to Denscombe there are also disadvantages of ethnography such as: tension between wanting to stay as close to the truth as possible and the influence of the ethnographer’s personal experience and social awareness. Although it produces a large number of stories, they may be isolated from each other if the researcher isn’t guided by the theoretical framework. If the researcher makes storytelling their only purpose, there is a potential of losing analytical insight or theoretical position. Reliability can be another problem as it is often difficult to generalize culture and events. Ethics can be an obstacle because of the intrusion into private lives. Finally, two other disadvantages are: accessing the settings without disruption and insider knowledge which may result with a blind spot that obscures the obvious. (Denscombe) Newby describes ‘Phenomenology’ as how we give significance to our experiences of the world rather than how the world really is. Phenomenologist examines the individual and collective experiences of the ‘life-world’. They use description, observation, reporting and reflection. Cohen, Manion and Morrison say that; ‘Phenomenology’ is a theoretical point of view that advocates the study of direct experience taken at face value; and one which sees behaviour as determined by the phenomena of experience rather than by external, objective and physically described reality. According to Curtis there are three distinguishing philosophical viewpoints in Phenomenology: firstly there is an important belief and subjective consciousness; then there is an active understanding of this consciousness and lastly, there is a claim that there are certain essential structures to the consciousness of which we gain direct knowledge by a certain kind of reflection. Advantages of phenomenology are; it is suited to small- scale and low budgeted research where the main resource is the researcher his/herself. It allows the researcher to deal with the complexity of the social world through phenomena in depth. The approach is humanistic as there are efforts to base its enquiry on the lived experiences of people in the everyday world. (Denscombe) The disadvantages of phenomenology (Denscombe) are: it lacks a scientific basis; it can easily turn into the weakness of researcher by people who do not share the same opinion; may only provide description without analysis. Moreover, generalizing the research can be difficult as it involves only small numbers or instances. In addition, the issues a phenomenological researcher deals with may not be relevant to apply for big issues such as the spheres of social policy, international relations and economic progress. Therefore, it is possible to assume things in advance by the researcher which may cause feasibility of suspending common sense.

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in the Canadian History Class By Kathryn Bjornson Most Canadian history courses will cover the discriminatory immigration and war-time policies that were levied against immigrants from Asia in this country from roughly the mid 19th Century to the mid 20th Century. Whether teaching about the head tax that was meant to discourage immigrants from China or the treatment of Japanese “enemy aliens” during WWII, poetry can help students to better understand the effects of these policies. Poetry allows us to bring those voices into the classroom that can speak in a direct way to the experiences of immigrants and their families. The opening lines of Joy Kogawa’s poem “Woodtick” (A Choice of Dreams. Toronto: McClelland and Stewart, 1974) personalizes the lasting effects of discrimination: The spring day the teen on his bike slanted his Caucasian eyes At my eight year old beautiful daughter And taunted gibberish I was eight years old and the Japs were Enemies of Canada and the big white boys And their golden haired sisters who Lived in the ghost town of Slocan Were walking together, crowding me Off the path of the mountain. Similarly, the opening poem in Fred Wah’s Waiting for Saskatchewan (Winnipeg: Turnstone Press, 1985) evokes a strong sense of place and origin in a young province that was shaped by immigration: “Waiting for Saskatchewan / and the origins grandparents countries places converged / Europe Asia railroads carpenters nailed grain elevators.” The poetry of Kogawa and Wah explore themes of cultural and personal identity, ownership, and belonging within the historical context outlined above: These poets also explore how the experiences of one generation inform those of another. By the time I introduce these poets, my students have already studied the treatment of Asian immigrants in Canada, including the Chinese Head Tax, the Act to Prevent Chinese from Acquiring Crown Lands, the use of Chinese labour to construct the CPR, such exclusionary incidents as the Komogata Maru, and the property seizures and internment of Japanese Canadians during WWII. I teach Canadian History to grade 10 students, but these activities can be adapted for use in grades 9-12. This activity can also be used in the English classroom where the teacher wants to bring in History or Geography or to explore cultural issues. I then use entries in the Canadian Encyclopedia and other sources on Wah and Kogawa to present the students with some biographical information. I ask them to construct a brief time line for each poet so to place them within the historical context we’ve been studying. These kinds of activities are helpful because they prompt the student to attach a given person to a particular time and place. Students make the connection that Wah was born in Saskatchewan during WWII and that Kogawa and her family were actually interned during WWII while she was a child. After constructing the necessary background information I ask the students to read the poems introduced above. I first ask students to compare the poems. They often observe that “Woodtick” is more narrative with definite characters (the speaker, her daughter) engaging in a specific activity (walking) and encountering a taunting teenager who is leveling cultural slurs. Although they recognize a speaker in Wah’s poem with references to “me,” “I,” and “my” and also a vague reference to “they”; this is clearly a poem that is less narrative than a collage of images and experiences. One thing that both poems have in common is that the speaker exhibits an attitude toward a particular place. This also allows us delve into a bit of geography and to explore the idea of a sense of place and what place means to an individual. I ask students to look up any place references in both poems. In Wah’s poems, they note that “Europe” and “Asia” converge at “Swift Current,” Saskatchewan and they even note that specific streets are named. In Kogawa’s poem, reference is made to “Slocan,” B.C. and “Saskatoon,” Saskatchewan. These place references must be explained within the context of each poem. A close examination and discussion will conclude that Asia and Europe converge in the immigration to the region, and that many of the references in the poem are to the activities of immigrants once they have landed, such as “railroads,” “carpenters,” “grain elevators,” and “cafes.” It becomes clear also that Slocan is the place to which the speaker returns in her vivid recall of a childhood experience and that the here and now of the poem is Saskatoon. It is helpful to look at a map or even Google Earth to get a sense of the geographical references in the poems such as mountains, plains, railroads, and farm strips. I then ask the students to identify the attitude of the speaker towards the place as expressed in each respective poem. In the Kogawa poem, place is closely associated with bad memories of fear and cultural discrimination, to the extent that there is a vivid recall of place even when the speaker is clearly in a very different place. In the Wah poem, there is an ambiguous attitude towards place: “why / why on earth would they land in such a place” is answered by “I want it back” and we are left wondering what that place “still owes” him. After discussing the cultural experiences that these poets may have had in this country, as a culminating activity I ask the students to write their own poems based on their family history in Canada. I usually give them about two weeks to do some research and write the poems. They can either write a collage poem that is closely associated with a place where their family settled and lived, or they can write a narrative poem from the first person perspective in which they may adopt the persona of a relative or ancestor. Some students, depending on their family history and cultural heritage, may go back further in history than others, but the objective is for the students to connect to Canadian History through their own personal experiences or family histories. By the end of this activity, I have shown my students that artists creatively respond to their historical realities and to government policies, and that they, too, can connect to history in a personal way by their own creative endeavors. Also, they have learned that there are many modes through which we can learn about history, including the creative mode. For Further Reading: The Splintered Moon. Fredericton: University of New Brunswick Press, 1968. A Choice of Dreams. Toronto: McClelland and Stewart, 1974. Jericho Road. Toronto: McClelland and Stewart 1977. Six Poems. Toronto: League of Canadian Poets, 1978. Woman in the Woods. Oakville: Mosaic, 1985. Obasan. Lester and Orpen Dennys 1981 (novel). Loki is Buried at Smoky Creek: Selected Poetry. Vancouver: Talonbooks, 1980. Waiting For Saskatchewan. Winnipeg: Turnstone Press, 1985. Diamond Grill. Edmonton: NeWest Press, 1996. Choy, Wayson. The Jade Peony. Vancouver: Douglas and McIntyre, 1995. —. Paper Shadows: a Chinatown Childhood. Toronto: Viking, 1999. Hall, Patricia Wong and Victor M. Hwang. Anti-Asian Violence in North America: Asian American and Asian Canadian Reflections on Hate, Healing and Resistance (Critical Perspectives on Asian Pacific Americans Series). Walnut Creek, CA: Alta Mira Press, 2001. Hutcheon, Linda, and Marion Richmond, eds. Other Solitudes: Canadian Multicultural Fictions. Toronto: Oxford University Press, 1990. 87-94. Marlatt, Daphne. Steveston. Vancouver: Talonbooks, 1974. Kathryn Bjornson is a poet and educator who lives in Dartmouth, Nova Scotia. Her work has appeared in The Antigonish Review, CV2, The Nashwaak Review, Freefall, and The Mom Egg. She teaches English and Canadian History at Sacred Heart School of Halifax, where she also runs a creative writing club for students.

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They discovered and settled in foreign places such as Iceland, Greenland and the Faroe Islands. They settled in Ireland and this early trading place later became Dublin. Before that, there were no cities there. Around 1000 A.D. they discovered North America, which they called Vinland, that today are parts of Canada. The word ”discover” is of course difficult. Just as Columbus, ”discovered” America around 500 years later, the Vikings simply took Vinland and these other places, occupying them. For the sake of argument, there is also a theory about an Irish monk that might have reached North America as early as the sixth century. Unfortunately, the people already living in these places didn't count when European self-appointed leaders with imaginary warrants turned up. The Swedish Vikings set out for the east, to Byzantium. Among the late tenth century guards of the Byzantine emperor, many of the elite fighters were Scandinavian, the Varangian guard. They even carved their names into the big church Hagia Sophia in Istanbul. But the Vikings were not only brutal warriors. They were intelligent people. They used a compass made of wood and a piece of crystal to navigate and locate the sun during bad weather. They used hundreds of ships when concuring places around the world. Cnut had 93 ships and ruled an empire that consisted of Denmark, England, Norway, Orkney and south western Sweden. There seem to have been a great exchange of information and cultural traditions. Cnut introduced Danish culture to England and at the same time, many of the Danish words of church organisation are English in origin. The most fascinating part of the book is where the authors explain the true identity of the Vikings. Most of the time, they seem to have lived a quiet life, away from battle. Most of the Viking Age Scandinavians were farmers. After their raids they came home and tended to their farms. They were more civilized and sophisticated then they usually get credit for. The oldest evidence for a Viking Age legal system is the Forsa rune ring from the ninth century, from Hälsingland, Sweden. Women were independent, owing and inheriting landed property, and able to marry and divorce. Burials indicate that some women were cult leaders, prophetesses and sorceresses. The book contains many pictures of beautiful objects, such as carefully crafted jewellery. Children toys have been found, and objects indicate that the adults played board games, sports, and those from a high social strata were hunting. The Vikings were intellectuals, and appreciated storytelling and poety. There were skalds, poets, appreciated especially by the kings. The Vikings believed in the gods Odin, Thor, Frey and Freyja. Everyone in Sweden have heard of the Viking spirituality and there is still jewellery with Thor's hammer to buy. There was also a belief in giants, trolls and the underworld. Mythological poems called the Eddic poems had their roots in the Viking poems and were recorded onto vellum later in the Middle Ages. Other poems were about kings, battles and every day life, written by these skalds, professional poets. Many of the Icelandic sagas originate from the Viking age. Eventually, Scandinavia became Christianized, but it took a while. The conversion period took the longest in Sweden, which was Christianized as late as in the thirteenth century. What's special about the book is that all the facts and information about the era don't feel heavy. Text and pictures make the story come alive. It's exciting to be able to come close to a people that have lived and ruled over a great number of lands, more a thousand years ago. There are many photographs of excavations of Viking settlements and culture, as well as small envelopes with pieces of copies of old manuscripts and maps, one of which shows where Vinland, North America, was discovered. These objects are pieces, drawing the reader into the story. This is a wonderful book that gives insight into a lost world, a mythical world and a historical world. In the nineteenth century, the interest grew and the modern Viking was born. The interest was much due to the national romanticism of the time. Unfortunately, much research has had to be reinvestigated and changed because of untruthful theories, such as the one wrongfully claiming they drank from the skulls of their beaten enemies. But perhaps the misinterpretations and misconceptions have served as fueling the fire of interest around the world. Still, today, there are festivals celebrating the Vikings. These mythological people are still very present.

