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Standing for What You Believe From Knocking collection, lesson plan 4 of 4 (90-120 minutes + assignments) Grade Level: 9-12, College Subject areas: Social Studies, Language Arts, Debate, Sociology, Ethics, Psychology, Religious Studies, Current Events Purpose of the lesson: People often claim that they are “taking a stand” or arguing something “based on principle,” but how many people would actually stand for what they say they believe when faced with a life-or-death situation? This lesson examines how Jehovah’s Witnesses have stood for their beliefs historically and calls on students to examine their own belief systems and what they would be willing to endure to uphold their own ideas and principles. - learn about the role of Jehovah’s Witnesses as civil rights activists - respond to a writing prompt using a short narrative - utilize critical reading and viewing skills - utilize interview skills to talk with someone outside of class about related topics - participate in class discussions and debates - conduct research and summarize findings to share with classmates in an oral presentation - create a piece of creative writing in response to the theme of the lesson - share their creative writing and provide oral feedback about it for classmates Narrative writing, stating and supporting opinions in class discussion, critical reading and viewing, interviewing, research, summarizing information, creative writing. - student and teacher handouts (provided with guide) - Film Modules 1 and 2 - access to Internet and library resources National teaching standards addressed: National standards from the following organizations were used in developing this lesson plan. See recommended national standards in the Educator’s Guide for full descriptions of standards employed. Curriculum Standards for English Language Arts, National Council of Teachers of English and the International Reading Association Curriculum Standards for the National Council for the Social Studies Expectations of Excellence, National Council for the Social Studies Curricula writer: Lisa Prososki Lisa Prososki is an independent educational consultant who taught middle school and high school English, social studies, reading and technology courses for 12 years. Prososki has worked extensively with PBS, authoring and editing many lesson plans for various PBS programs and TeacherSource. See Educator Guide for full listing of credits Direct students to pair up. Have students write a short answer to the prompt below, and give the pairs 3-4 minutes to share their responses with one another. - Describe a time when you’ve had to “take a stand” about something you believed in. Be sure to describe the outcome of your actions. Facilitate a short discussion about different ways people stand for their beliefs. Encourage students to provide historical examples along with sharing their personal experiences. Distribute the Student Handout D: Standing for What You Believe and review the directions. View Knocking Film Module 1 and Module 2 as a class. Provide students time between clips and at the end to complete the chart on the handout. NOTE: The Knocking film quotes are referenced in this step and could be distributed to students for use during discussion. Discuss the “Standing for What You Believe” handout. Focus on what students think they would have done in a similar situation. During the discussion, refer to the Knocking Study Guide pages 8-9, 30-31, and 34-35. Focus attention on the Nazi persecution of Jehovah’s Witnesses and the documents they could sign to escape the concentration camps. Also consider individual Witnesses who took their cases all the way to the U.S. Supreme Court in order to secure their rights, even though they personally faced difficulties. Additional information can also be found in the lecture series “Jehovah’s Witnesses and the Holocaust” and “Jehovah’s Witnesses in Nazi Germany” available on the Knocking DVD. Ask students to discuss the “Standing for What You Believe” with a family member or friend as an out-of-class activity. Students should complete the area below the table by describing whom they talked with and how the individual reacted to the ideas related to standing for personal beliefs. When the out-of-class activity has been completed, facilitate a classroom discussion based on the feedback students received when exploring this subject with their friend/family member. This could be done as a large group or by having students share their experience in small groups or pairs. Direct students to use 20-30 minutes of class time to review newspapers, news magazines, Internet articles and other primary sources for examples of situations worldwide in which people are currently standing up for their beliefs. Students should select the story they find most moving and summarize it for their classmates, describing the facts surrounding the event, specific things people are doing to stand for their beliefs and the outcome of these activities. Students should work in small groups to share their articles. Each group should have a short discussion about whether or not they agree with the stance taken by the person/group featured in each article. They should also share what they believe they would do in a similar situation. NOTE: A list of reliable news sources is provided in the Teacher Handout A: Supplemental Materials for Activity Four References. As a final activity, have students complete a piece of creative writing (a poem, short story, play, song, etc.) that addresses a cause they feel they might stand up for or support or that addresses the theme of standing up for personal beliefs. Encourage students to make the project as personal as possible and truly explore their ability to face adversity because of their principles. Offer students the opportunity to share their creative writings in small groups when the assignment has been completed. There is no extension activity with this lesson plan.

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These patterns of common objects from Houghton Mifflin Harcourt can be used in lots of ways with children learning Spanish. I usually use shape books to make mini books related to the object or animal, but they also make excellent stick puppets, props for storytelling, craft materials kids can decorate and writing paper. Most of these shape books are available with and without lines. Also, the website gives permission to print and copy the pages for classroom use. Kids can use the shape books to make mini books with the language they have been learning. They write a simple sentence on each page and illustrate it. You can also write the sentences in before you make copies. You can staple the books together or tie them with ribbon or yarn. For example, some of my units are about animals. We use el cerdo, el león, or el pez to make a mini book with verbs that kids have used in class. The sentences can be simple and follow one pattern: El león corre. El león come. El león bebe. El león salta. El león duerme. For some of the shapes, like the house and the child, kids can add details to the shape itself. We read the books in class when they are done, and then the kids can read the mini book to their family when they take it home. Here are a few more examples of the kinds of simple sentences you can use in the mini books. Mini books – Sample Text for Shape Books La casa – Kids can add the details to the shape instead of drawing a separate picture La casa tiene ventanas. / Hay ventanas en la casa. La casa tiene una puerta. / Hay una puerta en la casa. La casa tiene un techo. / Hay un techo en la casa. La casa tiene flores. / Hay flores en la casa. La casa tiene una familia. / Hay una familia en la casa. El niño/ La niña – Kids can add the details to the shape instead of drawing a separate picture Tengo dos ojos. Tengo una boca. Tengo dos brazos. Tengo dos manos. Tengo dos piernas. Tengo dos pies. La camioneta / El coche – The minivan (The word for minivan varies from country to country.) Vamos al supermercado. Vamos a la escuela. Vamos al parque. Vamos al zoológico. Vamos a casa. La manzana and La flor (Flower 1 is easier to cut out) These books work well for counting. Kids can draw apples or flowers for una manzana/flor, dos manzanas/flores, tres manzanas/flores… For colors, kids can color the flower and label the color or colors on each page. You may also be interested in this post: Free Printable Mini Book for Spring

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Fun and “Stealth” Educational Activities Keep Kids Sharp this Summer – Without Them Even Knowing! Virtual School Connections Academy Offers Ten Tips to Keep Learning Alive Over the Summer BALTIMORE, June 6, 2009 For kids, summer is synonymous with fun and games and a welcomed break from school. And although no summer is complete without a little R & R, research shows that “summer learning loss” is an issue for many students when they do not engage in educational activities. Studies also show that for some students, participation in summer learning opportunities can result in higher graduation rates and better preparation for college. ”Children need ongoing opportunities to learn and practice essential skills, particularly during the summer months,” said Dr. Patricia Hoge, Vice President for Curriculum and Instruction for Connections Academy, a leading virtual public school. ”Fortunately, most summer activities can be optimized for learning -- often it is just a matter of recognizing the opportunity and approaching it from an educational angle. Our teachers have come up with a great list of ideas for parents who might not know where to begin -- ten fun and engaging ways to keep children’s minds stimulated and prevent summer learning loss.” Experts in learning outside of the traditional classroom, Connections Academy educators suggest the following summer learning opportunities: For more information about this article: Athena Public Relations - Transform everyday routines into “teachable moments” — The simplest daily tasks offer a wealth of learning opportunities. Cooking is a great way for kids to practice basic measuring and math skills. Writing a grocery list promotes vocabulary, spelling, and handwriting. In the garden, young learners can identify colors and shapes; older students might identify the parts of plants and study how they grow. Improve sorting skills while doing the laundry. - Record summer memories in a journal — Summer activities abound and there is no better way to capture those memories than by keeping a journal. Writing about daily events allows children to tell a story, boost their vocabularies, and practice grammar and spelling. - Take a learning “stay-cation” — A trip to a local museum, zoo, or pool can become a mini-field trip. Visit places that offer children’s activities, like being "art detectives" or "geologists for a day." Make a scavenger hunt for your outing. For example, at a museum ask your children to "find three sculptures" or "find a painting of a child." When you return home, encourage your children to write about their day. - Write and publish a book — Promote creative writing and drawing and practice grammar and spelling with this rewarding activity. Ask children to write and illustrate their own story. Once their manuscript is complete, you could send it to a bookmaker, like www.lulu.com, or create a homemade book. - Put on a show! — Music, art, and theater are proven to help foster well-rounded learners. Encourage kids to write their own play or musical, design sets, and perform for friends and family. If your child likes visual arts like painting and drawing, turn the living room into a gallery and host an opening reception. And be sure to take advantage of local children’s theaters and art museums. - Conduct “kitchen science” experiments — There are numerous science experiments that can be done at home, including making slime polymer, reacting baking soda and vinegar to erupt volcanoes, making stalagmites and stalactites using baking soda or sodium bicarbonate, and growing sugar crystals to make rock candy. Check out your local library for science books with kid-friendly science activities. - Enter or host a game tournament — Participating in a game tournament is an engaging way to boost logic skills and sportsmanship and make new friends. Encourage children to enter a chess, scrabble, spelling, or trivia tournament, or suggest that they plan and host their own tournament with friends. - Get your green on — Designate your children as the household’s enviro-specialists. Ask them to learn about your town’s recycling program and to make sure you are following guidelines. Invite them to assess whether or not you are making environmentally-conscious decisions in the home. Encourage them to read about and investigate the implications of long showers, light bulb choice, etc. - Make the most of a rainy day — When faced with a rainy day – talk about it! Together, research the hows and whys of rain. Ask children to write a story or draw a picture of the weather. Encourage creative and descriptive language — see how many words they can use to describe rain. - And everyday...read — Summer break is a great time to visit your local library. Reading stimulates children’s minds – opening doors to imaginary worlds and providing a view into places children may never have the opportunity to see firsthand. Encourage your children to start a book club with their friends. This is a great way for children to practice interpreting what they read as well as promote their public speaking skills. About Connections Academy Connections Academy is a leading national provider of high-quality, highly accountable virtual public schools in fourteen states operated in partnership with charter schools, school districts, and state departments of education. Connections Academy schools deliver top quality, personalized education for students that combines certified teachers, a proven curriculum, technology tools, and community experiences to create a supportive and successful environment for children who want an individualized approach to education. In Connections Academy's Personalized Performance Learning® approach, students use daily lesson plans and curriculum materials provided by Connections Academy. Teachers develop a learning plan for each student, utilizing a proprietary, web-based Learning Management System to deliver, track, and administer the learning. In 2008-09 Connections Academy serves students in Arizona, California (Southern and Central), Colorado, Florida, Idaho, Minnesota, Missouri (through the Missouri Virtual Instruction Program), Nevada, Ohio, Oregon, Pennsylvania, South Carolina, Texas and Wisconsin. Connections Academy offers grades K through 12, though some schools do not offer all grades. For more information, call 800-382-6010 or visit www.ConnectionsAcademy.com.

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In the Artists' Own Words One of the main characteristics that separate human beings from other animals is the ability to communicate through language, and one of the fundamental forms of communication is storytelling. It is believed that early cave painting was a form of narrative, and the development of writing widened the dissemination of stories. The tales of mythology have been hugely popular throughout the ages, with these so-called "false stories" serving as a narrative to explain how the world and humankind came to be in their present form. In a broader sense, myths can refer to any traditional story. Madrigals—the most polished form of secular choral music, often evoking the pastoral, amorous, or philosophical world of mythology—first emerged in Italy in the early 1530s, swiftly supplanting a somewhat unsophisticated repertoire of native songs. The great popularizer of madrigals in England was Thomas Morley, who in his Plaine and Easie Introduction to Practicall Musicke, wrote the following: "As for the music, it is—next to the motet—the most artificial and, to men of understanding, most delightful. You must possess yourself with an amorous humor so that you must, in your music, be wavering like the wind, sometimes wanton, sometimes drooping, and sometimes grave and staid, otherwhile effeminate, and the more variety you show the better you shall please." Although the madrigal era was over by 1630, so great were the composers—such as Morley's contemporaries Thomas Weelkes (ca. 1576–1623), John Bennet (ca. 1575–1614), and Thomas Tomkins (1572–1656)—and their collections that it is rightly remembered as a golden age of music. One of the best-known collections, The Triumphs of Oriana, was compiled by Morley in 1601 in honor of Queen Elizabeth I. This royal gift comprised 25 madrigals by 23 composers, and each madrigal was linked by the same refrain: "Then sang the shepherds and nymphs of Diana: Long live fair Oriana!" Oriana was one of Elizabeth's nicknames, and it links her to the Elysian world of the gods and goddesses of mythology. The Triumphs of Oriana was inspired by the 1592 Italian madrigal collection Il trionfo di Dori. Published in Venice by Angelo Gardano, the collection was dedicated to Leonardo Sanudo (1544–1607), a nobleman from one of Venice's most respected families. It is believed that the madrigals were written for, or in commemoration of, the marriage of Sanudo to Elisabetta Zustinian in 1577. Again the world of mythology inspired the texts, with each madrigal ending with the refrain "Viva la bella Dori" ("Long live fair Dori"), a reference to the Greek sea-goddess Doris, the daughter of Oceanus and Tethys. The influence of Il trionfo di Dori seems to have been felt first in England in 1597 with the publication of Giovanni Croce's "Ove tra l'herbe e i fiori" in Nicholas Yonge's Musica transalpina II. The work was given a new English text under the title Hard by a Crystal Fountain. It is likely that Morley was familiar with the entire collection, but he pays special homage to Croce in his own identically named madrigal. Berlioz said of Camille Saint-Saëns, "He knows everything but lacks inexperience." This was a shrewd assessment of someone who had perfect pitch, wrote his first piano piece at the age of three, gave a concert at which he played concertos by Mozart and Beethoven from memory at the age of 10, and in later years had all the Mozart concertos in his repertory—an astonishing feat at a time when only a handful of them were at all well-known. In "Saltarelle," jolly melodies match Émile Deschamps's witty, almost irreverent poem, in which the villagers' Carnival revelry appalls old women. The young priest turns a blind eye, and the Madonna in her oak tree pardons them, veiling her face when she must. Benedictine monks file out with a melancholy chant, and Carnival ends in a "rain of Lenten bulls." Francis Poulenc composed his four-movement cantata Un soir de neige during the years of Nazi occupation in France. The text was written by Paul Éluard while serving with the French resistance and dispatched to Poulenc in secret. On the surface, the text brings to life the harshness of a winter night in a French forest, but closer examination reveals images of war and of the great dangers Éluard and his fellow fighters faced from the German army. The first movement describes how the incessant and inescapable cold weighs heavily on those trapped in it. The second movement warns of the dangerous yet beautiful wolf-a reference to the German soldiers in their splendid uniforms. The third movement finds the poet lost in the forest, helpless as if adrift on a frozen sea. In the final movement, the poet hides from the German soldiers by concealing himself underground. But this only increases his feeling of isolation, and the forest becomes a prison from which he cannot escape. Goffredo Petrassi's Nonsense dates from 1952 and uses for its text nonsense verse (in the form of limericks) by 19th-century English poet and painter Edward Lear, translated into Italian by Carlo Izzo. Petrassi, who had been a choirboy in Rome, featured choral music quite heavily in his catalog throughout his distinguished career. He was influenced early on by teacher and composer Alfredo Casella, who guided his artistic outlook to contemporary movements outside Italy, notably to the music of Hindemith and Stravinsky. The non-emotional and objective approach of these two composers is mirrored by Petrassi in Nonsense, in pieces that are at once both concise and witty. Joby Talbot's extended work Path of Miracles charts the world's most enduring route of Catholic pilgrimage, the Camino Francés, through its four main staging posts in Spain. Talbot describes "Leon"—the third movement and the final post he celebrates before arriving in Santiago—as a "Lux Aeterna"; and like the interior of the magnificent León Cathedral, it is bathed in light. A medieval French refrain-an ode to the sun-punctuates simple observations of lands traversed and hardships overcome. The hypnotic pulse of the pilgrims' walking remains constant throughout the piece, as in other movements of the Path of Miracles, but here the mystical events present no danger. Even the relentless sun, though it may dazzle, does not burn our travellers. This evening, The King's Singers are delighted to be performing the world premiere of this new arrangement of "Leon," created especially for the ensemble by former King's Singer Philip Lawson.

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Storytelling has been found in many aspects of the humanities. Storytelling is an effective way to share ideas, facts and to persuade. This can link storytelling closely to journalism where writers want to reach their audience, persuade their readers, and reach deep emotional levels with their followers. In order to reach their audience, journalists have researched ways storytelling can be used to reach their audience. Storytelling can be used in journalism but at a price. Many journalists who create stories may leave out facts in order to fill their space with emotion. This leads many people to disregard these articles for columns they believe are more fact based. But, with the idea of storytelling in journalism it has brought about Civic Journalism. This type of journalism puts the power of the writing into the hands of the people in the community. These journalists are not necessarily classroom taught journalists. These are people who see injustice in their community and want to speak out as a part of activism. Storytelling can bring forward community efforts as well as activism into a type of journalism that can educate and highlight community members. These types of journalists must understand the correct way to emotional stir their audience while also keeping their story factually correct. Recent studies sponsored by the Knight Foundation and Knight Commission demonstrate the importance of community members to be effective producers of information, not just effective consumers. While individual voice is an important direct impact of the storytelling process, these studies are also finding that storytelling and citizen journalism can also serve as a critical starting point for professional writers to become aware of important but unreported issues and events within a community. Further, raising awareness through community engagement in the storytelling process can put pressure on professional writers to themselves report on these issues. A great article that examines how to blog and how blogging can be used to advance ideas of community is available online at http://rising.globalvoicesonline.org/guides/. This article should be read by anyone interested in this topic and would like to further their own ideas in blog or any other multimedia fashion. For more information please see: Barkin, Steve M. “The Journalist as Storyteller: An Interdisciplinary Perspective.” American Journalism Winter (1984): 27-33. Coberst. “Democracy, Critical Thinking, & Journalism – SciForums.com.” SciForums.com – Science Forums. 18 Oct. 2007. <http://www.sciforums.com/>. Deuze, Mark. “Towards Professional Participatory Storytelling in Journalism and Advertising.” First Monday 10.7 (2005). Agarwal, Amit. “Difference Between Blogging and Journalism.” Digital Inspiration: A Technology Blog on Software and Web Applications. 27 Sept. 2007. http://www.labnol.org/internet/blogging/difference-between-blogging-and-journalism/1421/. Carter, Kristi. “Citizen Journalism vs. Television Journalism: Differences Between TV Journalism and Journalism for Citizens.” Suite101.com: Online Magazine and Writers’ Network. 4 Jan. 2010. <http://www.suite101.com/content/citizen-journalism-vs-television-journalism-a185487>. Jarvis, Jeff. “Is Journalism Storytelling? « BuzzMachine.” BuzzMachine. 8 Dec. 2009. Web. 06 Dec. 2010. <http://www.buzzmachine.com/2009/12/08/is-journalism-storytelling/>. Schaffer, Jan, “New Voices: What Works, Lessons From Funding Five Years of Community News Startups.” http://www.kcnn.org/nv_whatworks/pdf The Knight Commision on the Imformation Needs of Communities in a Democracy, “Informing Communities: Sustaining Democracy in the Digital Age.” http://www.knightcomm.org/read-the-report-and-comment/