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TeachersFirst's Editors' Choices for Geography Awareness and Exploration There are many ways to view and learn about our world: maps, statistics, photographs, narratives, interactive navigation systems, and mobile apps. Exploring geography and seeing relationships between natural resources, maps, landforms, climate, and human activity can seem overwhelming. TeachersFirst's editors selected these "editors choice" resources to inspire interest and explorations of world geography in any classroom from kindergarten through high school. If you would like to see more, try browsing our full database of resources appropriate for learning geography or use our keyword search (at the left of this page) to search a specific geography term. Use the keyword search options and filter by grade level to narrow your choices. Grades2 to 4 In the ClassroomDisplay this site on your interactive whiteboard (or projector) when learning about coordinate grids. This site would be useful when teaching basic map reading skills in social studies. Allow students to play on their own. Challenge students to create their own coordinate grids using the model on the website. Take any picture and draw grids using rulers then label. Have students identify different portions of the picture using the coordinate grid location. Grades3 to 12 This site includes advertising. In the ClassroomAsk each student to choose a country to compare to their country of origin. Have students pair up with a partner and compare their chosen countries to the country of origin. Tie in a creative writing project, and have students imagine that they are moving from their country of origin to their chosen country. Students can use the information and comparison as inspiration for their fictional story about what life would be like in their new home. Use the statistical data in If it Were My Home for some real world mathematical comparison between countries. Create infographics to compare the two countries using a tool such as Venngage, reviewed here. GradesK to 12 In the ClassroomThis is a wonderful site to include with your bookmarks for units on transportation, maps, explorers, Colonial America, and more. Print and display maps in your classroom when using the included lesson plans. Have students use a tool such as Padlet, reviewed here, to create an online bulletin board for information they learn from the maps. Have students use a tool such as Zeemaps, reviewed here, to create a fictitious radio news story from a location they learn about. GradesK to 12 In the ClassroomGo beyond state "reports" to state experiences by encouraging students to select independent reading books. Looking for more information about the states? For history, economics, facts, famous people, and sights to see in each state, try TeachersFirst's 50 States, the perfect complement to these independent reading selections. Even younger students would enjoy a "tour" of the states using some of the easier books on this list. Maybe have a read-aloud tour featuring one or two states per week throughout the school year. Grades2 to 12 This site includes advertising. In the ClassroomUse an overlap map on your interactive whiteboard (or projector) to compare states, countries, rivers, and more. Use this to give students a perspective on geographic size of earth features that they can't see by looking at a standard map. Challenge students to find states or countries that are similar in size, then compare and contrast geographic features. This tool would be especially important when explaining the concept of map scale or square miles/meters. In math class, use it to show a practical application of the concept of area. Have students use an overlap map when presenting state reports. Find a similar sized state (or country), then use the map as part of the presentation. Have a new student from another state or country? Create an overlap map to begin discussion of comparative size of where they came from to where your classroom is located. Try an overlap map to compare locations students read about in Globetracker's Mission or books they are reading. Include it in discussions about the impact of a country's size on its culture in world language or cultures classes. Grades4 to 12 In the ClassroomWorld history, and world culture teachers could use this video by putting in a city and country where you know there are historical buildings from the time period you are studying. Science and math teachers could put in cities and countries for the origins of famous scientists or mathematicians or locations of major environmental events. And, of course, world language and geography teachers can input any city and country you are studying. Any student, but especially ESL/ELL students, will discover forgotten memories after putting in an address and watching the film. Students who have always lived in the same home may want to put in the address of a favorite relative or vacation spot. At the end there is a prompt to write a postcard; however, it cannot be mailed to anyone in particular. So, have students jot memories ignited by the video on paper or in an open word processing document. Have them use one of the memories as a prompt for a memoir. Have students create blogs using Throwww (reviewed here). This site allows you to create "quick and easy" blogs to be used one time only. There is no registration necessary! During Poetry Month or a poetry unit, talk about the song lyrics as poetry, then have students write their own poems and read them along with their personal location video (with sound muted). Make poetry a personal performance piece! Have you ever wanted to show your students the setting of a novel you are reading as a class? Imagine using the setting for Chasing Vermeer by Blue Balliet and putting in the street, city, and zipcode for Hyde Park and the University of Chicago. Powerful! At the end of the book there is a chase scene, and the students will really be able to visualize this section of the book. You might want to show the setting at the beginning and ask the students to write about why the person is running. After reading the novel, students could select different music to fit their impression of the book. Just mute the music in the video and allow their selection to play. Have students explain why they felt their choice fit that part of the novel better. Have students do this and vote on the musical selection they think fits best by using a tool such as Thinkmeter reviewed here. This video could also be used as a prompt for a creative writing. Ask the students to listen carefully to the words in the music and connect the runner with the words, and explain why the figure is running? What might the figure be running from? Toward? Or, students could create a poem for the video, and even put the poem to music, or use the music from a favorite song for their poem. This site invites creativity and multimedia responses. GradesK to 10 In the ClassroomBuild student literacy skills, reinforce what students are learning about maps, and help students build the important reading strategy of connecting what they read to prior (classroom!) knowledge. Share this link on your class web page or wiki so students can select independent reading books to accompany your unit on maps. Don't forget to share the list with the school and local libraries so they can bring in some of the books on interlibrary loan. CurriConnects are a great help for teachers who have lost school library/media specialists due to budget cuts. GradesK to 10 In the ClassroomBuild student literacy skills, reinforce what students are learning about Geography, and help students build the important reading strategy of connecting what they read to prior (classroom!) knowledge. Share this link on your class web page or wiki so students can select independent reading books to accompany your unit on Geography. Don't forget to share the list with the school and local libraries so they can bring in some of the books on interlibrary loan. CurriConnects are a great help for teachers who have lost school library/media specialists due to budget cuts. Grades2 to 6 In the ClassroomSee "Lesson Ideas" from the Teacher Edition page for a complete list of ways to use this creative unit with younger students, on laptops with student partners, or as semi-independent work. Be sure to share the link on your teacher web page for students to share at home (or check on the next episode, if they can't wait!). Encourage parents to join the fun on the mission by sharing the suggestions listed under "Parent Info."

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The life story interview is a practice within oral history and is an interview with someone about key moments in their life. It can be conducted in one session or over several days. Often interviews are conducted only for information and very little space is given to how one narrates important events in their lives. Video interviews are a great way to capture both what is shared and how it is conveyed. Download chapter 4 for a more in-depth discussion on conducting oral histories in the classroom and see below for tips on video interviews. - Tips on Video Interviews - Tips on the Life Story technique - Life Story Playlist - using music to tell stories Center for Oral History and Digital Storytelling has a great online toolbox, (http://storytelling.concordia.ca/toolbox) Digital storytelling is usually associated with short autobiographical narratives that combine photographs and short written narratives. Combining photography and writing is effective because the technology is quick to grasp and permits a group to emphasize message over technological know-how. Find handouts on writing, photography, and working with sensitive stories or find our more by downloading chapter 3, 4 or 5. Issue composition – http://issuu.com/archinodes/docs/composition_forweb/1?e=0 - Ideas for writing exercises - How to take and select photos - Things to keep in mind when working with sensitive stories - Sample One-day Workshop - WHAT MAKES A GOOD STORY.doc - Partners in Rhyme, http://www.partnersinrhyme.com/ - AudioMicro, http://www.audiomicro.com/ - PacDV, http://www.pacdv.com/sounds/ - Smithsonian Folkways, http://www.folkways.si.edu/folkways-recordings/smithsonian - Fun Fun Fun Media posts mp3s for free download. http://funfunfunmedia.com/ - Musopen provides recordings, sheet music, and textbooks to the public for free, without copyright restrictions. https://musopen.org/ - Jamendo - royalty free music, https://www.jamendo.com/ Throughout the project we used the term “map” to describe the process of connecting personal experiences to places of significance (place-based stories). For example we led activities where we asked participants to draw an image of home and tell us about a story, we called these personal maps. We worked with participants to map their stories using geographical coordinates online or in a community. ‘Going Places’ was our story bus on wheels where we created soundscapes and toured passengers around the city of Montreal. ‘Queer is in the Eye of the Newcomers’ was a walking tour that we then turned into a non-linear web documentary using the open-source program, Korsakow. Mapping helped individuals locate the relationship between the past and the present, the personal and the collective, story and place. Download chapters 3 and 5 to find resources and how we organized the walks. Inviting participants of collaborative projects to share their work and experiences with a broader public can be not only individually empowering, but can also contribute to far-reaching social change that influences social opinion and affects entire communities. The resources below help you think through what to consider when dealing with the press or planning a public event. http://www.goingpublicproject.org/ Many of our stories are the perfect length to use with newcomer students who are learning English. Our collaborator, Kevin Stanley has used Mapping Memories examples to get his own students telling their stories. He developed viewing guides for two Mapping Memories projects that he felt worked especially well in an introductory or intermediate ESL class. Discover the resources he developed. Download his guides and try it out in your classrooms. Working with Refugees The Canadian Council for Refugees has developed a wealth of resources. One of their most popular is an immigration history timeline as well as a helpful timeline on refugee rights. On their public education page find a glossary, myths and facts sheets as well as many other resources.

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October 2, 2013 DC Trainers Network Skillshare - Youth Work 1. Introduction (30) - Lauren and Cathy a. Names, PGPs b. Youth / Adult / Etc.: Identify where you’re at c. Youth/Adult T Chart i. Each person should share assumptions, expectations about Youth and Adults i. Understand adultism (what makes working with youth different? adultism) ii. Activity bank and ideas for incorporating youth participation and working WITH youth 2. Adultism (30) - Cathy a. Discuss youth/adult chart i. Key points: 1. Blur the lines of adulthood and childhood 2. Expectations for youth in society to move to adulthood without much guidance around it, and are never trainer or taught how to be youth, only adults. Moved along into adulthood. 3. Transition into adulthood is often pretty shoddy, job skills, taking on responsibility, often depend on family to take care of this (and essentially, passing down privilege or lack of) 4. Tie in to Capitalism as the system of power (youth and old people are devalued because they do not work or are not seen as the ideal worker) 5. This sets us up to think about adultism - how society devalues youth, how adults exert power over youth and devalue youth experiences b. Adultism Statements (Raise a hand / move forward, move back / stand up, sit down) i. The statements give a more concrete example of adultism 1. When are you going to grow up? 2. What do you know? You haven’t experienced anything! / You’re just a child. 3. “You’re so smart for your age” / “You’re so mature for your age!” 4. You are too old for that! 5. You’re not old enough. 6. Oh, it’s only puppy love 7. Act your age 8. Adults know best. 9. It’s just a stage. You’ll outgrow it. 10. You’re being childish / You’re behaving like children 11. Youth these days have no sense of discipline. 12. OMG you work with teenagers? I can’t stand kids. c. Share personal experiences (Popcorn) i. Which statements resonated? ii. What feelings did the statements bring up anything for you? iii. How do your assumptions about youth manifest themselves? How does your adultism manifest itself when you think about working or actually work with youth iv. Discuss in a big group d. Transition: One way to combat adultism is to guide youth through the developmental process in a way that encourages their engagement and investment in themselves, their community, their project, their peers. Some of that is your direct interaction with youth and being conscious of your attitude and prejudices. It’s also important to build in structures for youth participation into your agendas, lesson plans, projects, programs. 3. Activities - Building a Structure for youth participation (45 min) - Lauren SUMMARY: Write out the five kinds of youth participation on flip chart paper. We will break up the participants into groups by reading the scenarios and they will self-select their groups. The groups will brainstorm activities and structures (in general, things they can do) that apply to the five different kinds of youth participation, and write these on post-its. After time is up, post-its will be placed on the big flip charts, and participants do a museum walk. Clarify any confusion about activities, and facilitators will comment on how these activities may vary based on the context. b. Five Kinds of Youth Participation ii. Decision Making c. Split up into groups (by scenario) (5 min) i. 4-6 people per group d. Group Brainstorm (15 min) i. Groups should brainstorm to think about how to structure their meeting/agenda/program/training to encourage youth participation and youth leadership (perhaps more over the long term). Use the five kinds of youth participation to guide your brainstorm. Write ideas separately on post-it notes. ii. Discussion questions for your group (if you have time) 1. How would this be different if you were working with a different age group? 2. Different contexts? (school, youth program, group home, forced vs. voluntary participation) e. Museum Walk (10 min) i. Groups can put up their post-its on the corresponding flip charts. Everyone does a museum walk. f. Group Discussion - in a circle (15 min) i. Clarifying Questions ii. Facilitators comment on how these activities are different based on context and participants. 4. Closing (15 min) - Lauren and Cathy a. Round Robin take away - What is one thing you are taking away? b. Additional handouts i. Ladder of youth participation ii. 5 kinds of youth participation Call for Submissions Do you have any programs, events, trainings, or lessons you are planning for youth? Do you want the trainers network’s help in brainstorming ideas? Send us a scenario or a challenge that you have related to working with youth! Please be sure to include contextual information, such as age group and an objective and/or summary of the group or situation. Youth Detention Groups Home - Lauren You work for a group home in NE that houses 15 youth between the ages of 15-19 who have been court mandated to participate in the full-time live-in program at the home for their first 3 months upon release from juvenile detention. The home offers a wide range of programming including group counseling, mentoring, career skills, college prep, and extra-curricular activities. In hopes of decreasing the repeat-offender rate, the home has given the staff flexibility in creating/changing programming to meet the group’s needs. Your job is to help engage the youth in a way that encourages them to become more invested in the programming and ultimately, their own futures. After School program for elementary students - Lauren You have recently been hired to join a team of facilitators for a DCPS after school program for elementary-age students. The program runs 3 days a week from 3:15pm - 6:00pm. You’ll be working with the arts program, which aims to improve reading and writing skills by teaching children through hip-hop (marketed as “Rap 101”). At the end of each quarter, your group will have written a mini mixtape of original songs that will be performed at the quarterly all-school assembly - this is usually the highlight of the assembly and something the entire school looks forward to. Students enrolled in the after school program have the opportunity to pick between your program and several others that are happening at the same time. Although all of the students attending your program have chosen to be there, they have recently hired you to as an additional support staff to address some behavioral issues that have been interrupting the group’s progress. The main challenge is students not following directions / not paying attention. What can you do to help get things back on track? Teen Moms – Organizing Childcare in their high school - You work for an organization that hosts support groups and provides services for teen mothers and pregnant teens. As a facilitator of one of the support groups you have consistently heard from the participants that finding childcare is one of their largest challenges in staying in or returning to school. Your organization has started to think about organizing for childcare in local high schools, and they’ve suggested that you form a youth / client advisory council that will help you in putting together this campaign. You are in charge of outreach and recruitment for the council and for working with the council to plan this potential campaign. Language Accessibility in middle schoolers - You are a teacher in the English Language Learner program in a middle school. You have a class of 30 that you work with all day. You heard that a local campaign on language accessibility in schools is collecting video testimonials. It sounds like a great project for your students to learn about media and build their competencies in public speaking while sharing their experiences. How can you engage your students in the process of creating this video or videos? School Closing storytelling training– Your group has been approached by a group of activists organizing against local school closings. They are seeking a speak out training and have asked you to design something to help these folks feel prepared to share their stories with the media to advance the larger campaign. The group is made of 25 people and a mix of teachers, high schoolers, and parents. The training is for 3 hours. One of the organizers had been planning on organizing childcare for the event, but one of the parents pointed out that younger children speaking out would be an effective tool for the campaign. In addition to the 25 high schoolers and adults, you now have four 3th-7th graders Teachers – planning a service project field trip - Cathy You are a science teacher or teaching assistant at a local school. New to this year’s curriculum is a requirement to teach students about an environmental issue that ties back to what students are learning in class, and have them conduct a service project related to that issue. You hope to find opportunities to integrate youth leadership and greater youth participation (and therefore investment) in the project. 5 Types of Youth Participation & Descriptions