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LESSON PLAN Date: February 17, 2012 School: Jose Campeche Teacher: ___Mr. Sosa_____________ Grade: 12th I. Theme: Writing WorkshopComments: II. Phase: Exploration X Conceptualization Application III. Integration: ArtsHere the students are IV. Standard(s) and Grade Level Expectation:going to read the essayand identify it. By this I Content Standards 12th Grade Expectationsmean they will tell LISTENING/SPEAKING: _X_ L/S.12.1 Listens carefully during a read aloud, presentation, or performance from a variety of literature, periods, genres, and styles towhere the introduction, The student uses the English language interpret and analyze character development, dialogue, and setting; makesconclusion, thesis to interpret oral input, construct connections to text; evaluates tone, voice, and mood.statement, among other meaning, interact with confidence both ___ L/S.12.2 Listens and responds to synthesize, explain, describe, analyze,concepts is. The verbally and nonverbally, and express justify, and debate information; answers and formulates closed and ideas effectively in a variety of openended questions.homeworks were for personal, social, and academic ___ L/S.12.3 Uses appropriate language structure to analyze and evaluatethis exact reason: to contexts. issues, to problem solve, to explain a process, and to express opinionsknow the concepts of integrating comparison and contrast statements. _X_ L/S.12.4 Expresses thoughts and opinions to evaluate text, debatethe essay in order to current events, concepts, and literary elements; makes predictions andthen identify it. inferences, as well as draws conclusions from listening to a variety of texts, performances, and multimedia sources; listens to sort and prioritize information. ___ L/S.12.5 Analyzes and explains the main idea or topic and important details from learned concepts or readings from a variety of persuasive texts; summarizes, evaluates, and judges effectiveness of the text, performance, speech, or literature. READING: _X_ R.12.1 Evaluates context clues, reference sources, and vocabulary The student uses reading strategies, expansion strategies to assess word meaning; utilizes Greek and Latin root literary analysis, and critical thinking words to extend vocabulary; classifies, applies, and analyzes vocabulary as skills to construct meaning and develop academic, cultural, or contemporary based on current trends. an understanding as well as an ___ R.12.2 Argues on characterization techniques and character development appreciation of a variety of genres of using text evidence to justify responses; evaluates the setting in fiction and both fiction and nonfiction. nonfiction; classifies point of view using text evidence to supp ort responses. ____ R.12.3 Classifies genre, analyzes plot, establishes cause and effect; makes connections, predictions, and inferences in a variety of texts; draws conclusions; analyzes and determines conflict and resolution; uses text evidence to validate responses. _X_ R.12.4 Distinguishes between fact and opinion, infers and supports the main idea in a variety of texts; debates the theme or topic using text evidence to justify and validate position. ___ R.12.5 Uses elements of poetry and plays to analyze, interpret, and compare and contrast styles, genres, topics, and themes; debates using text evidence to justify position. WRITING: ___ W.12.1 Analyzes and assesses word choice to convey meaning; incorporates transitions, correct grammar, syntax, and style. The student effectively communicates ___ W.12.2 Evaluates and applies a variety of organizational techniques to to a variety of audiences in all forms write effective narrative, expository, and persuasive essays using the writing of writing through the use of the process; demonstrates a preferred style of writing. writing process, proper grammar, and ___ W.12.3 Uses creative writing styles to produce poems and other literary age appropriate expressive vocabulary. forms.DOK Level: 2 ___ 12.4 Compares, contrasts, evaluates, and critiques two or more forms ofRecognize writing on similar topics to write a critical essay.Identify ___ W.12.5 Organizes, synthesizes, outlines, and evaluates information toClassify write a research paper; demonstrates voice and knowledge of topic throughout the writing.Contemplate V. Depth of Knowledge: ___ L1 Recall _X_ L2 Skills/Concepts ___ L3 Strategic Thinking ___ L4 Extended Thinking Vocabulary Words:Essay VI. Objectives:Draft Conceptual: Given the essay “The Hazards of Movie Going,” the student will recognizeTopic the patterns of the essay by exploring it.Thesis statementParagraph Procedural: Given the essay “The Hazards of Movie Going,” the student will classify theIntroduction patterns of the essay orally.StructureSupporting ideas Attitudinal: Given the essay “The Hazards of Movie Going,” the student will contemplate theConclusion essay with a new level of appreciation.Concluding StatementRestate Thesis VII. Materials:Topic SentenceComposition a. Curriculum Material: “You Can Write” and “Writing for the Real World” textbooksCopyWriting b. Teaching Devices: Hand-out “The Hazards of Movie Going” c. Technological Materials: board, marker, eraser VIII. Procedure:Guide Questions: a. Initial Activities: 1. _X_ Greetings 2. _X_ Date 3. _X_ AttendanceWhat is (a, an, or the)? 4. _X_ Review on: The parts of the essay and the homework given 5. Motivation Act. Reflection.Thesis statementRestate thesis 6. Other Activities: Diversity, X Creativity, Leadership, and Soc. Trans.Concluding statement Develop creative writing skills through the reading of essays.Supporting detailsDraft 6. Statement of Aims: OK students, today we are going to read the essayTopic sentence “The Hazards of Movie Going.” b. Developmental Activities: The students will: Read the essay “The Hazards of Movie Going” Identify: - The topic - The introduction - Thesis statement - Body - Topic sentence - Supporting ideas - Conclusion - Restate thesis c. Closing Activities: The students will discuss what they have learned today. IX. Assessment Techniques: _X_ reflective diary __ collage _X_ summary __ conceptual map _X_check list __ rubric __ interview _X_ group discussion __ concrete poems __ debate __ drama __ graphic organizer __ comic strips __ projects __ illustration __ painting/drawing __ portfolio __ games _questionnaire _X_ anecdotic record __oral reports __ skitX. Homework:XI. Special Accommodations offered: None todayXII. Teacher’s Reflections (material, method, and objectives): Today’s objectives took place effectively. Still, the students did not want to participate. Almost all students lowered their heads. It was Friday, what was to expect? Nonetheless, they were supposed to participate in class. I believe I need more techniques in order to promote class participation. Even though students are like this, I have to look for a way to really do things right. I would change the way I do things, but first I must learned how.

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This archived Web page remains online for reference, research or recordkeeping purposes. This page will not be altered or updated. Web pages that are archived on the Internet are not subject to the Government of Canada Web Standards. As per the Communications Policy of the Government of Canada, you can request alternate formats of this page on the Contact Us page. The Story Blanket - Select a story for the class to perform. It may be: - one of the stories from the website, Our Voices, Our Stories; - a story found through your school library; local public library or through interlibrary loan. - one of the stories written by the students in Lesson 1. - Make sure the story can be performed easily. It should have a simple plot with few characters. - Over the course of 2 to 4 classes, students will be immersed in the story, reading it over several times to recall all the main parts. - In a class discussion, divide up the story into the beginning, middle and end. Have students identify the integral parts of the plot and characters. - Write a class synopsis on chart paper (a large sheet of paper that can be taped to the blackboard or wall) for everyone to see. As a class, summarize the story in point form. - Practice retelling the story, as a class, first with and then without the summarized points of the text. As a group, incorporate some of the Storytelling Hints to get the students accustomed to oral storytelling techniques. - Divide the class into 2 groups. Each group will perform the story separately. - Divide up the parts of the story for each group. Assign a part of the story to each student. - Have each student re-write their part of the story in their own words. - Ensure that each group reads through all of their scenes aloud to check for continuity. Each part of the story should flow smoothly into the next to create a cohesive whole. - Students should edit the scenes to achieve an even flow in the script, as necessary. - Have each group practice the story and make a plan for how they would like to perform or "tell" it. - Encourage students to be creative. Add music, props, incorporate costumes, sounds or rhythmic movements. Each group should incorporate at least 3 to 4 ideas from Storytelling Hints. Students may wish to act out the story behind a lit screen (a bed sheet can be hung up that is back-lit by an overhead projector to achieve this). Note: Please see Evaluation Tools to evaluate student participation.