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For session specific topics, click on…. For general Common Core Writing Standards, continue reading… Based on the initial assessment, each student in the workshop will be assigned to a Beginner, Intermediate or an Advanced level curriculum within a specified grade range.Grade range: Lower Elementary (Grades K, 1, and 2)Learn To Write Now will incorporate the National Common Core Standards for English Language Arts in its curriculum with a focus for instruction to help ensure that students gain adequate mastery of a range of skills and applications. In addition, every student will have the opportunity to work on creative writing projects through a personalized & exclusive curriculum to bring the true writer in each child. - The writers in this grade range are anywhere between the emergent to transitional stage( Refer: Stages in Writing Development) and are predominantly expressing their ideas through a combination of drawings and words with invented spellings. - All writers in this grade range are exposed to the writing process using 6+ 1 traits. - All writers will write on topics that interest them, while also learning to express their ideas to carefully selected prompts. - Proper pencil grip & good handwriting are reinforced. - Beginning grammar concepts are established. (Typically Kindergartners & Some 1st Graders) Using a combination of drawing, dictating, and writing students will, - compose opinion pieces in which they tell a reader the topic or the name of the book they are writing about and state an opinion or preference about the topic or book (e.g., My favorite book is . . .) - compose informative/explanatory texts in which they name what they are writing about and supply some information about the topic. - narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened. - With guidance and support from adults, focus on a topic, respond to questions and suggestions from peers, and add details to strengthen writing as needed. - Participate in shared research and writing projects (e.g., explore a number of “how-to” books on a given topic and use them to write a sequence of instructions). - With guidance and support from adults, recall information from experiences or gather information from provided sources to answer a question. (Typically Grade 1 Students) Intermediate Writers will exhibit adequate mastery of all beginner level skills and in addition will, - Write opinion pieces in which they introduce the topic or name the book they are writing about, state an opinion, supply a reason for the opinion, and provide some sense of closure. - Write informative/explanatory texts in which they name a topic, supply some facts about the topic, and provide some sense of closure. - Write narratives in which they recount two or more appropriately sequenced events, include some details regarding what happened, use temporal words to signal event order, and provide some sense of closure. (Typically Grade 2 Students) Advanced Writers will exhibit adequate mastery of all intermediate level skills and in addition will, - Write opinion pieces in which they introduce the topic or book they are writing about, state an opinion, supply reasons that support the opinion, use linking words (e.g., because, and, also) to connect opinion and reasons, and provide a concluding statement or section. - Write informative/explanatory texts in which they introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section. - Write narratives in which they recount a well-elaborated event or short sequence of events, include details to describe actions, thoughts, and feelings, use temporal words to signal event order, and provide a sense of closure. - Advanced writers in this grade range will also work on a variety of grammar and vocabulary concepts throughout the workshop.

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National Black HIV/AIDS Awareness Day The Centers for Disease and Control Prevention (CDC) reports that African Americans are the group most affected by HIV/AIDS in the United States. Since 1999, NBHAAD has called on African Americans to set aside the stigma, fear and negative perceptions about HIV testing to find out their status. Socioeconomic issues contribute to high HIV rates in Black communities. According to the CDC, nearly half of HIV diagnoses in 2014 were among African Americans. The goal is to get people educated, involved, tested and treated. National Women and Girls HIV/AIDS Awareness Day Started by the federal Office on Women’s Health (OWH), this day recognizes the impact of HIV/AIDS on women and girls. Even though HIV diagnoses among women fell 40 percent from 2005 to 2014, women need HIV-related information and more resources for those numbers to continue to drop. According to the CDC, in 2014, women made up 19 percent of new U.S. HIV diagnoses. Females of all ages are encouraged to participate in awareness day walks, read up on need-to-know information and be inspired to take action. National Native HIV/AIDS Awareness Day This day honoring American Indians, Alaska Natives and Native Hawaiians is observed each year at the start of spring and is intended to empower these groups to get tested and bring HIV/AIDS awareness to their communities. The CDC reports that new HIV diagnoses among American Indians and Alaska Natives are proportional to their population sizes and that new HIV diagnoses among Native Hawaiians have declined. However, there is still much work to be done to lower HIV rates even further in these communities. National Youth HIV & AIDS Awareness Day To engage those under age 25 on the topic of HIV/AIDS, this awareness day was started in 2013. NYHAAD recognizes that as the first generation never to know a world without HIV, youth are important to ending the epidemic. According to the CDC, about 22 percent of new U.S. HIV diagnoses in 2014 were among 13- to 24-year-olds. For NYHAAD, youth are encouraged to tweet, host events, get tested for HIV and set up tables on school campuses to educate others. National Transgender HIV Testing Day The available—though incomplete—data about transgender people living with HIV/AIDS show that the virus disproportionately affects this community. Headed by The Center for Excellence in Transgender Health, this awareness day inspires transgender and gender nonbinary people to get tested. It focuses on learning about current and future options for prevention and treatment. NTHTD also encourages local testing events and campaigns promoting testing and awareness in the trans community. Use the hashtags #NTHTD and #TransHIV to share your plans. HIV Vaccine Awareness Day HVAD recognizes the thousands of volunteers, community members, health professionals and scientists working to create a safe, effective and affordable HIV vaccine. HVAD showcases the progress of the work so far, the importance of the research being conducted and how others can contribute. The goal is to one day have an AIDS-free generation both nationally and globally, which, with continued preventive and therapeutic vaccine research, is within our reach. National Asian & Pacific Islander HIV/AIDS Awareness Day The Banyan Tree Project founded this awareness day in 2005. Through education and storytelling, this national social marketing campaign has worked to create environments that are accepting of Asians and Pacific Islanders living with HIV/AIDS. It’s estimated that nearly two thirds of Asians have never been tested for HIV, due in part to stigma. Although the CDC reports that as of 2014, Asians accounted for only 2 percent of new HIV diagnoses and Pacific Islanders for less than 1 percent, new HIV diagnoses among Asians have been increasing. National Hepatitis Testing Day About 850,000 Americans are living with hepatitis B virus (HBV) and 3.5 million with hepatitis C virus (HCV). This testing day is important to Americans living with HIV/AIDS because many of them also have hepatitis. The CDC reports that one quarter of people with HIV nationwide also have HCV and that people at risk for HIV are also at risk for HBV. The goals of this day are to provide support and resources for those with viral hepatitis, to increase awareness of HCV and HBV and to encourage testing. HIV Long-Term Survivors Day This day honors all Americans who identify as long-term survivors of HIV. (June 5, 1981, marks the first official reporting of what would come to be known as the AIDS epidemic.) HLTSAD raises awareness about long-term survivors and makes sure they continue to be included in the ongoing HIV conversation. For those still alive who contracted the virus at the beginning of the epidemic, things have greatly changed. This day reminds them they are still important. National Caribbean American HIV/AIDS Awareness Day HIV prevalence in the Carribbean is the second highest globally after sub-Saharan Africa. Founded in 2006, NCAHAAD brings HIV awareness to Caribbean Americans and Caribbean-born individuals in the United States through resources, education and testing. NCAHAAD is held annually during National Caribbean American Heritage Month. Local NCAHAAD events nationwide emphasize the importance of learning about prevention, testing and treatment. National HIV Testing Day Founded by the former National Association of People with AIDS in 1995, NHTD is a call to people of all ages to know the facts about HIV. Getting tested allows people to know their status so they can learn how to stay negative or get treatment if they test positive to help prevent further spreading the virus. According to the CDC, one in eight people with HIV don’t know they have the virus. Every year, up to 45,000 people become HIV positive, which is why NHTD is important. NHTD gives us all a chance to take control of our sexual health. National Faith HIV/AIDS Awareness Day HIV/AIDS affects all faiths across the United States. Global health groups have called on religious leaders to capitalize on the trust of their followers and use their power to help end the epidemic. Religion can help heal those living with and affected by HIV/AIDS. This national day is being launched this year in an effort to raise awareness about the importance of HIV education, prevention, support and love within faith communities. The goal is to bring together Muslims, Christians, Jews, Buddhists, Hindus and members of other religions to fight HIV/AIDS. National HIV/AIDS and Aging Awareness Day According to the CDC, people age 50 and older accounted for an estimated 17 percent of new U.S. HIV diagnoses in 2014. This age group has the same HIV risk factors as younger people but may be less aware of them. The AIDS Institute first observed NHAAAD in 2008. The AIDS Institute wants people to get involved by hosting free HIV screening events, encouraging HIV testing among older adults and hosting events at senior centers and nursing home facilities. National Gay Men’s HIV/AIDS Awareness Day HIV/AIDS continues to play a major role in the lives of gay and bisexual men. This is why the former National Association of People With AIDS established NGMHAAD. According to the CDC, nearly one in seven gay and bi men living with HIV are unaware they have it. The purpose of this national awareness day is to get individuals tested so that those who are positive can get on treatment, remain healthy and reduce the likelihood of transmitting the virus to their partners. National Latinx AIDS Awareness Day This awareness day is observed on the last day of Hispanic Heritage Month. While representing only about 17 percent of the U.S. population, Latinos made up almost one quarter of new HIV diagnoses nationwide in 2014, according to the CDC. The Latino Commission on AIDS and the Hispanic Federation spearhead NLAAD. The goal is to get Latinx (pronounced “La-teen-ex” and used as a gender-neutral plural pronoun for Latinos/Latinas) people to join the fight to end the epidemic. World AIDS Day The World Health Organization founded World AIDS Day with support from the United Nations. About 36.7 million people across the globe have HIV, according to UNAIDS. Every December 1, the world comes together to continue the fight against HIV, show support for those living with the virus and to remember those lost to it. Community organizations, health advocates, governments and others coordinate related events worldwide. Click here to download a PDF.

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Do you want your child to grow up to be a good moral citizen? If the answer is a resounding yes, you have come to the right place. Reading bedtime stories, with well defined morals has proved to increase the moral values of a child. No matter how busy you are balancing your work and home, bonding and interacting with your baby is vitally essential. Storytelling helps you achieve this bond with your newborn. Reading not only a way to put her to sleep, but it is also to enhance her creativity from a very early age. Let’s know more about the benefits of reading out bedtime story for babies. Why Should You Tell Stories to Your Little One? Stories take kids to an imaginary world, where the fun seems to be never ending. Doctors suggest that you start reading bedtime stories for baby from the very early age to help her imagine. - Dr Fernald of Stanford University in California says that reading to babies helps babies to process words very fast. - He also says, “By reading to y [ Read: Benefits Of Reading To Your Baby ] Benefits of Reading Bedtime Stories For Babies: Bedtime stories are a great way to improve interaction between you and your baby. She will love staring at the colorful pictures and have real good time listening to the fairy tales. Here are numerous other benefits when you take the time to read out a story every night to your darling baby! 1. Reading helps development of your baby’s oral communication skills, listening abilities and language recognition skills. It is a good way to strengthen her vocabulary and different sentence structures from a very early age. 2. Books with colorful illustrations are a good way to influence socio-economic development of your baby. Illustrations and stories go hand in hand and your baby can develop ideas about different toys, animals, birds and so on. 3. Stories with small details such as difference in colour, shape and size shall help her distinguish between the different available options. 4. Long before your baby has actually started speaking, she is absorbing information about language by listening to the stories you read. This will certainly come into help when your child starts her education. 5. Moral stories speak about proper behaviour and basic manners. Reading these stories loud will help her learn the values and use them all through her life. 6. Babies, who are around a year old, can develop their problem solving skills listening to bedtime stories. She can simply follow a character and take cues from her actions. 7. You as a parent can pick up stories that relate with her current stage in life. The stories can be on how a boy finds his lost toy or how a girl learned using the potty. 8. Babies around 10 months can learn to turn pages and listen to new words. As she continues to grow she learns the art of reading from left to the right. 9. With time and age your baby shall learn to communicate through body language, verbal methods, listening and written words just like you. You will find her advancing and using new words to think, feel and express what she feels. 10. Engaging your baby in bedtime stories is a great way to help her get comfortable with the reading habit. This is indeed a very beneficial and a healthy habit. You can improve her attention spans by reading bedtime stories to her every night. 11. It is a good way to relax her mind and body before going to bed. Even she had a fight with another sibling or got a scolding for you for doing something wrong, reading will help her get involved in a completely different world and relieve her from all anxieties of the real world. 12. As your baby grows, she may start looking up to some people and draw inspiration from them. This can be a very effective way of improving her personality and knowledge. Hope you liked these benefits of reading best bedtime stories for babies. Reading and talking to babies should be considered as seriously as feeding them, as per psychologist Anne Fernald. As it is never very early to start, introduce your baby to the world of reading. So what are you waiting for, take your baby and visit your local library or bookstore! - 6 Creative Sensory Activities For Infants - 3 Learning Activities For Your 1 Month Old Baby - 6 Important Bedtime Routines For Your Baby

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Our voices are loudest closer to home Letters to the Next President 2.0 asked students to share their views on an issue that mattered to them during the 2016 election. But students don’t need a presidential election to make their voices heard. The L2P2.0 model can be used to reach out to any elected official at any level of government at any time. Use this local election toolkit to get started. Step #1: Visit the Letters to the Next President 2.0 archive Explore the 2016 letter archive to see how students addressed topics that mattered to them. Letters are searchable by topic, state, or letter format, which includes video and audio. Students across the country reported how inspiring it was for them to see what their peers in different regions were thinking. Step #2: Identify an issue that matters Writing about a specific issue gives students choice and voice. Deciding on an issue to focus on may depend on a student’s personal history, what’s happening in the news, or connections to relevant classroom curriculum. We recommend students have as much freedom as possible to select an issue they care about. Here are some resources to start a conversation and investigate the issues: KQED’s In the Classroom: Developing and Discussing Diverse Political Views in the Classroom: Written by an educator in Texas, this blog post discusses the value of tackling political topics with students and strategies for making it work in a classroom of diverse opinions. New York Times Learning Network: 10 Ways to Encourage Civil Classroom Conversation On Difficult Issues: Helpful tips about discussing controversial topics in classrooms. Packed with resources on how to structure discussions and links to other organizations tackling civic issues. Facing History and Ourselves: Choosing to Participate: This curriculum explores the question How can I make a difference in the world? Readings, videos and stand-alone lessons help students wrestle with relevant civic choices. This resource is also available in Spanish. We the Voters: Run Rep Run: This short film profiles state Rep. Juana Matias, a 29-year-old resident of Lawrence, MA, during her campaign. Matias, who speaks passionately about her decision to run for office, is now Massachusetts’s first Latina state representative. KQED Learning: Students Share Personal Stories about Election Issues: Examples from youth writers about sharing their thoughts about issues that matter to them. KQED’s The Lowdown: A resource to bring the newsroom to the classroom with articles, videos, interactive graphics and lesson plans. Frequent updates and an easily searchable archive make this a resource for students as well as educators. KQED’s Do Now: Students connect weekly to answer a question on a relevant issue with other young people around the country using social media tools. Generation Citizen: Beyond the Ballot lesson plans and youth civic action toolkit encourages conversation and action around issues both in and out of the classroom. National Action Civics Toolbox: Pages of resources focused on engaging students in civic issues and opportunities PBS’s Point Taken: This debate show can be used to examine civil debate, analyze how speakers craft an argument or simply to explore timely issues. It’s geared for a general audience, so a few topics may not be classroom-friendly. Step #3: Create a letter A letter can be text, video, or audio. It can feature images, infographics, charts, graphs and personal stories. These resources are designed to help you and your students create a letter that will best reach its intended audience and communicate the writer’s views most effectively. College Ready Writing Project: Finding a Topic Mini-Unit:This unit invites students to choose a topic and think about their audience when constructing an argument. The link also includes a full unit on writing and sourcing letters. It’s Elementary: Writing Letters to the President (and others!) in the primary grades: A bundle of resources about how to write class letters or organize around a social issue in primary classrooms. KQED Teach: Online courses for educators to build skills in video storytelling, podcasting, infographics and other multimedia tools. KQED Learning: How to Make Your Own Political Art: Political art can accompany a text letter or stand alone as the letter. This resource helps guide students to express their views visually. Youth Radio: How to Write a Commentary: Three activities explore the basics behind crafting commentary around a specific issue. KQED Learning: Spoken Word Letters: Spoken word is a powerful tool of self-expression. Get started with this resource and videos. Step #4: Get your letter to right person Our voices are loudest the closer we are to home. Reaching out to local representatives is likely to get a faster and more meaningful response. Whether students email multimedia letters or send text letters through the mail, we recommend teachers contact the elected official’s office in advance to let them know who is writing and how many letters to expect.

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Reconciliation is an essential process for conflict transformation. It is about building relationships, with the focus on emotional and psychological aspects of conflict. Reconciliation encompasses different challenges, such as the notion of truth, mercy and justice. And seeking truth about the past can generate tensions. In the case of Northern Ireland, the narrative can be different (or perceived as such), depending upon the community affected. Projects or actions encouraging the truth about the past can thus be difficult to realise, since different communities will struggle to agree a shared narrative. Reconciliation is a complex process involving healing as well as encouraging peace and opportunities for all, while also implementing mechanisms for justice. A reconciliation process has to address controversial and sensitive issues that would not be seen as such in other more settled societies. For example, the notion of victim and perpetrator is more challenging, since a perpetrator can — in the context of a deeply divided society — also be a victim. Laura Fowler Graham explains this, along with the contentious notion of innocence. This lack of agreement on basic notions makes the pursuit of justice more difficult. Reconciliation is connected with a bigger and necessary project: dealing with the past. Yet this issue has been left aside in the politics of Northern Ireland. Though it is worth bearing in mind that the end of violence conflict is recent, and it can be very difficult to deal with a past that is very present for many Northern Irish people. The Good Friday/Belfast Agreement in 1998 can be seen as an historical step. But the idea of dealing with the past is absent from it, mostly in order to ease the negotiations that were already complicated enough. Professor Kieran McEvoy (School of Law, Queen’s University Belfast), at a conference in early 2014 hosted by the Commission for Victims and Survivors, explained that as a result, the issue of dealing with the past has been done so in a piecemeal approach. He identified three significant attempts to date: - Healing through Remembering (2006) - Consultative Group on the Past (2009) - Haass-O’Sullivan negotiations (2013) Healing through Remembering The Healing through Remembering project was inspired by the visits of Dr Alex Boraine, of the South African Truth and Reconciliation Commission, in February 1999 and March 2000. He met groups and individuals in Northern Ireland, and tried to identify any bearing they may have on the conflict. In parallel, a small group was formed, and it produced a report, “All Truth is Bitter”. A consensus emerged from this report: the need for parameters within which the people of Northern Ireland would have an opportunity to establish a mechanism to identify their own truth, a common narrative. The Healing through Remembering report was launched in June 2002, with six recommendations: - network of commemoration and remembering projects - Day of Reconciliation - collective storytelling and archiving process - permanent living memorial museum - Healing through Remembering initiative This led to the establishment of five sub-groups, which published several reports in 2006 and 2007. An important one is “Making Peace with the Past: Options for Truth Recovery Regarding the Conflict in and about Northern Ireland”, produced by the Truth Recovery and Acknowledgement sub-group. Consultative Group on the Past The second major attempt was the Consultative Group on the Past. This independent group was established in 2006, in order to seek views across the community in Northern Ireland on the best way to deal with the legacy of the past. Their final report contained 31 recommendations. In September 2007, the Consultative Group invited individuals and groups affected by the conflict (in Great Britain and in the Republic of Ireland, in addition to within Northern Ireland), to share their views on the legacy of the previous 40 years, to learn lessons and identify some actions that might be useful to support Northern Ireland society in building a shared future. Five working principles emerged from the consultation: - dealing with the past is a process and not an event - sensitivity towards victims and survivors is essential - recommendations should be human rights compliant - relationships matter and are the foundation for reconciliation - consensual agreement is the ideal The resulting document, the Eames-Bradley Report, was published in January 2009. The recommendations were divided into various sub-topics. The topic, “The legacy of the past and reconciliation”, had within its recommendations the establishment of an independent Legacy Commission, combining processes of reconciliation, justice and information recovery. Also, the proposed creation of a Reconciliation Forum would be a way to liaise with the Legacy Commission and the Commission for Victims and Survivors for Northern Ireland (CVSNI). Other issues such as “victims and survivors”, “processes of justice and information recovery”, and “remembering” were discussed. Some recommendations were challenging for the general public. A particularly controversial recommendation was the proposal of a one-off ex-gratia recognition payment of £12,000 for the nearest relative of someone who died as a result of the conflict in and about Northern Ireland, from January 1966. Prof. McEvoy described the Haass-O’Sullivan negotiations as an attempt by politicians to take responsibility for dealing with the past. He considers this a positive step, since it acknowledges that a collective action is needed across the political spectrum. There is a consensus to act. The idea was therefore to have a five-party agreement. But the agreement was not accepted by all parties, as hoped for. These negotiations actually originated with a strategy in May 2013, named “Together: Building a United Community”, which called for the formation of a panel of parties in the Northern Ireland Executive, to deal with issues of parades, flags and emblems, and dealing with the past. The Office of the First Minister and deputy First Minister invited Richard Haass and Meghan O’Sullivan to serve as chair and vice-chair of this panel. Working over six months, they met up and organised broad consultations with the five biggest political parties, and invited submissions from interested individuals and groups. The main approach was to build on the previous agreements, such as the 1998 Good Friday/Belfast Agreement, by dealing with the issues ignored so far. One of the strong outcomes of the negotiations was a consensus of the need to deal with the past, as well as to deal with present contentious issues that divide Northern Ireland. The following set of institutions for this work were proposed: - Historical Investigations Unit - Independent Commission for Information Retrieval - Implementation and Reconciliation Group The shortcomings of the Haass-O’Sullivan negotiations illustrate what still needs to be addressed. For instance, Brian Rowan (security correspondent for BBC Northern Ireland) argues that Northern Ireland society is not ready for a truth process, because “(a) we don’t know what truth means, and (b) what will a truth process deliver?” At least the necessary discussion about the past in Northern Ireland has opened up. This itself is a positive step. But while “the war of narratives has replaced the war of weapons”, as the 2014 Northern Ireland Peace Monitoring Report puts it, there is peace without reconciliation. The contest of narratives could be seen as a struggle to tear apart a tapestry of complex weaving. Perhaps if there was an appreciation that there will be no reconciliation until everyone accepts the cloth at hand (versus one we idealise it to be), then more constructive work could be more readily realised. Research by Emilie Graziani for Northern Ireland Foundation.

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Much of the time and money devoted to testing is misspent. . . . Test scores provide little useful information to help improve instruction and students' learning. In pursuit of higher test scores, the curriculum has been narrowed and "dumbed-down" to match the tests. Children Every year, America's public schools administer more than 100 million standardized exams. These include readiness tests, to determine if a child is ready for the kindergarten program offered by the school; screening tests, to determine if a child will be labeled as learning disabled or, at the other extreme, as gifted and talented; intelligence tests, which are widely but erroneously thought to measure intellectual ability; and achievement tests, which measure a much narrower range of skills and content than what we really want students to learn. Because of these and other concerns about standardized tests, educators have been developing alternative methods of assessment-methods and measures that more accurately reflect the curriculum and what parents and the public want children to learn, know, and be able to do. Concerns about standardized tests The following is only a partial list of concerns that have been raised about standardized tests. While such concerns and criticisms apply particularly to multiple-choice tests, many of these observations apply to other large-scale tests as well: The primary purpose of many such tests is to rank-order students, their teachers, and their schools: that is, to guarantee that some will be labeled as successes and others as failures, with the vast majority considered mediocre. This is the main function of norm-referenced tests. When the distribution of test scores no longer resembles the bell curve, the tests are renormed-typically about every seven years. Criterion-referenced tests are also used to sort and label students, though they are not particularly designed to do so. Standardized tests (especially the multiple-choice variety) give a false impression of objectivity and consequently of equal opportunity and fairness. However, "the only objective part of standardized tests is the scoring, which is done by machine. What items to include on the test, the wording and content of the items, what will count as correct answers, how the test is administered, and the uses of the results are all decisions made by subjective human beings" (FairTest, K-12 Testing Fact Sheet). Standardized tests are biased in favor of those whose culture and upbringing most closely resemble that of the test makers-typically, white middle-class males who live in metropolitan areas. Or in other words, such tests are typically biased against females, children of color, children from lower socio-economic backgrounds, and children who live in rural areas. Efforts to eliminate such bias have only partially succeeded. Indeed, the very nature of such tests is biased in favor of middle-class students. Standardized tests tend to narrow the curriculum to what will be tested. Because teachers are pressured by the demand to produce higher test scores, they often spend a lot of time having students practice items like those that will be on the tests. Indeed, the tests not only determine all too much of the curriculum but may virtually become the curriculum. Such heavy emphasis on testing crowds other, more important learning activities out of the curriculum. Thus, standardized tests tend to discourage effective teaching and engaged, meaningful learning. For many young children, standardized tests result in "death at an early age" (Jonathan Kozol's book title)-or at least to a life sentence doing remedial practice and drill in special classes or lower "ability" groups or tracks. That is, scores on such tests result in many children's being given an inferior education that virtually ensures that they will not learn what their more advantaged peers will learn. Because so-called readiness tests are used to assign children to different classes and "ability" groups, they and other screening tests condemn many children to relative failure from the primary years onward. Standardized tests tend to focus attention on what students do not know and cannot do, in situations unlike daily life. At the same time, they do not tell us what we really need to know in order to foster individual Alternative methods and means of assessment Two authentic and widely accepted alternatives to standardized tests are known as "performance assessment" and "portfolio assessment." Performance assessment looks at actual student work produced over time, and-potentially, at least-at the processes by which the students produce such work, both individually and collaboratively. "Portfolio assessment" is similar. The term seems to imply that students' work will be collected in an actual portfolio, though in fact other containers may be more practical and, furthermore, the essence of portfolio assessment lies not in the container but in the concept. Like performance assessment, portfolio assessment focuses on students' products and processes of learning, but also on their growth in other areas, such as their interest in reading and writing, their concept of themselves as readers and writers, and their ability to evaluate their own work and set goals for themselves as learners. In reading, for example, authentic assessment might include many of the following kinds of information Tape-recorded samples of students' oral reading, analyzed to determine what strategies the reader uses effectively and what strategies (if any) the teacher might help the reader develop. Tape-recorded samples of a retelling and discussion of some selection(s) they have read, with analysis of the reader's strengths in retelling and discussing, plus recommendations for instruction. Tape-recordings of students describing their thinking process as they read both fiction and non-fiction texts, along with the teacher's analysis and recommendations for instruction. Notes on individual conferences with the reader, including particularly conferences in which the teacher has focused on teaching a reading strategy or developing a particular reading skill. Results of interviews undertaken to determine students' understanding of reading; the strategies they are aware of using to deal with problem words and problems in comprehending texts; their evaluation of themselves as readers and their willingness to read independently; and their goals for themselves as readers. Records of students' reading interests and lists of what they have been reading during the year. Students' responses to what they are reading: responses through art and drama and literature discussions, for example, and responses written in what are often called literature logs or reading journals. Recorded observations of literature discussions and students' written responses are particularly helpful in assessing change and growth in many of the above areas, as well as growth in understanding literary elements and appreciating and critiquing literature. To generalize: authentic assessment is derived from what students are doing daily in the classroom. At a minimum, it includes samples of students' work, recorded observations of their learning processes, and students' evaluation of their own processes and products, along with teacher evaluation. While authentic assessment information can be summarized numerically for grading, its primary benefit is that it improves teaching and learning. See the guidelines developed by the International Reading Association and the National Council of Teachers of English (1994). REFERENCES AND RESOURCES FairTest. (n.d.). K-12 testing: Fact sheet. Based on FairTest's comprehensive study, Fallout from the testing explosion, by N. Medina and M. Neill. See also Implementing performance assessments and other FairTest publications. Write or call the National Center for Fair and Open Testing, 342 Broadway, Cambridge, MA 02139, (617) 864-4810. IRA/NCTE Joint Task Force on Assessment. (1994). Standards for the assessment of reading and writing. Newark, DE: International Reading Association, and Urbana, IL: National Council of Teachers of English. National Commission on Testing and Public Policy. (1990). From gatekeeper to gateway: Transforming testing in America. Chestnut Hill, MA: Boston College.