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Point of View in Literature -- Perspectives In order to fully understand point of view in literature, we need to explore the different perspectives from which a story may be told. Bear in mind that the Perspective is the scene as viewed through the eyes/mind of the chosen character. The story, however, can be told from any one of several points-of-view regardless of the perspective chosen. Single Major Character Viewpoint The story can be told from first, second or third person POV but it is told throughout by just one character. The reader discovers everything in the story at exactly the same time as the viewpoint character does. You cannot hint at things that are to come if the main character doesn’t know they are coming. You cannot give the character unnatural foresight-unless of course he is psychic. The single-character perspective is the most common viewpoint used in children’s literature and a lot of adult literature as well. It allows you all the descriptive forces of third person and almost as much intimacy as first person. It is much easier for the reader to identify with just one character. Minor Character Viewpoint Again the story can be told from the first, second or third person POV. It is told from the perspective of only one character just like the example above--except it is a minor character doing the telling. This technique is used in The Great Gatsby. Nick is merely an observer of the story, while Gatsby is the protagonist. This method isn’t chosen very often in modern literature, but can be used to good effect in literary works where you need to keep some distance to really see what is happening. Or perhaps you need a more sympathetic character than your protagonist. Or perhaps you need to keep information which is known to the protagonist secret from the audience in order to maintain an air of mystique as in the Sherlock Holmes stories. Basically, omniscient perspective means that the story is not told by any one of the characters, but is rather commented on by a god-like, omnipotent being who can choose to dip into the head of any of the characters and reveal things that have occurred in the past or which will happen in the future. This was once a very popular method of storytelling. It is less so now, especially in the North American market. But as I said earlier, Joseph Conrad was a master of this and, if it is done well, it can add dimension to your writing. It is essential that each character have a distinctive voice so that the reader is never confused about who he is listening to at the moment. This is an interesting device for an epic novel which explores a theme with several tangled subplots. This is another popular perspective in stories today. The story is told by only one character at a time, but the viewpoint character switches between two or more characters throughout the course of the novel. This can be a very effective tool when used for the right reasons. Remember, it has to add something to your story to have it told from different points of view because you lose intimacy and sometimes momentum by switching from one character to the next and then you increase the danger of losing your reader unless the transitions are well done. Consider what are you going to gain from the switch: Needed information? A different perspective to explore a good subplot? A chance to switch locations? Incidentally, this is probably my favorite perspective to write from. You aren’t stuck with the same character throughout the entire story and you get to reveal the story from several different angles which can keep the story fresh. This is a popular form in many genres including romance, horror, literary fiction, mysteries, and science fiction. It can be done effectively, by switching viewpoints with alternating chapters or scenes. Or it can be done in a more relaxed manner where you slip from one mind to the next in a crowd, for example. One person bumps into the next and we change heads. You don’t always need to distinguish a point of view from one scene to the next. But as a writer you do need to know exactly whose head you’re in at any particular moment and the various voices must be different enough that your readers know as well. It is a great device when it works well. If you aren’t sure which perspective is best for a particular scene, write it from both perspectives and then pick the one that works best. To add to the confusion, the creative writer can also mix points of view. For example, in a novel with three or four different viewpoints you could use first person for the scenes in which your protagonist is the filter and then switch to third person for the other viewpoints as Justine Larbalestier does in her Magic or Madness trilogy. This gives us a clear, strong first person connection with the main character and the benefit of added angles of other viewpoints in third person. Point of view is one of the most important tools for a writer and choosing the most effective POV can help you find the right voice for your novel. Once you have chosen your perspective and the POV, consistency is the key point. Understanding the workings of these creative devices will help you avoid annoying or confusing your reader. Point of View in Literature First Person Point of View Second Person Point of View Third Person Point of View Omniscient Point of View

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Language and Communication The word "Apache" comes from the Yuma word for "fighting-men". It also comes from a Zuni word meaning "enemy". The Zuni name for Navajo was called "Apachis de Nabaju" by the earliest Spaniards exploring New Mexico. Their name for themselves is N'de, Inde or Tinde ("the people"). The Apaches are well-known for their superior skills in warfare strategy and inexhaustible endurance. Continuous wars among other tribes and invaders from Mexico followed the Apaches' growing reputation of warlike character. When they confronted Coronado in 1540, they lived in eastern New Mexico, and reached Arizona in the 1600s. The Apache are described as a gentle people; faithful in their friendship. Apache spoke the language Athapaskan. Athapaskan is the widely used language among Native Americans. In the old days the Apaches and the Navajos spoke Athapaskan. Athapaskan was one of the three major language families among Native Americans. Seven tribes spoke Athapaskan including the Apache. Apache is a language closely related to Navajo. It is spoken in the United States, unusual because most Athabaskan languages are spoken in the northwest of Canada and Alaska. Like most Athabaskan languages, Apache shows various levels of animacy in its grammar, with certain nouns taking different verb forms from others according to their rank in this animacy hierarchy. Apache's phonology is very similar to that of Navajo. It has four vowels a, e, i and o, and these may all be nasalised, long, high in tone or combinations of the three. Athapaskan was used in stories. Apache told animal stories. The wolf is the main character. In one of the stories, the wolf brought fire to people. The wolf was very smart. The firefly village is where the wolf fire. The wolf got chased from the firefly village after he tricked the fireflies. Storytelling is a way Apache communicated Apache communicated different ways. Apache used smoke signals for long distance. They have symbols, pictures, and poems. Sign-language was used while they traded. Apache used a calendar stick to keep track of days and what happened those days. Kiowa - Native North Americans, whose language is thought to form a branch of the Aztec-Tanoan linguistic stock. The Kiowa, a nomadic people of the Plains area, had several distinctive traits, including a pictographic calendar and the worship of a stone image, the taimay. The Kiowa Apache, a small group of North American Native Americans traditionally associated with the Kiowa from the earliest times, now live with them on their reservation. The Kiowa Apache retain their own language. Some dialects of Apache include Jicarilla, Lipan, Kiowa-Apache, Chiricahua, Mescalero and Western Apache. Lipan and Kiowa-Apache are nearly extinct. Western Apache has a number of subdialects: Cibeque, Northern and Southern Tonto, San Carlos and White Mountain. Today, the Chiricahua Apache speak English as well as Apache. Indian languages are losing to English, however. The language is gradually disappearing. There are very few people my age who are fluent. As tribes become more sophisticated, fewer need to speak the native language. An Apache dictionary (Western Apache-English Dictionary: A Community-Generated Bilingual Dictionary) was recently published by Dorothy Bray and the White Mountain Apache Tribe in 1998. Some of the classification and pronunciation information has been challenged, but this remains the best reference available at present. Daniel A. Campos, a GS-12 civilian project manager with the San Antonio Air Logistics Center, worries that fewer native people speak the old dialects. A three-quarter Apache and Nauhau and part Portugese on his father's side, Campos was born on a Texas ranch but spent summers as a boy on an Arizona reservation. Campos himself speaks little Apache. "We are not going to let our language go away," he says determinedly. "Up till now we have watched our languages fade as each generation produces fewer and fewer fluent speakers." He supports various cultural movements that promote native language study. "Language is deep down at the roots level," he says. "Before, we needed English," he says, but for natives to preserve a core part of themselves "we have to preserve our language." A native heritage activist who belongs to a gourd society of native veterans, Campos predicts greater interest in native languages as more American Indians succeed in the mainstream and want to know more about their origins. Many tribes, among them the Apaches, Pimas and Crows, often with the assistance of missionaries, have translated their languages into phonetic primers. "This is our country and these are our languages," Campos said. "Our prophesies foretold that we would undergo sorrowful times, but that we would survive through it all and become strong again as a people." Campos says he also is a main-streamer. He left the reservation 15 years ago, but says, "I can't forget who I am. Society won't let me forget who I am. I have a lot of pride in that." In their own language, the Fort Sill Apache identify themselves as members of one of the four divisions of the nation anthropologists call the Chiricahua Apache tribe. The Chiricahua sometimes used the term Ndé, meaning 'people' to refer to themselves. The Fort Sill designation comes from the reservation where they were held as US prisoners of war. The Lipan, or Lipan-Apache, (Tindi) were among the more important subgroups of Apaches in Texas. They ranged the furthest eastward and had the most contact with the early Texas settlements. The Lipan fought the Texans fiercely, but on some occasions in the nineteenth century they were allies. The Castro Family History of the LIPAN APACHE Band of Texas The word Apache means, "People of the Mountains," the word Lipan means, "Warriors of the Mountains." However, to the Lipan Apache Band of Texas, they called themselves the "Tindi," which means the above mentioned in their Native language. Jicarilla Apache tribal member Lorene Willis said the Apache Cultural Center in Dulce, N.M. where she works stresses the importance of Native American elders and the need to keep the language alive. Willis said that 20 percent of 3,000 people are fluent in the Apache language.

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Linguistic Features of African American English In the following paragraphs, I provide a description of African American English. There are several phonological and grammatical features that are described as being characteristic of African American English. In the area of phonological variation, African American English differs from Standard American English in word, sound, and contrast variability. Some of the most common phonological features are discussed in the following paragraphs. Phonological Variation. In the area of phonological variation, one can see that African American English differs from Standard English in a number of ways such as word, sound, and contrast variability. Moreover, it has come to be recognized that African American English has systematic rules for consonant reduction and the use of final consonants. Word Variability. Word variability is random pronunciation of words such as skreet for street, thew for threw, ax for ask, bidness for business, and posed to for sup, posed to (Labov & Cohen, n.d., English in Black and White). There are also a few words that stress the first syllable instead of the second as in Standard English usage. For example, PO-lice and DE-troit are words that use this stress pattern. Sound Variability. The vowel sounds have noted variability between Black speakers and White speakers, according to Burling (1973). Blacks who were raised in the North preserved characteristics of the southern pronunciation /ail in words such as time, my, find, nde, etc. In African American English, vowel contrasts are lost under limited linguistic environments. These contrasts are not lost in Standard English. In addition, there are words that are homonyms in African American English. For example, oil becomes all and during becomes doing, to name a few (Dandy, 1991). The Standard American English /th/ sound can be produced voiced or voiceless in the beginning position. In the production of the word this, the /th/ sound is voiced, while in the word think, the /th/ sound is voiceless. In African American English, in place of the voiced /th/ the /dl sound is substituted so that this becomes dis; in the voiceless production thin becomes tin. In ME, the middle and ending /th/ can be pronounced as If/ or /v/. An example of /th/ substitution is baf for bath. Wiv for wife is an example of /v/ substitution of /th/. Questia, a part of Gale, Cengage Learning. www.questia.com Publication information: Book title: Understanding Storytelling among African American Children: A Journey from Africa to America. Contributors: Tempii B. Champion - Author. Publisher: Lawrence Erlbaum Associates. Place of publication: Mahwah, NJ. Publication year: 2003. Page number: 109. This material is protected by copyright and, with the exception of fair use, may not be further copied, distributed or transmitted in any form or by any means.