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- "Mainstays among the Massassi infantry even today, the warbirds are used as mounted assault avians that can carry a rider into battle and rip apart enemy soldiers with their beaks." - ―Sorzus Syn The Sith warbird was a species of flightless bird from the planet Khar Delba that was commonly used as an artillery mount by the Sith, a Force-sensitive species from the world Korriban. By the time of the arrival of Dark Jedi Exiles on the planet Korriban around 6900 BBY, warbirds were a mainstay of the Massassi infantry of the Sith Empire, and the birds were later used by the Sith Empire of the fallen Jedi Exar Kun during the Great Sith War. Sith warbirds were notorious for their bad temper, and they typically used their large size to ram and trample down their prey. Biology and appearanceEdit Sith warbirds were large, flightless birds from the icy planet Khar Delba. When fully grown, they stood at approximately six meters in height from ground to top of the head, and ten meters long from head to tail. In place of wings, warbirds had two short dual-clawed arms, and the birds also sported two legs and a large, blunt beak, which was used for devouring prey. Their feathers ranged from yellow to yellowish-green in color, and they had two eyes, with iris colors ranging from black to blue. The creatures also had extremely thick hides, which allowed hooks and spikes to be embedded into the sides of domesticated warbirds without causing the creatures to come to harm. Sith warbirds were predators and were notorious for their bad tempered nature, attacking anything that they saw as a threat. Though lacking in power, warbirds could move with great speed and maneuverability; they typically used their large size to ram and trample their prey, and they were also known to use their large beaks to gore their enemies. - "During the same war that birthed the silooth, the Sith introduced the warbird and the war behemoth." - ―Sorzus Syn Warbirds originated on the planet Khar Delba in the Stygian Caldera, where they inhabited the world's frozen mountains. Khar Delba lay within the bounds of the Sith Empire, a civilization established by the Force-sensitive Sith species, and, during the early history of the Empire, the birds were discovered and subsequently domesticated by the Sith. In the midst of an ancient conflict in which the Empire became embroiled, the domesticated warbirds were pressed into military service to be used as artillery mounts, as was common practice for tamed animals within the Empire at the time. By the time of the arrival of Dark Jedi Exiles on Korriban around 6900 BBY following their banishment from the Galactic Republic, warbird mounts were mainstays of the Massassi infantry forces employed by the Sith, and the Dark Jedi alchemist Sorzus Syn mentioned the creatures in a chronicle of her encounters with the Sith. Sith warbirds in the galaxyEdit Sith warbirds saw common usage among the military forces of the Sith Empire as battle mounts, and when employed for combat purposes, the birds were fitted to carry battle harnesses, which contained a cockpit to house the rider and a mounted blaster cannon supported by a fusion generator. The Sith used the birds as mobile platforms that were deployed in front of infantry columns to weaken enemy ground-based troops. During the Great Sith War, the creatures were also commonly used for scouting and reconnaissance assignments because, as living creatures, they were less likely to be spotted by enemy detection devices. After the end of the Great Sith War, Sith warbirds continued to be found throughout the galaxy, with survivors of the conflict breeding on worlds where battles had been fought by the Sith. These wild-once-more warbirds were prone to terrorizing local forms of wildlife that posed little threat to them. Behind the scenesEdit The Sith warbirds were created by Michael Mikaelian and were first mentioned in The Sith Compendium, an article that appeared in the 2001 Wizards of the Coast magazine Star Wars Gamer 5. The warbirds later received a further mention in the 2004 roleplaying sourcebook Ultimate Adversaries, which became the first source to provide a visual depiction of the creatures, in an image by the artist Matt Hatton. Subsequently, the birds received an entry in the 2008 compendium The Complete Star Wars Encyclopedia, and were referenced within the Jedi Academy Training Manual of 2009 and the 2012 reference book Book of Sith: Secrets from the Dark Side, both of which expanded upon the history and usage of the birds among the Sith. - The Sith Compendium"—Star Wars Gamer 5 (First mentioned) " - Ultimate Adversaries (First pictured) - The Complete Star Wars Encyclopedia - Jedi Academy Training Manual - Book of Sith: Secrets from the Dark Side Notes and referencesEdit - ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 The Sith Compendium"—Star Wars Gamer 5 " - ↑ 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 Jedi Academy Training Manual - ↑ 3.0 3.1 3.2 3.3 3.4 3.5 Ultimate Adversaries - ↑ 4.0 4.1 4.2 4.3 4.4 4.5 4.6 Book of Sith: Secrets from the Dark Side - ↑ 5.0 5.1 5.2 5.3 The Complete Star Wars Encyclopedia, Vol. III, p. 156 ("Sith warbird") - ↑ 6.0 6.1 The Essential Atlas - ↑ 7.0 7.1 7.2 The New Essential Chronology

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J.R.R. Tolkien’s tales of Middle-earth are hailed as founding texts of modern fantasy. But his recently published commentary on the Old English poem Beowulf suggests that Tolkien saw his creative writing as a work of historical reconstruction. The Silmarillion, The Hobbit, and The Lord of the Rings were conceived as the original stories behind an ancient but long lost English mythology. An Oxford scholar, Tolkien was fascinated by the origins of the English, their culture and history in the days before their migration to the British Isles. Focusing especially on the Angles, Tolkien followed the Edwardian scholar H.M. Chadwick in identifying the island of Zealand (now the largest island of Denmark) as the ancient center of English life. Both Chadwick and Tolkien believed that Zealand was once the site of the cult of Nerthus, the fertility goddess connected with the Angles by the first-century Roman historian Tacitus. In his authoritative study of The Origin of the English Nation (1907), Chadwick had identified two key features of ancient English traditions. Firstly, he argued, the goddess Nerthus was said to take a mortal husband. Secondly, this husband was identified with the mysterious figure of Ing, who came to be regarded as the founding father of the northern tribes and the first great king of the North. Chadwick argued that Scyld Scefing, the “good king” praised in the opening lines of Beowulf, was just another name for Ing. As his commentary on Beowulf makes clear, Tolkien thought that Chadwick had bought into age-old Danish propaganda. Tolkien saw the story of the English settlement of the British Isles as beginning with Danish military expansion in Baltic waters. Conquering Zealand, and pushing the English into their westward migration, the Danes had claimed the ancient English sanctuary of Nerthus and its associated traditions for themselves. Eventually, even the English had come to accept this ‘Danification’ of ancient English traditions, as illustrated by the praise of the Danish king Scyld Scefing in Beowulf. Tolkien was determined to discover the original English story that lay behind the later, distorted tales of Ing, the first great king of the North. A key element in the traditions about Scyld Scefing and Ing is his mysterious arrival on a boat from over the western ocean. In ‘King Sheave’, composed in the 1930s, Tolkien envisaged this figure of ancient English myth reaching the Atlantic shore after escaping the destruction of Númenor – the imaginary island realm at the center of Tolkien’s conception of the ‘Second Age’ of Middle-earth. As he worked on The Lord of the Rings in later years, Tolkien worked up this idea of Ing into the figure of Elendil, the king who came from over the sea to found the realms of Arnor and Gondor, the father of Isildur and ancestor of Aragorn. Aragorn was at the center of Tolkien’s reworking of Chadwick’s interpretations of the ancient mythology of the English. The descendant of Elendil, the founder of the royal house of Middle-earth, Aragorn is associated with the tradition of Ing, the king of the North. But in marrying the Elf-maid Arwen, Aragorn is also connected to the tradition of Ing the mortal husband of an immortal bride. In Tolkien’s version, of course, Ing weds an immortal elf rather than a divine goddess, the implicit suggestion being that Chadwick (or perhaps the ancient English in telling these stories) had confused an Elf with a goddess. At the kernel of The Lord of the Rings is thus a conception of the original stories behind those later (but still ancient) English traditions investigated by scholars such as Chadwick – and Tolkien himself. How did the English come to forget their ancient stories? For four hundred years after their settlement of Britain the English had retained their pagan traditions, passing on the stories and songs of their Baltic homeland even as they built a new life amidst the ruins of another civilization. But when King Alfred turned their attention toward Church learning and the study of Latin authors, the English began to forget their own oral traditions. Today Alfred is the only king they remember as ‘great’. Yet Tolkien was convinced that the stories and songs of an oral culture shape the language in which they are told. As such, he regarded the ancient stories of the English as bound up in the linguistic identity of modern English speakers. If the stories had been forgotten an underlying affinity for the traditions remained. Tolkien would not have been altogether surprised at the extent to which the English today have embraced his retelling of their ancient stories.

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Roy Rogers kicked off yesterday’s 4-day roundtable with a review of the graphic novel, Rebel. For day two of our roundtable on graphic novels and history, I will discuss the use of graphic novels in teaching traumatic histories. As anyone who has taught the history of slavery knows, it can be challenging. It is an important, but also emotionally loaded subject that can provoke spirited responses from students. Some students are resistant to discussing what they view as an ugly event in the past. Others may become defensive. And, for others, the history of slavery may be personal. The challenge becomes presenting the history in a thoughtful way that will engage students, but does not whitewashing history. Other traumatic events—genocide, war, etc.—can present similar pedagogical challenges. On the surface, graphic novels may seem like an odd choice for teaching a more sensitive historical topic. Those who are familiar with the work of Art Spiegelman may know his 2-volume graphic novel Maus, in which he uses anthropomorphic characters to narrate his parents’ experience during the Holocaust. The graphic novel is, in many ways, Spiegelman’s own deeply personal effort to come to terms with a traumatic family past. Although rendering the Holocaust in cartoon form was not without controversy, few would disagree that Spiegelman succeeded in engaging an audience that might not have otherwise picked up a book about the Holocaust. Spiegelman’s narrative art became a sort of public history in its own right. I have taught Maus in a couple of contexts: a Race and Ethnicity course geared towards survey students and a World War Two seminar. In the first instance, my goal was to get students thinking about not only genocide and ethnic cleansing, but also the meaning of being Jewish in post-war America. The graphic novel was paired with other materials, including propaganda posters and clips of the documentary, Kitty, Return to Auschwitz. More than mere infotainment, the personal nature of the narrative made an emotionally challenging topic more accessible to students who are often uncomfortable confronting historical traumas, and opened them up to broader discussions about the meaning of ethnicity in modern America. Many students were initially skeptical at being told to read a comic book, but found themselves engaged in thoughtful discussion not only about genocide, but also about the meaning of ethnicity in modern America. The graphic novel helped make what seemed like distant past seem more tangible and real. The narrative style of graphic novels can also make them useful tools in teaching about slavery, in a couple of different contexts. As historian James Oliver Horton notes in his article on slavery and public history, those who teach about slavery in public settings are “asked to educate a public generally unprepared and often reluctant to deal with a history which, at times, can seem very personal.” The popular Twitter account Af-Am History Fail demonstrates in practice, just how difficult teaching slavery can be. Kyle Baker’s recent treatment of the 1831 Nat Turner revolt offers wonderful pedagogical opportunities. What makes this graphic novel so powerful in a lot of ways, is that the drawings are rendered in black and white, and there is little-t0-no text. The reader is left to process the event through pictures. Baker is masterful in his use of imagery, space and positioning to subtly convey ideas. His model for Nat Turner comes from a satirical Independence Day cartoon he published, depicting a hungry slave child peering in at Thomas Jefferson, as he writes the Declaration of Independence. The window, as Andrew Kunka observes, serves as comment on the accuracy of historical record. The images are treated as equal to, or greater than text. In the hands of someone like Baker, the images can convey layered and multiple meanings. Almost wordlessly, he weaves into the narrative of a slave revolt, the trauma and violence of slavery. Graphic novels like Nat Turner can be used in both surveys and public history courses to get students to think about historical representation and memory without necessarily delving into a complicated historiography that may not be suitable for all levels of students. It can also help students to look at a traumatic history that is presented powerful way, that can help open them up to further exploration of the topic. If I were teaching Nat Turner in the context of a public history course, I would probably pair it with the Af Am History Fail Feed, and an article or two, or chapter on public history and slavery. In a survey course, I would likely pair it with some primary sources, such as Frederick Douglass’s 4th of July speech, and excerpts from Nat Turner’s Confessions, and from David Walker’s Appeal, the text said to have inspired Turner. All have potential for lessons about slavery, abolition, and freedom. And finally, war is another area of historical trauma; particularly when one delves into the war experience. Few wars have ignited more controversy recently than the Civil War and Reconstruction. Tomorrow, the Junto will run an interview with Bancroft Prize winning historian Ari Kelman, who co-authored Battle Lines: a Graphic Novel of the Civil War with illustrator Jonathan Fetter-Vorm. Battle Lines is a complex, layered treatment of the Civil War that begins in 1808 and runs through Reconstruction. It involves a series of connected mini-narratives, dissecting the causes and consequences of the Civil War but also to unpack the complexities of why soldiers on both sides fought. The novel includes not only vivid history, but also the careful character development. A soldier’s heartache becomes the reader’s: the loss, the destruction, and the devastation. The Civil War was deadly, claiming approximately 620,000 lives and over a million casualties total. But numbers alone can be hard for students to process, beyond instinctively know that’s a large toll. Combining Battle Lines’s narrative treatment of the war with battlefield photographs (like Matthew Brady), letters, and journal extracts can help make the human cost of the war painfully real. This combined approach can also help open students up to the nuances of the Civil War. Graphic novels are certainly not the same as a scholarly monograph or journal article, but when paired with other things (articles, lecture, books, primary sources, film), they can be powerful tools. Abina can be used along side other sources to talk about the broader implications of colonization or the multiple legalities in abolition and the slave trade. I have combined Persepolis with a lecture on U.S. foreign policy during the Carter and Reagan administrations. John Lewis’s March trilogy might be used alongside Selma, and primary sources, like Letter from a Birmingham Jail. In some ways, they are not much like other pedagogical tools, in that a layered approach can help improve information literacy and really let the material sink in. They can just be particularly helpful in approaching traumatic, controversial, or otherwise sensitive topics….especially in the age of trigger warnings. Spiegerman’s own anthropomorphic treatment of ethnicities came from a prior effort to draw African-Americans, using the old racist tropes to void them of their power. He realized that he could apply what he learned to his own family experience. See Art Spiegerman, “Why Mice?,” The New York Review of Books. For more on racial tropes, see Michael A. Cheney, “Drawing on History in Recent African American Graphic Novels,” MELUS, Vol. 32, No. 3: Coloring America: Multi-Ethnic Engagements with Graphic Narrative (Fall 2007): 175-200. James Oliver Horton, “Presenting Slavery: The Perils of Telling America’s Racial Story,” The Public Historian, Vol. 21, No. 4 (Autumn 1999): 20. Andrew J. Kunka, “Intertextuality and the Historical Graphic Narrative: Kyle Baker’s Nat Turner and the Styron Controversy,” College Literature, Vol. 38, No. 3, Visual Literature (Summer 2011): 169-170. Amanda Gluibizzi, “The Aesthetics and Academics of Graphic Novels and Comics,” Journal of Art Documentation, Vol. 26, No. 1 (Spring 2007): 28-30. There are two outstanding graphic novels that can add global perspectives on slavery. Trevor R. Getz and Liz Clarke, Abina and the Important Men (Oxford, 2011 ) narrates the 1876 West African court case of Abina Mansah, who was illegally enslaved, ran away, and then challenged her master in court. Marcelo D’Salete, Cumbe chronicles the experiences of African slaves in Brazil. The text is in Portuguese, but the story line is still clear. As I noted in my review on H-War.