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Technology possesses the ability to enrich the mathematics. Teachers must be knowledgeable decision makers in determining when and how their students can use technology most effectively. Effective teachers maximize the potential of technology to develop students’ understanding, stimulate their interest, and increase their proficiency in mathematics. When technology is used strategically, it can provide access to, as well as personalize the learning of, mathematics for all students (NCTM). Technology is also a means to sharing best practices throughout the education community and encouraging open-source technologies to foster social networking (Deloitte, 2009). The following MentorMob details technologies which foster the communication and creativity thinking of mathematics. September 23, 2013 Simulations have the potential of providing students with an engaging and authentic opportunity to investigate, hypothesize, analyze and share data. Many of the Math and Science Curricula Outcomes can be demonstrated through the use of simulations. The 5 components of a Simulation: - A driving question - A design - Sharing with a purpose Creating a Chart or A Graph - Excel- available on SPS laptops. - Google Spreadsheet Demonstrating/Sharing the Learning Tools Used During Workshop March 12, 2013 Web 2.0 Tools For Your Learners I have modeled one of the tools (JOGTHEWEB.COM) for you with a list of Web 2.0 Tools that you might be able to use with your students. Jog The Web is a neat little tool that allows you to set up several links, each with their own page and description, that viewers can move through in order. To model its use, I added in a page for each of the sites I think you might be able to use with younger learners. To see my JOG – go to: As you will see, you can move through the links on the left and see both the website and my description and it makes it easy for me to pick good sites for you to visit, rather than having you search on your own. This could be useful with students when you want them only visiting three sites YOU have evaluated in advance for readability and content. The rest of the tools highlighted on the JOG are: Writing and Storytelling December 8, 2010 You can try out a free trial of the software at: http://www.inspiration.com/ What is Kidspiration? Created for K-5 learners, Kidspiration® uses the proven principles of visual learning to strengthen reading and writing skills, build conceptual understanding in math, and develop thinking skills across the curriculum. Use these examples and resources to help you start using Kidspiration with confidence and creativity. Watch the Quick Tour – MOVIE For examples of HOW one might use Kidspiration in Social Studies, Math, Science and Language Arts, please visit the resource page on the Inspiration website. Or SEARCh the examples and lesson plans database. Can I use this with my SMART Board? YES!! See the tutorial – http://www.inspiration.com/videos/Kidspiration - scroll down to the Interactive Whiteboard Support under the OVERVEIW section at the bottom. Scroll down to the list at the bottom of this page, http://www.inspiration.com/videos/Kidspiration and you will see a heading called Curriculum Applications. Each listing under this heading contains a quick movie that explains how to use Kidspiration across the curriculum. April 21, 2010

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Tools for Balancing Literary and Informational Text in the Common Core Standards Implementation of the Common Core State Standards is an area of crucial focus in almost all states. Successfully meeting this challenge requires educators to remain cognizant of big-picture goals while deeply investigating detailed, interrelated subcomponents and building capacity for application. In other words, Common Core State Standards require us to see the forest and the trees. Thinking Maps, a research-based instructional tool, can help us do just that. Thinking Maps are a series of eight graphic organizers designed to visually represent thought processes. One of these, the Brace Map, shows part-to-whole relationships and can be a powerful construct for seeing both the big picture and finer details. At Sullivan County Board of Cooperative Educational Services (BOCES) in New York, we have done a great deal of work with teachers and administrators to support implementation of the Common Core English Language Arts/Literacy Standards. Initial stages of professional development targeted the instructional shifts for English language arts and literacy in history/social studies, science, and technical subjects. The shifts, as outlined on http://engageny.org, provide helpful guideposts for teachers to align their instruction and assessment practices. The leap from understanding the theoretical descriptions of key instructional shifts to actually embodying the shifts in classroom practice, however, is one that requires concrete support in the form of examples, tools, and templates. The Text Genre Brace Maps below were designed to support teachers and schools in understanding the different text structures and incorporating them into the curriculum. Elementary Grades K–5 Text Genres Brace Map (Click on image to see the full size.) Grades 6–12 Text Genres Brace Map (Click on image to see the full size.) The Sullivan County BOCES website, www.scboces.org/commoncore, features these Text Genre Brace Maps and many other resources for implementing the Common Core standards. Reprinted with permission. On the surface, the balance of informational text and literature seems straightforward enough. The Common Core State Standards Initiative, with reference to the National Assessment of Educational Progress, shows the percentage of informational text students need to read at the elementary, middle school, and high school levels, and these percentages are presented in the Brace Maps. But in working with teachers and administrators, we learned that they often had differing interpretations of what was actually called for in practice, and they needed help to implement the appropriate balance of informational and literary text. Using Text Genre Brace Maps to Balance Informational Texts and Literature Although the teachers we worked with consistently agreed that myths and folktales are literary works and science journals and social studies textbooks are classified as informational, other genres sparked debate. Initially, some teachers expressed plans to fulfill the 50 percent focus on informational text by reading additional narrative nonfiction, such as biographies and memoirs. Other teachers suggested reading more historical novels and realistic fiction that presented factual information. The Brace Map helped these teachers and administrators come to a common interpretation of the different genres, balance text types, select texts that represent a variety of text structures, and connect reading and writing across text types and text structures. To help define classifications of text, Lynn Miller, Sullivan County BOCES library systems director, consulted with fellow librarians and referenced the Dewey Decimal System. Judy Carr, a consultant and ASCD Faculty member, color-coded the Brace Maps to distinguish narrative and expository text. The results were these two categorical definitions that teachers could use to plan the appropriate balance of instruction in literary and informational texts: - Literature: Stories, drama, and poetry. Realistic fiction and historical fiction fall into the literature category and do not qualify as informational text. - Informational text: Predominantly follows an expository text structure rather than a narrative form and often includes print features, captions, tables of contents, indices, diagrams, glossaries, and tables. Although biographies and memoirs are informational in terms of their content, their narrative structure excludes them from being the predominant focus for instruction of informational text. These conclusions are further supported by continued attention to the "forest," or big picture. One of the big-picture goals of Common Core implementation is for college- and career-ready students to build content knowledge across disciplines through reading informational text. If teachers predominantly define biographies, autobiographies, and memoirs as informational texts, students’ acquisition of content knowledge may be compromised significantly. Providing a graphic summary of texts’ multiple structures makes clear the variety of structures that need to be taught and assessed. On a broader scale, districts can use the Brace Maps strategically to audit the range of texts to determine whether students have opportunities to read the appropriate balance of texts. Different structures, such as compare and contrast, cause and effect, and problem/solution, are essential aspects that students can use to both better understand texts and organize their own writing of similar types of texts (see Deborah Wahlstrom's resources on Text Structures for Different Types of Writing [PDF]). The structure of the text is also one aspect that can be examined through text-dependent questions when students are engaged in academic conversations (Zwiers & Crawford, 2011) about a text. Differing structures can be examined as part of the exploration of multiple texts. As units and curriculum maps are refined to align with the Common Core standards, the Text Genre Brace Maps will support teachers and districts as they balance informational texts and literature to support implementation of the Common Core standards and the big-picture goal of college- and career-ready students. Zwiers, J., & Crawford, M. (2011). Academic conversations: Classroom talk that fosters critical thinking and content understanding. Portland, ME: Stenhouse Publishers. Denise Alterio is an independent educational consultant and staff developer for Sullivan County BOCES. ASCD Express, Vol. 7, No. 21. Copyright 2012 by ASCD. All rights reserved. Visit www.ascd.org/ascdexpress.