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How to Organize When you're planning your lessons, there are a lot of things to keep in mind. You know your lesson must be focused on a specific topic and contain different kinds of activities to keep it interesting. How much time should you spend on each activity? What should come first? How should you end your class so that your students will remember all the new information they've learned? Read these tips for some pointers and ideas on how to organize an excellent English lesson. Click Here for Step-by-Step Rules, Stories and Exercises to Practice All English Tenses How should your lessons be organized? There are two main factors to keep in mind: time course, the time for your English class is limited! You want to use that time in the best possible way so that you can complete each activity. It is important for the students to understand each topic before you continue with the next one. You also need to keep your classes interesting doing different kinds of . This helps your students practice different skills and remember the new information by using it in different ways. Let's imagine that we have one hour for our English class. How should we organize that hour? 1. Greeting and review (5 minutes) Whether you are working with just one student or a large class, it is important to say hello! There are two main reasons for this: - It will help your students feel comfortable in class because they know you are interested in how they are doing. - It gives your students a chance to speak in English and practice very important skills. Greetings are some of the most basic skills in English. You can also ask your students what they did since you last saw them to practice the simple past tense, or what they will do after class to practice the simple future After you greet your students, ask them to summarize what you did in your last class. What did they learn? What skills are you working on? the topics on the board and have them create some examples. Now your students are concentrated on English! What you do in each class is a continuation of the previous class, so be sure to have a quick review before you enter the main part of your lesson. 2. Introduction of new skills (20 minutes) Now you and your students are comfortable and you know what you did in your last class. Take a moment to explain to your students what you will do today. It is an excellent idea to write a list of your activities on the board (if you have one). It can look something like this: - Introduction and review - New vocabulary explanation (topic) - New vocabulary game - Role play (or another activity) In this example, we are working with vocabulary. Of course we can introduce new grammar, speaking skills, reading skills, etc. This is just an example! You have used 5 minutes in your introduction. Now use the next 20 minutes to teach the new lesson. give a clear, step-by-step explanation of the topic. Give lots of examples and write them on the board. Check the students' understanding by asking them questions and having them help you create examples. 3. Activation (25 minutes) At this point, you and your students are ready for the most important part of the class! In order to remember the new skills you have just taught them, your students need to activate means they must use the should spend about 25 minutes on your activities. Try to incorporate different kinds of activation exercises to keep your class fun and Sometimes you can do writing exercises and worksheets, especially for more difficult grammar lessons. But you should try to keep your activities as fun and interactive as possible! When your students enjoy what they are doing, they will remember the Try to work with games , role plays, competitions, movement, or storytelling There are endless possibilities! You should incorporate two or three different activities in the activation section of your lesson. Choose them according to the skill you are working on. Try to get your students moving around the room once in a while. Try one quieter activity, like a worksheet or a short story , and one more dynamic activity, like a role play , during the same class. Time will fly by as your students practice their new skills! 4. Wrap-up (5-10 minutes) So, let's review. So far, we have divided our class this way: - Greeting and review (5 minutes) - Introduction of new skills (20 minutes) - Activation (25 minutes) So, we should have about 5 or 10 minutes left at the end of the class. It is very important to keep an eye on the clock You don't want to spend your whole class explaining new information. That will be less interesting for you and your students. Plus, if they do not actively practice the new skills, they will not remember them During the last few minutes, wrap up your class with a short review. First, congratulate your on their hard work. They have learned a lot and been very active! do a review similar to the one you did at the beginning of the class. But this time, you are talking about the new information you just covered. Refer back to your list. Ask your students to summarize what you did in class they make examples of the new grammar or vocabulary skill? Can they explain the new reading tips you worked on today? Whatever your lesson was, your students should be able to explain it in their own words now that they have practiced. Organize your lessons this way, and your students will do great!

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en

The whole-tone scale consists entirely of whole steps. It is a hexatonic (six-tone) scale; that is, six steps are required to fill in the octave. The whole-tone scale has no modes because each rotation of the pitches produces an identical pattern of steps and intervals.Example 1: Whole-tone Scale Only one transposition, up a minor second, produces a new collection of pitches.Example 2: Whole-tone Scale transposed Unless one uses double sharps or flats, it is difficult to avoid a diminished third when writing a whole tone passage.Example 3: Diminished thirds in whole-tone passages. Debussy based Violes (Prelude # for Piano) on the whole tone scale. The following example faithfully reproduces a passage from that work. Notice how he handled the problem of the diminished third, not always consistently.Example 4: Violes (from Preludes for Piano) Pattern Repetition in the whole-tone scale is especially pronounced. For example, every second and third is major, every fourth is a tritone, and every sixth and seventh is minor. All triads are augmented. Any pattern built on one step of the scale can be replicated on all other steps of the scaleExample 5: Pattern Repetition A keynote or central pitch is established by persistance rather than by use of context forming intervals. There are no perfect fourths or fifths to help create harmonic focus. The major third, the next strongest root producing interval, lies above every step making every step a potential keynote. Furthermore, the augmented triad divides the octave into three equal segments. Any of its tones can be perceived as the root of the chord. One usually hears the lowest tone in the texture as the root of the chord because it is the root of the lowest major third.Example 6: Roots in Augmented Triads If the tritone is spelled enharmonically as a diminished fifth, all tones of the scale can be use to build a dominant ninth chord with (1) a lowered fifth and an added minor thirteen or (2) a raised fifth and and augmented eleventh. The latter can also be seen as a polychord of two augmented triads. These chords can be produced on every step of the scale. The harmonic potential of the scale centers on the sound of a complex altered dominant chord.Example 7: (1) Dominant ninth (-5, -13) (2) Dominant ninth (+5, +11) A whole-tone chord can be constructed from a collection of scale steps. For example, steps 1-2-3-4 will produce an dominant ninth chord. Steps 1-2-4-5 will produce an altered dominant seventh. The number of possible patterns is limited if one eliminates all duplications produced by transposition. A little experimentation with this method will show that all chords produced by the step method are subsets of the chords in Example 6.Example 8: Chord Construction by Scale Step Pattern Bartok's Mikrokosmo 136 (Volume V), Whole-tone Scale illustrates several writing techniques effectively adapted to whole-tone materials. In m.m. 1-19, Bartok used pedal tones to establish pitch centers. A short canon begins at m. 20. The remainder of the piece (m.m. 28-80) features a variety of devices such as simultaneous use of the scale and its transposition, parallelism, polychords and mirror lines. Griffes White Peacock. whole tone passing chords provide a melodic linkage in a passage of complex chords.Example 9: Whole-tone Chords in Griffes' White Peacock Because latent pattern repetition, extended whole-tone passages are difficult to sustain. For the sake of interest, one should consider increased use of texture, timbre, rhythm and other variables such as transposition. While full of redundancy, the whole tone scale also produces vivid and memorable colors, making its use an effective diversion. The whole-tone scale contains a few memorable thematic protocells that can be replicated on every step of the scale. 1-3-4 is the melodic inversion of 1-2-4. 1-2-3-4 and 1-2-4-5 are identical to their melodic inversions; that is, they map onto themselves.Example 11: Whole-tone thematic protocells A rich panchromatic context is possible by combining a whole tone scale and its transposition. This, combined with use of recurring motives based on protocells, can produce coherent and colorful passages.Example 12: Sample Whole-tone Passages The whole-tone scale is one of the all-combinatorial hexachords listed by Milton Babbitt. This hexachord combined with its solitary transposition produces an aggregate (all twelve pitch classes). See materials on pitch sets and twelve-tone composition for further details.Copyright © 1996, Kenneth R. Rumery, all rights reserved. Revised May 9, 1996.

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The fairytale opening line of J.R.R. Tolkien's The Hobbit is among the most memorable and beloved in literature: "In a hole in the ground there lived a hobbit." It is an unassuming first sentence for what turns out to be an epic fantasy saga about good and evil, and one of the most influential works of fiction of the 20th century. In fact, The Lord of the Rings had even humbler beginnings. Well before Tolkien had even conceived of the hobbit, let alone its habitat, the foundations of Middle-earth were forming, syllable by syllable, in a collection of mysterious, made-up words. More than a teller of stories, Tolkien was a lover of languages. An Oxford professor specialising in classical linguistics, he was well versed in Latin, Greek, Italian and Spanish, as well as the ancient Germanic languages, Old Norse, Old English and Gothic. He was particularly intoxicated by his discovery of Finnish and proclaimed passionately of the inherent beauty of certain combinations of spoken sounds. ("Cellar door" was one such favourite.) As early as his undergraduate years, Tolkien began creating an invented vocabulary of words, building it into a number of "Elvish" languages, purely for intellectual and aesthetic enjoyment. He equipped the languages with their own grammatical systems, with elements borrowed from Finnish and Welsh, and furnished them with the phonology that, much later, was thought of as the author's "sentimentalised Celtic". However, Tolkien understood that his invented languages lacked an essential element of any effectual language: context. By his own account, he was compelled to create a world for his languages to exist in. The entire fantastic mythology of The Lord of the Rings emerged from that impetus. "The invention of languages is the foundation," Tolkien wrote. "It is to me, anyway, largely an essay in `linguistic aesthetic', as I sometimes say to people who ask me, `What is it all about?'." Tolkien would have preferred to write the books entirely in Elvish, and continued to refine the language beyond the publication of The Lord of the Rings until his death, in works and papers both published and unpublished. He also developed, to varying degrees, several other languages for the inhabitants of Middle-earth, including Khuzdul, the Hebrew-flavoured language of the Dwarves; the "hideous" pidgin language of the Orcs; and the Black Speech, the sinister, slithery syllables spoken by the servants of Mordor and inscribed on the One Ring. Linguist David Peterson, creator of the Dothraki and Valyrian languages spoken in the Game of Thrones television series (these days, Peterson is the guy to whom series author George R.R. Martin defers for translation advice), calls Tolkien the "godfather of modern language creation". "Tolkien, as far as we know, was the first person in at least recorded history to create languages for his own purposes," says Peterson. "Everybody before him was creating it to create an international language that everybody could speak, like Esperanto, or because they thought angels were speaking to them. Nobody before him that we know of said, `Well, I love language. I'm going to create one.' " Peterson also credits Peter Jackson's original trilogy of films with highlighting Tolkien's invented languages – called constructed languages, or conlangs, by fans and aficionados – and frequently doing so without subtitles. Since those films, Peterson says, conlangs have become a staple and hallmark of superior fantasy and science fiction. "You could just as easily see them putting out a Lord of the Rings trilogy that didn't feature the languages at all, but Peter Jackson made a point of using them, and people loved it. That was huge. That was the spark that led to where we are today." Avatar was the first major production after the Lord of the Rings trilogy to incorporate a conlang as an integral part of its grand-scale world-building. Linguist Paul Frommer developed the Na'vi language from of a list of about 30 words supplied by writer-director James Cameron. Frommer is already expanding the language for an upcoming trilogy of Avatar films. Whether it is his own Na'vi, Dothraki, Star Trek's Klingon or any number of Middle-earth dialects, Frommer says a work of fiction is enhanced by a robust, working language. "Even for the most naive viewer, there's something that comes across when you hear consistent sounds," says Frommer, "when from one scene to another, you might actually hear the same word, without knowing it, if the same thing is being spoken about. And so even on an unconscious level, there's a consistency that can come across with a real language." A "real" language also inspires better performances. "Actors are much more apt to do a good job with a language that has real grammar and real construction to it," Frommer says. "They will know how to mould or shape a sentence, how to place emphasis on the right words, so it actually begins to sound like a real language, as opposed to, `Ba-ba-goo-goo'." Living evidence of Jackson's unwavering commitment to Tolkien's creation, Australian dialect coach Leith McPherson has spent much of the last three years working on the filmmaker's Hobbit trilogy, helping its cast contend with the exotic tongues of Middle-earth and lines far craftier and more crafted than "Ba-ba-goo-goo". "There was one particular day in the last block of shooting when I had Elves filming with Peter on Main Unit, Dwarves on another unit, Orcs on the motion-capture stage and a wizard recording dialogue for post-production," says McPherson. "I dumped high-school French from my brain to learn enough Dwarvish to command an army, enough Black Speech and Orkish to curl a wizard's toes and enough Elvish to make my way though a dinner party in Rivendell." McPherson's duties included drilling an army of Maori Orcs ("The Maori vowel system and strong cultural connection of body, voice and language put them on the front foot with the Orc dialogue") and helping actor Benedict Cumberbatch learn the Necromancer's lines backwards, injecting the Black Speech with the necessary creepy quality when played in reverse in the final film. However, whether the lines are in English or Elvish, aiding an actor in finding the voice of his or her character boils down to the same thing: "You break down the dialect in a way that best helps the actor to learn it," McPherson says. "The different vowel and consonant changes, the tune and distinctive vocal qualities of the accent. "It's about the integration of dialect with character and meaning. I see my job as helping to make the storytelling as engaging to the ear as it is to the eye. Sometimes realising the director's vision is actually about finding the right voice." There were hundreds of people on set focusing on the visual aspects of the Hobbit films, and only a few working on the words in the script. Considering Tolkien's own linguistic preoccupations, though, McPherson understood how important her role was. "I wrote that on each of my scripts," she says, "the languages came first." The Hobbit: The Battle of the Five Armies is now screening.

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Looking to inspire creative writing students? Read on for reading material and lesson plan ideas. Students enjoy outside sources – they view them as inside secrets or adult-like. Perhaps they are more authentic than readings in textbooks. I’m a tad obsessed with finding writing tips on Pinterest and StumbleUpon for myself. As I sort through top ten lists and articles, I began thinking that many would work with older students, maybe in a creative writing class. Here are writing resources from famous authors that you could use in a writing lesson plan. 1. George Orwell. Awww, Eric. He provides a list of questions that students could perhaps run through if they are attempting a change in their writing style. His process is at the very least, interesting. 2. John Steinbeck. Prepare never to finish? Yikes. He has a point, though. Rarely does an author believe a piece of writing is perfect. Acknowledging that may make students more confident. (This website also has numerous other writers in a series. Perhaps students could choose other authors if Steinbeck isn’t for them). 3. I cannot find a piece of writing about writing by J. K. Rowling. People have gathered her quotes and random tips from interviews, but I can’t find a list that she directly provides. Still, I wanted to include her. Here is a shorter list of her compiled ideas. 4. Stephen King has a few naughty words in this piece, so you may want to warn students or print the piece out and black them out. He’s prolific and has time-allocating tips, which students so often need. 5. This article on Miss Literati is not about famous authors’ ideas, but the tips are applicable to high school students. The rest of her blog contains other ideas and they seem clean if students want to search through a bit. Incorporating these into a writing lesson plan? I would do a jigsaw activity. Divide students into groups, assign each group an article, and have them present their findings to the class. Discuss which tips students would like to attempt and which ones do not seem applicable. Perhaps set individual goals or stretch past their comfort zones. Another writing lesson plan idea? Often in writing classes, students complain when I assign them reading. (They’re goofy like that). Since many of these authors explain that reading improves one’s writing, reviewing these tips would make for a nice introduction to a larger reading assignment. These would also work for a substitute lesson plan. Instead of group work (subs may not feel comfortable), ask students to pick one of the above articles and write a brief summary and ideas to implement in their own writing. Have them present their findings when you return. The best part of these articles to inspire creative writing students? These weren’t written specifically for high school students. Students appreciate that – reading adult material. How would you incorporate these articles into your writing lesson plans? Could you use these as bell ringers with your creative writing students?

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The word transmedia has been the buzzword the past few years. But almost everybody gives a different meaning to this term. Is there any common ground? Let’s try to pin down the meaning of transmedia (storytelling). The search for a definition, the different types, designs and outcome. First of all, let’s start with the possible difference between multimedia and crossmedia: - Multimedia: same content on different types of media with no interaction - Crossmedia: same concept on different types of media / distribution platforms. There is a degree of interaction with and participation of the public. The concept is the main thing, Communication is crossplatform. Transmedia has its roots in ARG. An alternate reality game is an interactive networked narrative that uses the world as a platform and uses transmedia storytelling techniques to deliver a story that may be altered by players’ ideas or actions. ARG’s were used for different tv-shows (e.g. Lost), media franchises or marketing campaigns. From Mike Vogel’s thisistransmedia.com Henry Jenkins, author of the book Convergence Culture, describes the term transmedia as follows: stories that unfold across multiple media platforms, with each medium making distinctive contributions to our understanding of the world, a more integrated approach to franchise development than models based on urtexts and ancillary products. Henry Jenkins talking about the new media landscape: The definition of transmedia storytelling on Wikipedia is more clear to me: it is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies. Transmedia storytelling production involves creating content that engages an audience using various techniques. In order to achieve this engagement, a transmedia production will develop stories across multiple forms of media in order to deliver unique pieces of content in each channel. Importantly, these pieces of content are not only linked together, but are in narrative synchronization with each other. What I have found is that transmedia stories all have similar layers and building blocks. Most of the time there is one theme that is translated to different platforms and distribution channels. The different storylines that can differ per medium, influence and strengthen each other. The communication is crossplatform. The receiver can be part of the story. Experience is the key word. There is a degree of participation and interaction of the public. Maya Zuckerman’s version of Simon Sinek’s ‘Golden Circle’ diagram Hille van der Kaa, a Dutch media professor, defined 7 elements for a transmedia story (non-fiction): - On different platforms - Accessible via different ‘ports’ - Each platform will bring an extra layer to the story, but can stand on its own - There are links with other media - Uses the typical strengths of the different media - Is partially controlled - There is a degree of user participation Other authors have more elements, some have less. But when you begin with your story, you always start with the same questions: - What is the story about? - What are the main characters? - What is the conflict? - What are the locations, time period, …? - Where are the plotpoints situated? - What is the ending? When designing transmedia stories there are some typical questions you must answer before you start producing: - What will the impact be of the audience on the story? - Will the audience involvement be passive, active, interactive or collaborative - How much control will the audience and the author have on the story - Will the story be non-linear, parallel, sequential, …? - How will you deliver the story? - How will the story on the different platforms be consumed? Storylines can take on different forms: (Chris Klug and Josiah Lebowitz) When you combine multiple storylines and media in your project, try to pin down what the typical strengths are of that medium. Each medium has its own language. Avoid unnecessary overlap between the media and work with one common theme. And, most important, keep the user experience in mind, through every stage of your story. Involve your media consumer, make him part of the story. We live in an associative world. Young people are not used any more to linear information which cannot be ‘managed’. They are trained to obtain information via association. Journalism must re-invent itself and create stories for this new media consumption. Transmedia storytelling is the perfect way to achieve this goal. Social amplification of your story can no longer be an after-thought in media production. Twitter, Facebook, Instagram, Snapchat, .. are key ingredients for successful storytelling. Multimedia, Crossmedia, Transmedia, … the reality is that our definition of what transmedia really is, is still very much evolving.

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'I Know! I Know!' Connect to the Text and Share Your Perspective! Lesson 1 of 11 Objective: SWBAT connect to the text by evaluating the characters’ point of view and using a unique voice when reading the connections. - Smelly Socks Robert Munsch I chose this book because its about a girl about 2nd grade who has an experience I think many of the kids have. It also has some great figurative language! - Connecting to the text worksheet - An old favorite thing from your house-it should look old or worn out (old teddy bear, blanket, etc) - Connect to what you know powerpoint - Lesson vocabulary words from the Reading/Writing word wall: literature, connecting, point of view, evidence - Kinds of connecting chart Let's Get Excited! Underlined words below are lesson vocabulary words that are emphasized and written on sentence strips for my Reading & Writing word wall. I pull off the words off the wall for each lesson, helping students understand this key 'reading and writing' vocabulary can be generalized across texts and topics. The focus on acquiring and using these words is part of a shift in the Common Core Standards towards building students’ academic vocabulary. My words are color coded ‘pink’ for literature/’blue’ for reading strategies/’orange’ for informational text/'yellow' for writing/’green’ for all other words) Get students engaged: - Demonstrate connecting and point of view…“I brought something to show you today that I’ve had a long, long time!" - Show your old favorite thing - mine was a teddy bear - . “I still love my ….. but my husband/mom… told me it was time to get rid of it! I have a different point of view than them – I want to keep it! - Do you have something at home that you want to keep but mom or dad say is old or dirty?” Take ideas "Wow- you can connect to this idea too!" - "Let's take a look at this quick video about connecting." (see reflection) Bring students to the same learning point - “Today we are going to read a story about a girl who has a favorite thing." - Other people think she should not have it everyday. She has a different point of view than other people.” - "I picked this story because I think you can connect to the character and what happens to her!" The Core standards are shifting to students doing more literary analysis, including reading complex literary text and recognizing character development (RL.2.6). This includes acknowledging differences in the point of view of characters, which this lesson builds towards. The lesson also asks students to make connections to characters and will build towards a later lesson that helps students distinguish between deep and shallow connections. A big difference with the Common Core in making connections is that the connections must be based on the text. Although connecting to outside information and experiences may enrich a students' understanding of a text, such connections are useful only insofar as they help a student understand an author's words. As we push students to make connections that are deep, we need to keep helping them understand the difference between deep, text-based connections and distracting, shallow connections. The process starts here in this lesson and builds throughout the unit. - "I picked this story because I thought you could connect the main character. Connecting can really help you understand better!" - "This story about a girl about 6 or 7 years old - raise your hand if you can connect with a 2nd grader… who really wants something from her parents – raise your hand if you have ever really wanted something from your parents." - "There are different kinds of connecting - I made a chart called the 'Kinds of Connecting'** and put that at the connection at the top – we’ll be discussing other kinds of connecting later." ** I used kinds of connecting with the students to demonstrate how to make these deeper connections. This chart evidences the 3 kinds that I use: text-to-self, text-to-text, text-to-world. Here are the lessons where we discuss these other kinds of connecting - ‘Connecting to the Text' and 'Connect to the World'. Model demonstrating a point of view - Powerpoint slide 1 "This book has great illustrations and a great story. When I think about point of view, I have to consider how the illustrations and words help determine the point of the view of the characters." Here's an example of how I use that text evidence. - Powerpoint slide 2 "Look at the girls and mom on the first page- “The girl is saying, 'I want something new', but the mom is thinking 'no'?” Use a whiny voice for the girl and a firm voice for the mom "I know this because the illustration shows.... and the words say...." - "Let's try some examples of 'point of view' together. Also, look for ideas or events that you connect to. I think you can share some of this characters' point of view and connect to how she feels." - Powerpoint slide 3-4 Take ideas - Encourage kids to use a voice for the characters - "Do the illustrations or word help them figure out the point of view? Do they have any connections to what's happened to her?" The Students Take A Turn - “It’s your turn to connect to the text and share your point of view. - Pass out the worksheets. "Let’s do the first one together.” - Read the first page and help students write one idea, such as ‘the girl wants socks’ or ‘the girl wants to go to the store’. - Ask for ideas for connections and offer several – encourage the kids to pick from their point of view. Write 1-2 ideas on the board as the students copy. - See white board demonstration. - “Now you continue the chart yourselves as… (I read/you read- depends if you have a class set or are reading to the kids.) - “It's ok if you have different connections - you have a different point of view about things that happen in the story. - There's an example of one of my student's work. Students Share Ideas - Students share one connection using a voice so to show point of view. - Encourage them to use and example from the book and "cite specific evidence?“ - Make comments like – ‘wow you have a very different point of view than she does. Did you have a special blanket like the girls’ socks – I bet not everyone in here had a special blanket.’ - “Did you enjoy this story? There was a lot of different points of view about your connections but I can really see that you have lots of great ideas!” Scaffolding & Special Education: This lesson can be scaffolded up and down, depending on student ability. For my Special Education students, I read the text out loud to them, emphasizing the voices in the beginning. Later in the text, I read the quotes and let them repeat with a voice that demonstrated perspective. I gave them prompts on the whiteboards at their desks for the worksheet so they could offer connections to the text. They were more connected to the pictures, which gave a nice contrast to the students who were more connected to the text. Understanding perspective and point of view is an excellent skill for students of higher ability to learn. Although their language is higher, they still need to be challenged to connect to the text, perhaps with more sophisticated text based connections. Using an appropriate voice to read the perspectives and making deeper connections (I have a green shirt vs I remember a time when I could not get my parents to the store either.)