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Chickasaw Indian Facts These Native Americans are a relatively small Indian tribe who settled in the Southeast U.S. after migrating from the west. This area included river banks and waterways throughout the states of Alabama, Mississippi, Tennessee, Missouri and Kentucky. The facts below will give you information and insight into who the Chickasaw are, what they are known for, where they lived, and how their daily lives were structured. General Chickasaw Indian Facts - When translated, the word Chickasaw means rebel or rebellion. It's a fitting term as these Indians had many enemies. They were known for their warlike tendencies and constant fighting with both surrounding tribes and the French. - They were forced to sell their land and move to Oklahoma by the U.S. government during the Indian Removal period in the 1830s and many Chickasaw still live there today. - They ate a diet of vegetables consisting mainly of beans, corn and squash. They also enjoyed a variety of nuts, fruits, and herbs. Tribal men hunted deer, bear, turkey, and other wildlife. They often made food such as porridge and hominy and drinks such as sassafras tea. - Today, English is spoken by most Chickasaw people, however preservation of the language is very important to the Chickasaw and there are about 1000 people that still speak Chickasaw today, most of them elders. The language is described as easy on the ear and even musical sounding. - The tribe was known to use very specific and extreme forms of punishment such as execution, public whipping, beatings, hair cropping for women who participated in adultery, and even the use of dried snake teeth raked against the skin. - The Chickasaw tribe was named as one of the Five Civilized Tribes by white settlers. The Chickasaw, Choctaw, Cherokee, Creek and Seminole all most likely garnered this distinction because of their conversion to Christianity and their relatively advanced form of government. There tribes were not an alliance. - The Chickasaws were known for their beautifully colored baskets and containers. They would use natural resources such as sassafras root and sumac to make beautiful colored dyes for baskets and other arts and crafts. Also popular were woodcarvings and pottery, known for its dark clay color. When materials for these items became scarce after the move to Oklahoma, beadwork and bead jewelry gained in popularity. Facts about Chickasaw Tribe Houses - The Chickasaw were a semi-nomadic tribe. Families lived in villages comprised of mini-complexes with more than one house per family and sometimes up to 200 families. - The winter house was the largest shelter and built to protect against the cold winters. The summer house was sectioned into two rooms with plenty of ventilation and raised beds to maximize space. - There was also a ball field, a council house, a fortified stockade for shelter against attacks, a corn or grain storage building and a ceremonial building. Facts about Chickasaw Roles of Men and Women - Although Chickasaw society was matrilineal and women controlled their own land and raised crops, they also held traditional roles in the Chickasaw tribe. They tended to domestic life by cooking, cleaning and looking after children. Women also looked after slaves which were often obtained through war with other tribes. Young girls had the option of spending their day as they wished but often chose to help their - The men were fierce hunters and warriors favoring the use of bows and arrows. They would often travel great distances to hunt. Boys began training for warfare and hunting at a very young age. - Storytelling was an important way to pass down traditions and legends from one generation to the next and both sexes participated. - Both men and women enjoyed music, arts, and crafts.

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Writing is a medium of communication that represents language through the inscription of signs and symbols. In most languages, writing is a complement to speech or spoken language. Within a language system, writing relies on many of the same structures as speech, such as vocabulary, grammar and semantics, with the added dependency of a system of signs or symbols, usually in the form of a formal alphabet. The result of writing is generally called text, and the recipient of text is called a reader. Motivations for writing include publication, storytelling, correspondence and diary. Writing has been instrumental in keeping history, dissemination of knowledge through the media and the formation of legal systems. Under the influence of technologies such as data storage and computer networks, the pace of correspondence and potential for collaboration increased. As human societies emerged, the development of writing was driven by pragmatic exigencies such as exchanging information, maintaining financial accounts, codifying laws and recording history. Around the 4th millennium BCE, the complexity of trade and administration in Mesopotamia outgrew human memory, and writing became a more dependable method of recording and presenting transactions in a permanent form. In both Ancient Egypt and Mesoamerica writing may have evolved through calendrics and a political necessity for recording historical and environmental events. In restaurant terminology a table d'hôte menu is a menu where multi-course meals with only a few choices are charged at a fixed total price. Such a menu may also be called prix fixe ("fixed price"). The terms set meal and set menu are also used. This is because the menu is set; the cutlery on the table may also already be set for all of the courses. Table d'hôte contrasts with "À la carte", where customers may order any of the separately priced menu items available if given. McDonald's Corporation (NYSE: MCD) is the world's largest chain of hamburger fast food restaurants, serving around 68 million customers daily in 119 countries. McDonald's traces its origins to a 1940 restaurant in San Bernardino, California. After expanding within the United States, McDonald's became an international corporation in 1967, when it opened a location in Richmond, Canada. By the end of the 1970s, McDonald's restaurants existed in five of the Earth's seven continents; an African location came in 1992. In order to cater to local tastes and culinary traditions, and often in respect of particular laws or religious beliefs, McDonald's offers regionalized versions of its menu among and within different countries. As a result, products found in one country or region may not be found in McDonald's restaurants in other countries. Food is any substance consumed to provide nutritional support for the body. It is usually of plant or animal origin, and contains essential nutrients, such as carbohydrates, fats, proteins, vitamins, or minerals. The substance is ingested by an organism and assimilated by the organism's cells in an effort to produce energy, maintain life, or stimulate growth. Historically, people secured food through two methods: hunting and gathering, and agriculture. Today, most of the food energy consumed by the world population is supplied by the food industry.

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Copyright © University of Cambridge. All rights reserved. Children are born with an ability to make sense of the world through play and storytelling. By creating narratives, they act out concepts and ideas that confuse them or that they find fascinating. Examining the world in this way they are able to explore and relate to the variety of topics and subjects that the world throws at This power of story to convey concepts and ideas to children has long been recognised by educationalists. By connecting a topic to young children through narrative we are truly able to engage their emotions, and to help them understand the power of the ideas being explored. Children are pulled in physically as they 'sit on the edges of their seats' wondering what will happen next and how a tense drama will be resolved. This is the power of a good A number of writers about narrative and education have considered this. One of these is Canadian educationalist Kieran Egan (1989) who suggests that children will engage with new ideas more readily if they are presented in the form of stories which have at their heart dramatic tensions between Binary Opposites, e.g. good and bad, hope and fear, love and hate. Egan suggests that it is precisely these Binary Opposites that have the power to engage children as these are the tools they use in their everyday life. His account is mainly theoretical although he does offer some story models through his numerous publications. grains of rice by matching Artistic Director Trisha Lee and Arts Education Director Isla Tompsett from MakeBelieve Arts became interested in Kieran Egan's work having read "Teaching as Storytelling". They became fascinated in the idea that you could teach anything in this way, even mathematics. Something about the use of story and mathematics excited and scared them. Supposing it was possible to to enrich a subject that they had approached with trepidation? They enlisted the help of Jenni Back, the Primary Coordinator of NRICH. With only a belief in the power of story, MakeBelieve Arts felt inspired to devise narratives to be used in primary schools that would present maths to children using this model. They felt that it was vital to their approach that they took advice from NRICH to help them present the mathematical ideas and to make suggestions about the curriculum areas that would lend themselves to this approach. Trisha, Isla and Malika Booker, a freelance poet and storyteller began to explore how story could be used to engage children in mathematics.The project was funded by 'Creating Success' an Excellence in the City Action Zone and took place in a primary school in Lewisham, London. At the start of the project, Jenni Back worked with MakeBelieve Arts and a small group of teachers drawn from the zone who were interested in storytelling and mathematics. She worked with the group on material that is available here on the NRICH website to illustrate some stories with mathematical content and the group also looked at stories that have a mathematical component like 'The Hungry Caterpillar' by Eric Carle. In this story the mathematics is an 'add on' to the story, in the sense that the numbers are chosen in order, but they don't need to be there for the purposes of the narrative. The group looked at some of the stories in The Tangram problems found on the NRICH website, written by Lyndon Baker, which is presented as dialogue and involves children talking about mathematics and its meaning. By examining a variety of the existing story forms available around mathematics the group became aware of the lack of Binary Opposites or dramatic urgency in these The afternoon was then spent in a workshop considering the Binary Opposites necessary for a good story and following the story model created by Kieran Egan. They began creating a series of narratives with mathematical ideas at their core. In an examination of the topic of standard and non-standard measurements the group questioned what is at the core of this lesson. What is fundamentally exciting about the topic? The conclusion lay in the fact that if you measure with, for example, your hands, then a person with larger hands would measure larger quantities than a person with smaller hands. If they were providing you with cloth for a dress then one person's measurements would be much smaller than another. The binary opposite of 'fair' and 'unfair' arose out of this exploration and a story about a merchant who was taken ill and replaced by his daughter and her tiny hands |Jenni Back left MakeBelieve Arts to develop their stories and returned a few weeks later to view their progress. She watched them present their work to a class of Year 1 pupils. This first story in a series of five was set on the island of Sunobia and was about counting using base ten. The king needed to count his army to avoid the threat of invasion but couldn't manage this efficiently until he had adopted counting in base ten. Before that he had trouble keeping track of where he was in his counting and ended up with piles of pebbles that matched his soldiers but with no idea of the number in the pile. The children were actively engaged in the story as well as the practical activities. trying to count grains of rice The children offered a lot of positive feedback when asked about the experience three weeks later. One group remembered that they tried to find out ... "How many children were in the class and they tried just counting them, and then the second counsellor put everyone by a rock and then they made a pile of pebbles and then had 10 pebbles each and a basket and that way it The children came up with imaginative ideas about the sort of stories that they would like to explore ... "We could do stories where we count in 10s or 2s or 5s." "We could have a story where we collect and count shells." "I liked putting pebbles in the baskets and counting was best." MakeBelieve Arts are continuing to develop this work further in consultation with Jenni Back and there are plans to expand the work to cover topics from throughout Key Stage 2 and the Foundation Stage curriculum. They are happy to send out a termly newsletter to any setting interested in their approach. Trisha Lee can be reached at MakeBelieve Arts, 4 Millmark Grove London SE14 6RQ, telephone 020 8692 8886. The e-mail address is: email@example.com. Egan, K. (1989). Teaching as Storytelling Routledge

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FOLK ARTS & CULTURE Folk Tales & Legends Traditional storytelling, like other traditional folk arts, is a form of cultural expression. John Thorn, in his Play column in Voices [“Ah Fib,”, 34(1–2), 2008] asserts, “My take is that you can’t spell ‘history’ without ‘story,’ and stories are things we make up to reassure ourselves that the world as we know it will continue. In “The Grateful Terrorist: Folklore as Psychological Coping Mechanism,“ Trisha Smith et al. [Voices, 36(1–2), 2010) subscribe to Dégh’s postulate that stories about ‘horrible criminal acts, devastating natural catastrophes, alien invasions, life-threatening conspiracies against common people by powerful interest groups or governments...have spread like wildfire because they mesh perfectly with the anxieties of ordinary people...’ They discuss the legend of the grateful terrorist in the context of 9/11, noting that it became so prevalent, that Coca-Cola posted a product safety reassurance to their customers. The themes of this modern urban legend can be traced across 2000 years. Jack Gladstone. Photo: Karen Vaughn |Jack Gladstone, a great great grandson of Chief Red Crow, retells “traditional Blackfeet tales, honoring those stories sacred to Blackfeet and other nations’ cultural histories, restoring oral history through oratory (what he calls ‘storatory’)—everything in language that reminds us that all life is fundamentally spiritual...” The stories were told to him by his grandmother, passed down through his family. “She recounted the stories of her life and the mythology of their Blackfeet Indian people, something Gladstone holds sacred to this day.”| [From “Oral Culture and History Today: Joanne Shenandoah and Jack W. Gladstone” by Linda Rosekrans, in Voices 33(3–4), 2007] Libby Tucker, writes about legend quests to explore supernatural events. She reviews the literature, including Linda Dégh’s articles on adolescent trips to haunted sites, and Bill Ellis who has written on the legend trip’s meaning, as an act of rebellion involving storytelling, invocation of a supernatural presence, and resultant discussion. He describes antisocial behavior, such as defiling tombstones. Libby explains that for college students, these quests are more meaningful. “What seems to intrigue college students most is the opportunity to play a role in a strange—perhaps supernatural—drama linked to past tragedies. By visiting legend sites, students try to discover whether supernatural forces are real and to answer other important questions. They also build up intense feelings that range from excitement to horror and fear.” [“Legend Quests,” by Libby Tucker, in Voices 32(1–2), 2006. AVAILABLE IN OUR ONLINE BOOKSTORE: Libby also writes a regular “Good Spirits” column for Voices exploring stories of ghosts of the ICU, ghosts that refuse to go away, ghosts in photographs and videos, haunted dolls, inns, houses of horror, and many more tales of the supernatural. Steve Zeitlin writes about scientists as storytellers. He discusses how scientists use stories to explain their theories, that they “share an evolving body of stories and metaphors—a kind of folklore of science—that can convey their ideas in lay terms.” [“Scientists as Storytellers,” by Steve Zeitlin, in Voices 29 (3–4), 2003] “Among East Hampton’s fishing folk,” John Eilertsen writes that, “these stories and many like them educate youngsters about the ’things they ought to know about life,‘ as one fisherman once explained to me.” Read “Tales of an Island: Fishing and Fishermen on Long Island’s East End.” here. [New York Folklore Society Newsletter, Fall/Winter 1998]. The New York Folklore Quarterly (NYFQ) is a rich source for collections of tales. Many of these issues are no longer available, but it’s possible to order single articles. Check the tables of contents for order forms. Here’s of sampling of what you can find: “Country People and Yankee Storytellers: New Hampshire Local Anecdotes,” by Ben A. Botkin, NYFQ XX(4), 1964. “The Little People: Some Irish Lore of Upstate New York,” by Louis C. Jones, NYFQ XVIII(4), 1962. “Tales from Tug Hill,” by Marion Williams, NYFQ XIII(1), 1957. “Italian Tales in New York City,” by M. Jagendorf, NYFQ XI(3), 1955. “Tales of Buried Treasure in Rochester,” by Dorothy Dengler, NYFQ II(3), 1946. “Horse Tales,” by Helen Ireland Hays, NYFQ XX(4), 1964. “Legends of an Adirondack Grandfather,” by Miriam Whitney White, NYFQ XXII(2), 1966. “Il Paisano — Immigrant Italian Folktales of Central New York,” by Rosemary Agonito, NYFQ XXIII(1), 1967. “American Folktales from the Recent Wars,” by Catherine Harris Ainsworth, NYFQ XXIX(1), 1973. “The St. Lawrence River Skiff and the Folklore of Boats,” by Richard Lunt, NYFQ XXIX(4), 1973. Bill Smith: Traditional Storyteller and Adirondack Basket Weaver |Bill Smith is a well-known storyteller and basket maker who tells traditional tall tales of the Adirondacks as well as stories of his growing up in the North Country. He mixes narratives about the humorous antics of relatives and community members with song to present portraits of life in this region of the State. READ a transcript of this documentary from Voices, Fall-Winter 2001. HEAR THE DOCUMENTARY See also “The Game Warden” by Bill Smith in the New York Folklore Society Newsletter, Fall/Winter 1998. Additional titles in Voices on legends and their study include: “Legends, High School History Classes, and the Scholarship of Teaching and Learning,” by Sandra K. Dolby, Voices 31(1–2), 2005 “Humor, History, and Tall Tales: Rereading the Adirondack College Student,” by Andrew Shawn Andermatt, Voices 33(3–4), 2007 “The Absentminded Professor: A Case Study of an Academic Legend Cycle,” by Michael Taft, Voices 33(1–2), 2007

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A critical analysis suggests that the short story's "hidden" message can be decoded and determines if it was clearly conveyed. The student must decide what the story is about and defend that decision with examples from the story itself. Items you will need - Short story - Specific directions from instructors for this assignment - Opinions about the story's meaning and construction State, Support, and Judge the Meaning of the StoryStep 1 Decide what the meaning of the story is. State it in one sentence. Because of their brevity and selective number of characters, short stories generally aim to evoke a single emotional response in a reader. What was the point the author tried to make to the reader? If the story has more than one meaning, choose the most important for this essay. Analyze the story's literary elements. Study the theme, characters, setting, plot, conflict, tone, point of view, and irony for clues as to how the author tried to make his point. Do the characters have flaws that readers can relate to? Does the conflict come about through misunderstanding? Who is narrating the story and how are events altered from this perspective? If the story contains irony, point out how it relates to the story's meaning. Use quotes from the short story to support your idea. Point out passages that show the author's meaning as it unfolds. Perhaps a character is manipulative. Quote dialogue from that character showing she assumed she knew what's best for everyone. Continuing with that example, if the author's message is that people who try to control everyone else are the most predictable and therefore most easily manipulated, quote parts of the story that convey this idea. Be critical and judge the short story. This is where opinions count. If the author conveyed meaning well and consistently, say so. If clarity was lacking or the meaning got lost in places, explain that. For example, in "The Necklace," a short story by Guy De Maupassant, incidents in the life of a French couple in the 1800s show how materialistic, resentful, and uncaring a woman is toward her husband. The reader might be left with the impression that the husband is long-suffering, patient, and loving as he gives up his inheritance to pay for a necklace his wife borrowed and lost. In a critical analysis, however, it could be stated that De Maupassant did a poor job of showing both sides of the story and could have related more realistically the passive-aggressive traits of the husband, who after all, has chosen to indulge a materialistic partner. Restate your ideas in brief by summarizing previous paragraphs. End the paper by repeating the meaning of the story in one sentence. - Public Domain/wikimedia.org

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Trail of Tears Commemorative Park and Heritage Center Hopkinsville, KentuckySummary/About the Location | Teachers Guide | Sample Trip Outline PLANNING TIP: Videotape your day at the park. Then, back in the classroom, give your students an opportunity to respond to the field trip activities they performed. Description of Field Trip The Trail of Tears Park is a little-known Kentucky treasure that provides students with a combination indoor/outdoor field trip location at which it is possible to incorporate history, nature, and the arts. The benefit to students at this venue is that they have an opportunity to see firsthand the consequences of the so-called Trail of Tears for the Cherokee nation. The dramatic nature of the Cherokee experience on the Trail of Tears is one that students can explore in mime, tableau, spoken word, and ceremonial (including dance) activities. Visual art activities can also be introduced into the event. Giving students opportunities to act out traditional Cherokee myths and legends, as well as stories from the Trail of Tears, gives them not only experience with the elements of performance, but also a chance to use their imaginations to re-create the experiences of another culture. The key to making this field trip work is to determine how many (or few) activities you can reasonably accomplish with the time that you have and the number of students and parent chaperones available to you. For example, older students may be able to develop and perform several scenes in small-group work, while younger students would benefit from one or two scenes and/or formal dances in which they all have a role. While it is a more rounded experience to include multiple art forms (e.g., making a dreamcatcher, writing a poem, performing a scene, learning a ceremonial dance), if each of these is so rushed that there is no time for reflection, you will be better off selecting one or two activities that the students can really spend time on. Evaluating the day can be accomplished through written reflections back in the classroom and a pre- and post-field trip test to assess vocabulary and content. PLANNING TIP: Before or after the field trip, show students the video of master storyteller Marilou Awiatka telling the traditional Cherokee story Little Deer and Mother Earth from the Storytelling Sampler in the Drama Arts Toolkit. Program 7 of the KET series Telling Tales also includes contextual background and discussion. Ideally, students should prepare for this field trip by learning about the Cherokee culture in the classroom. A good resource for learning about the history and culture of the Cherokee is the www.cherokee.org web site, which includes a student section. Reading Cherokee myths and legends should also be part of the preparation; books include Two Bad Boys and many compilations of Native American stories. After reading the stories, students can begin to create short scenes through improvisation, adpating the story that theyve heard, and creating dialogue from the narrative. The Hopkinsville park also has a number of resources that can be used in the classroom, including information about tribal dress, dances, and the Cherokee alphabet. Back in the classroom, follow-up activities can include adapting traditional stories, myths, and legends from African culture (or other cultures included in the Core Content) into plays. This project reinforces the use of drama to enhance reading. Students can also write personal narratives of what the Trail of Tears experience might have been like, based on the information they learned at the park. Expanding the Idea Many field trip locations can be used as backdrops for dramatizations of the stories of the people who once lived there and the context of the venue. Re-creating a Native American-specific field trip would mean finding another location rich in the history of a particular tribe or family. Many other historic homes and sites also have stories to tell about our Commonwealth that can enrich classroom work and come alive through the use of drama, dance, and the other arts.