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Many young people with reading, writing and communication difficulties are unable to realise their full potential. Even if they are very bright, they may have difficulty accessing educational resources and be unable to fully partake in class discussions. This inevitably undermines their motivation and self-esteem. Research shows that audiobooks allow the listener to retain their visualisation and picture-making skills. A reader who struggles to ‘decode’ the words will have difficulty absorbing their meaning, affecting comprehension, memory and enjoyment. The listener, however, not only has the advantage of being able to visualise as they listen, their understanding is also helped by a model of interpretive reading for the tone of voice, accent, emphasis and timing given to the text by the professional reader. Children struggling to read miss out on vital language resources and their written output fails to reflect their ability. Listening to books in audio form can help them acquire not only a whole new range of experience, but a vocabulary beyond their own reading level and everyday conversation, enhancing fluency and comprehension. Their horizons expand, they absorb the structure and conventions of storytelling and develop much greater confidence to communicate both orally and on paper, which has enormous benefits to their writing. When they discover the excitement of books through listening, pupils want to read more rather than less. If they follow the text while listening, their word recognition and reading speed improve. 'They understand what a chapter is now. The structure of listening has helped. They understand paragraphs because when they have the text in front of them they can see and hear from the [audiobook] that there is a new idea. They have learnt about speech marks, because they hear different voices.' Good listening skills are essential for effective learning in all areas of the curriculum and will help pupils with their school work. Audiobooks improve concentration and engage pupils with their studies, helping them to achieve at a higher level across the curriculum and continue to self-select literature in the future, instilling a lifelong love of reading. 'Listening [to audio] has made him more inclined to listen in general.' Audiobooks enable children to develop vital literacy skills in an enjoyable way. They restore confidence and self-esteem, and create a situation in which pupils can achieve success. Click on the catalogue link to see just how many audiobooks we stock that support the National Curriculum. With thanks to Evelyn Carpenter who was commissioned by Listening Books to evaluate our 3 year Sound Learning pilot project and subsequently wrote the report 'Sound Learning: an Evaluation'. Click here to see our fantastic range of audiobook titles for children and young people. We now have a fantastic online library of over 1000 titles so your pupils can listen on the go. Find out the many ways that using audiobooks at home or school can help students support their studies.

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en

Creative play and imaginative arts activities are very important for your school-age child’s learning and development. They help nurture imagination, and also develop problem-solving, thinking and motor skills. Creative play: why it’s important for school-age learning and development School-age children usually take a keen interest in creative arts and artistic activities. Creative activities and creative play support your child’s learning and development by: - encouraging your child’s creativity and visual expression - helping your child to express feelings, thoughts and ideas in verbal and non-verbal ways - getting your child thinking about problems that don’t have set or ‘right’ answers - helping your child to think about issues from many perspectives. In the months leading up to the start of school, you might notice your child asking more questions about how things work – and there’ll be lots of ‘Why?’ questions, of course! So by school age, your child is ready to explore and experience new ideas, skills and information. School-age children are usually more confident about themselves and around others than they were a year or so earlier. This is a good thing when it comes to creative activities. Learning and development through drama School-age children can usually make things up as they go along. They often use role-play and storytelling to solve problems. For example, when younger, your child might have expected to hear particular endings to favourite stories. Now your child might start changing things and coming up with new endings. School-age children can usually play with simple props such as hats, shoes, cooking utensils, sticks and so on. Your child might make up and act out stories using these props. Your child might also act out the lyrics of songs as he sings them or listens to a CD. Taking on a role and seeing the world from someone else’s point of view helps your child to make sense of the world, build communication skills and express feelings. Learning and development through visual art School-age children might use colours and shapes to communicate feelings, ideas and messages – for example, using lots of black to draw a dark scene or scary feelings. They might also use symbols to show the difference between things. It can be pretty easy to work out what interests your child when you watch what she creates. For example, she might enjoy creating pictures of dinosaurs, fairies or boats over and over again. You might notice that your child’s drawings and paintings are more detailed now. For example, your child might be drawing people with five fingers and toes. Where your child used to draw scribbles and squiggles for trees and flowers, now you can see leaves, branches, trunks and petals. School-age children are ready for ‘art appreciation’ – whether it’s music, sculpting or pictures. You and your child can talk about art, artists, favourite artworks and reasons for liking certain things. Why not visit a local art gallery or exhibition together and talk about what you see? Musical learning and development School-age children might use musical sounds to explore their feelings. Often they can talk about how music makes them feel. Your child might like using music to tell stories too. For example, school-age children often enjoy the classical music piece ‘Peter and the Wolf’. This piece uses the sound of an oboe to represent a duck, a flute for a bird, and so on. In a similar way, your child might enjoy using sounds to represent characters and events in other stories. And your child will probably still get a lot of fun out of making musical instruments from everyday objects. He can use these to play songs and make up his own music. He might also be ready to use musical symbols and notes to remember how to play a piece of music. Learning and development through dance School-age children often enjoy moving creatively in response to the lyrics of the songs they sing. The way they move their bodies in response to music becomes more expressive. You’ll probably see your child moving more in time with music. She can react to contrasts in the sounds she hears. And don’t be surprised if your child starts making up dance sequences with friends to popular music or songs. Four stages of creativity When they’re playing creatively, children go through a thought process that might involve four basic stages: Preparation: children collect information about a topic or idea and think about what they want to do. For example, your child decides to make a card for you. So he looks at other cards, and looks to see what materials he can use. Incubation: children mull over the problem, subconsciously or by thinking some more – for example, your child thinks about what she might do with the card. Illumination: the ‘aha’ moment, where children carry through, and the creative processes all come together. For example, your child decides to choose flowers and leaves from the garden to stick on his card, and draw a picture of you. Verification: after the initial excitement passes, children think about the thing they’ve made. For example, your child hides her finished card so you can’t see it until she decides to give it to you. But she might get it out every now and then to have a look.

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en

The concept of an author is one that generally evokes the image of a person at his or her desk writing something that will eventually be further scrutinized by an editor before being sent off to print. The idea of authorship being ascribed to one person or group of people for a specific mode of narrative production became altered in the 20th century with the rise of graphic narratives as a common form of storytelling. Film and later television would blur the lines of authorship with multiple roles that shaped the narrative in specific manners, like the writers, directors, actors, editors, and other personnel, but most readers were unable to ascertain whose individual contributions led to the final product. Comics and other forms of print graphic narratives are far more specific as to who is charge of what part, with the primary roles of writer and artist receiving the most attention. While both the writer and the artist are the main people responsible for creating a graphic narrative, authorship is primarily assigned to the former of the two. In a formal sense, this is known by the fact that the MLA citation format, among other systems, has the writer’s name be the first one to be presented. Perhaps this is due to the perception of the importance of written language when it comes to storytelling that the primacy of authorship is given to the writer. The artist is considered to be in charge of adding the visual elements to the story, usually at the behest of the writer, much like how others are tasked with turning the scenes from a screenplay into the visual elements of the play or film. Some of the most iconic authors in comics like Charles Shultz and Bill Waterson of Peanuts and Calvin and Hobbes fame, respectively, did both jobs under the title of cartoonist but they were in charge of newspaper comic strips, which have relatively much less material than a standard 32 page comic book. The constant serialization of comic books regularly requires an artist and a writer, but they also might include inkers, colorists, and leterers (those in charge of making sure words are legible and fit well into their appropriate speech bubbles. While the end product is the culmination of the work of various people; ultimately, it is the responsibility of the writer to create and develop the story. The dynamic and complex relationship between writers and artists can be found back as early as works of serial fiction in the Victorian era. Charles Dickens worked with various artists during his career as a writer so that each installment of his serialized novels would have a distinctive image through a wood cut or engraving. The separation of individual panels in contemporary graphic novels means that the artist needs to work side by side with the writer to make sure the stories visual elements work well with the print ones. The relationship between writer and artist would be further complicated through what later would be known as the “Stan Lee” method of writing. You see, DC Comics employed a more traditional method, with writers and artists working together one on one during the authorial process. Marvel comics (DC’s main competitor tried to do something completely different during the 50s and 60s. During that time, Stan Lee was asked to write multiple scripts for different titles. He had several artists under him and was in charge of them. He would give each artist a different script so each one had clear guidelines as to what to draw, but were given relative freedoms as to how each scene would be portrayed. Stan Lee would then edit this almost finished comic, lacking only the dialogue boxes and its content. Later, Stan Lee would fill in the comic with the dialogue as he saw fit and then send it down the pipeline. This was Marvel’s business model for several years with Stan as the head and pretty much only writer under their employment. This practice, while now unseen, illustrates the authorial performance of maintaining proper communication with the artist in charge of making one’s narrative creation come to life, so to speak.

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en

Children ages 3 to 5 pick up language skills from peers, caregivers, books, labels, routine activities and songs. At this age, children experiment with language and use words in creative ways. Children in this age group are considered preschoolers, and several language milestones achieved during this time support upcoming connections between writing and language. Language development is the process by which children learn to express themselves and to interact with others. Children are learning the purpose and rules of language even from birth, when caregivers respond to cries, and during the toddler and preschool years, when language is communicated through words, signs, books and gestures. Language milestones or timetables serve as a guide to normal language development and indicate "a general age and time" when most children will master certain skills, according to the National Institute on Deafness and Other Communication Disorders. Language skills enable preschoolers to communicate with peers and caregivers and to converse and interact effectively with others. When young children interact with other language users, they "learn how to use language to convey messages, to express feelings, and to achieve intentions which enable them to function in a society," according to literacy specialist Mei-Yu Lu in "Language Development in the Early Years." Language skills help children resolve conflict, name and understand their own emotions and foster complex reasoning skills. Age 3 to 4 Milestones At 3 to 4 years of age, a child makes verbal requests, discusses real events, pretends to write, makes up stories and enjoys looking at and listening to age-appropriate fiction and nonfiction books, according to Kids Source Online. Children this age are also able to answer simple questions, identify colors, describe the use of common objects such as cars or spoons, repeat sentences and use verbs that end in "ing," according to the National Institute on Deafness and Other Communication Disorders. Age 4 to 5 Milestones A preschooler aged 4 to 5 can recognize some letters if taught; might be able to print his first name; recognizes familiar words; enjoys singing, rhymes and silly words; speaks in more complex sentences; and can name six to eight colors and a few shapes, according to Iowa State's University Extension. Children this age also enjoy telling jokes, follow directions with more than one step, carry on complex conversations and can learn their address, full name and telephone number if encouraged, adds the University Extension. Engage children using language activities to promote language development. Encourage your 3- to 4 -year-old by including her in everyday conversation, explaining routines, asking questions and listening, advises Iowa State's University Extension. Read to your preschooler and give her books to enjoy on her own. You can nurture your 4- to 5-year-old's language development with regular visits to the library, counting and color games, creative storytelling and joke telling, adds the University Extension.

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http://www.livestrong.com/article/160473-early-language-development-in-children-ages-3-5/

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en

Medieval writing evolved greatly from the fall of the Roman Empire to the rise of the Renaissance. In addition to records and decrees, most extant documents from the Middle Ages are manuscripts written by monks who dedicated much of their lives to transcription. The style of their writing varied according to local traditions and influences, their methods of writing, and technical constraints such as the amount of paper or vellum they had on hand. Paleography is the study of such forms of writing. Early Medieval Scripts Paradoxically, most people find that documents written in the early part of the Middle Ages (roughly 500-1000 CE) are easier to read with an adequate knowledge of the language than later texts leading up to the invention of the printing press. The reason is that Europeans had continued the writing styles of the Roman period but this gradually progressed into an elaborate system of shorthand and compact letters as monasteries developed their craft. The most significant writing styles of the early medieval period include Uncial Script, Insular Script, and Caroline Script. There are many subsets of these types, commonly with the term "minuscule" for compact writing in certain documents or manuscripts. These styles are characterized by gently curving, uniform letters, many of which are easily legible to untrained modern readers. Insular Script takes its name from its evolution and popular usage in Ireland and England. Caroline Script was quite universal in Continental Europe, hence being named after the Carolingian Dynasty. Although it is more elaborately stylized than most texts, the Book of Kells is an example of Insular Script. Later Medieval Scripts As writing techniques evolved, monks became extremely proficient at stuffing the greatest amount of words onto a page as possible. The reason is that while paper and sometimes papyrus were in use, books were written on very expensive animal skin parchment (often called "vellum") so that they would last for centuries. The result is that individual letters developed much more concise sharp angles, relying on as many straight vertical lines as possible. In many cases, especially in "pocket bibles", the writing is amazingly tiny and a magnifying lens may be necessary to distinguish the letters. These styles were pejoratively named "Gothic" because later Italians regarded them as barbaric, although the term Blackletter is frequently used to describe them. Blackletter later became more uniform by being incorporated into print it remained popular in German-speaking regions until World War II. Other areas developed their printing fonts from pre-Gothic writing styles, and handwriting moved back towards the early medieval and Roman period styles. Many concise documents were written with an elaborate system of shorthand. Shorthand of this period took the form of abbreviating entire words with a unique character or by representing letters or common prefixes and suffixes with lines over the word. For example, "M" or "N" at the end of a word was often written as a line over the final vowel, and the word "et" had several symbols to represent it. Another example is that the word "Christ" was denoted by "XP" in reference to the original Greek spelling. Proficiency in reading minuscule Gothic hands requires an excellent knowledge of Latin and a great deal of practice to become familiar with the hundreds of shorthand marks that were commonly used. Owning any book in the Middle Ages was outlandishly expensive because of the labor involved in creating them, so most were of a relatively plain style that included lightly decorated initials to denote the beginning of a new chapter or section. Books owned by wealthy individuals, however, were often lavishly decorated. Highly decorated manuscripts are said to be "illuminated." Capital letters often included drawings within and around them, often depicting the subject of the writing. Other illustrations were merely artistic flourishes, and often you can see animals or mythical creatures, called "grotesques", decorating the page. Illumination could entail gold leaf or expensive pigments made from precious materials like lapis lazuli. Majestic examples of illuminated manuscripts include the Book of Kells, the Maciejowski Bible, and the Book of Hours of the Duc de Berry. - Photo Credit Tim Jones/Photodisc/Getty Images gothic image by martini from Fotolia.com What Is a Block Style Letter? Business letters are generally formatted using a block style, of which there are at least three: standard block style, modified block style...

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