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Storytelling has been around since time began- it was the way people passed down their history and legends before we started writing and storing things. Storytelling is still a valid and important part of society. Encouraging storytelling in your family builds imagination. It helps children to think outside the square. It helps them to stretch their imagination, especially when they’re told that anything is possible in a story. Storytelling is different to just reading a book or a story to your children. Storytelling can involve the whole family, everyone being involved in the story making process. Something that comes to mind in this case is a movie, Bed Time Stories with Adam Sandler. If you don’t know the movie, Adam Sandler’s character’s life changes when he starts telling his niece and nephew bed time stories. They were pretty special stories because they magically came true. This is the sort of effect we want to have on children when storytelling. Children have an amazing capacity to dream and imagine. If bed time stories were told rather than read, everyone can have a chance to say what they want in the story. Telling oral stories has a place in life. It is especially used in tribal family groups in order to pass down legends and family history. In the past, these stories passed down morals and values to children in this process and because these stories are told from when the child is very young, they subconsciously remember it and it will hopefully guide the way they live or behave. As children grow, they are able to take part in the storytelling process, as long as they know that anything’s possible in a story. There should be ground rules- turn taking and one person at a time and all that sort of thing, but the most important rule should be that they are allowed to say anything- they have to use their imagination. Storytelling has even more advantages- it helps to improve a child’s literacy skills and helps them to predict what is going to happen next- they learn to tell stories, they learn to use their imagination and they learn to predict, to look into the future. This is a skill that they’ll be able to use in other areas of life. Children will also be able to learn vital life lessons from storytelling- especially story telling as a group. They will learn that their a consequences for actions and that when you make a choice or a decision on something, it affects more than just them. Story telling can also boost a child’s confidence and will help them to build on their vocabulary and language skills. Story telling will help children to develop communication and conversation skills. While reading stories to kids is great and does help them to an extent, actual story telling where it’s a complete creation on its own will help to develop far more skills. Telling stories is a way to tell history- get out family photos and tell of the time you were running in the street and hurt yourself. Tell of times you were travelling and what you had to do. To help your child to learn literacy skills, keep structure in your story telling. Set the scene and the characters. Have a complication that helps children to learn consequences for actions. Most of all, though, make it fun- children will come back for more. Use toys and props- as characters and settings and other parts of the story. The children will love it, even more so if they can be a part of it! Enjoy story time with your children. They grow up so fast that before too long, they won’t be interested in it anymore!

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Free Creative Writing Worksheets This section of our web site features over 100 creative writing activities for young people. Our printable classroom materials include thank you notes, blank themed writing paper, poetry activities, and more. It is our hope that your students enjoy all aspects of the writing process and learn about themselves and the world around them in the process. In order to view and print these worksheets you will need to have Adobe Reader version 6 or later. You may download the latest version of the free Adobe Reader here. Printing Tip: If a worksheet page does not appear properly, reload or refresh the .pdf file. Creative Writing Worksheets Poetry Worksheets and ActivitiesMy Alphabet Poem - Choose from two page designs and write a poem about yourself beginning each line with a letter of the alphabet. Months of the Year Acrostic Poems - This file includes 12 pages, one for each month of the year, providing students with the opportunity to write a new poem each month. Spring Acrostic Poem - Write a poem about spring and begin each line with a letter from the word spring. Sunflower Acrostic Poem - Write a cheerful, acrostic poem about sunflowers! Autumn Acrostic Poem - Write a poem about this season using the letters in the word autumn. Quotation Worksheets and ActivitiesQuote Worksheet #11 - Read the quote from Ralph Waldo Emerson and write what it means to you. Quote Worksheet #10 - Read the quote by Ralph Waldo Emerson and answer the question. Quote Worksheet #9 - Was Charles Dickens giving his readers advice when he wrote this? Write about what this advice means. Quote Worksheet #8 - Do you think Helen Keller said this because she was deaf and blind? Quote Worksheet #7 - Henry David Thoreau has a simple thought full of meaning. Write about it! Quote Worksheet #6 - This quote from John Adams is a great talking point for history class! Quote Worksheet #5 - Read this quote. Do you think Nathan Hale was patriotic? Quote Worksheet #4 - Read this quote from Abigail Adams then write what it means to you and list three ways in which young people can be of service to others. Quote Worksheet #3 - Thomas Paine is quoted here on the importance of character. Can you write about character then list three honorable character traits? Quote Worksheet #2 - Read this quote from Thomas Jefferson, write about it and tell about a time you rebelled. Quote Worksheet #1 - Do you agree or disagree with Benjamin Franklin? Either way, write about it! Miscellaneous Creative Writing and Language Arts WorksheetsStory Solutions - Write an ending to each brief story. Seed Story Worksheet 3121 - Write a story to accompany the pictures. Creative Writing Activity 1 - Write a story to go with the picture of a boy showing his mother something in a box. For primary grades. Creative Writing Activity 2 - Write a short story about what this cowboy sees in the package. For upper elementary grades. A Serious Question - This file includes a coloring page with the poem A Serious Question and a worksheet page in which students re-write the poem and draw a picture to accompany it. Look, Think, and Write Worksheet Set 1 - Select any one of ten different illustrations for your students to write about. Write a Story 1 - Write a story to accompany the picture of a boy chasing a frog. My Favorite Things - On these four pages you students will write about such things as their favorite toy, foods, and activities. Students will also illustrate each favorite thing they write about. Stegosaurus Words Make words using the letters in stegosaurus, color the picture, and list facts you know or learn about this dinosaur. Pachycephalosaurus - List facts and make words from the letters in this dinosaurs name. My Feelings - First, students will complete the data sheet about things that make them happy, sad, afraid, etc. Students will use the information to write a book of acrostic poetry about their feelings. This activity requires five sheets of paper to make the book. When I Went to. . . - Students will write about a place they have been to. Biography - Write a short biography about someone you know. My Vacation Journal - Help your students continue to improve their writing and fine motor skills this summer. This 38 page printable book includes a full 14 days of writing activities as well as a place to draw pictures and add photographs. Stationery and Writing PaperFriendly Spider Paper - This file includes three styles of writing paper adorned with cute spiders. Print the style of paper best suited to your child or students for their next Halloween writing activity. Fall Stationery - This file includes two color and two black and white decorated papers, lined and unlined for drawing. Fall Stationery #2 - Four pages of fall themed writing or drawing paper, two color and two black and white. President's Day Stationery - Choose the line style you like and have students write about a past or present president. Tropical Stationery - Four styles of tropical themed paper for writing and drawing activities. Truck Paper Writing activity - You preschool or kindergarten child can color the truck, write a story, and personalize it by pasting their picture in the cab of the truck! Themed Thank You Notes To some, the writing of thank you notes is a lost art. They simply ignore a gift or kindness or perhaps send an email or text message as an acknowledgement. I truly believe your child or students will benefit from the practice of writing thank you notes. They will have the opportunity to practice their handwriting and grammar as well as learn to be grateful when others think of them with a gift or through a kind act. Who can your child thank today? One thank you note per page for primary grades. Dog Theme Thank You Note Whale Theme Thank You Note Porcupine Theme Thank You Note Turtle Theme Thank You Note Mouse Theme Thank You Note Koala Theme Thank You Note Two Dog Theme Thank You Notes Two Whale Theme Thank You Notes Two Porcupine Theme Thank You Notes Two Turtle Theme Thank You Notes Two Mouse Theme Thank You Notes Two Koala Theme Thank You Notes All worksheets created by Tracey Smith You may also like. . . Banish Boring Words! 350 Fabulous Writing Prompts 500 Writing Prompts for Kids: First Grade through Fifth Grade Cliffhanger Writing Prompts: 30 One-Page Story Starters Did you know that . . . This page has over 126 creative writing worksheets and related printables.

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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, 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| Life is Beautiful: Teaching the Holocaust through Film with Complementary Texts |Grades||10 – 12| |Lesson Plan Type||Standard Lesson| |Estimated Time||Five 50-minute sessions| After students have read a book about the Holocaust, such as The Diary of Anne Frank or Night by Elie Wiesel, students will view Life is Beautiful and complete discussion questions that challenge their ability to analyze literature using film. When the film is complete, students will write a letter to the director conveying their opinion of the film. - Letter Generator: Students use this interactive to write letters to the director of the film they view in this lesson. - Exit Slips: This strategy/tool is one of the many ways that the teacher can check for students' understanding in this lesson. In Reading in the Dark: Using Film as a Tool in the English Classroom, John Golden writes, "[W]e know, or strongly suspect, that the skills [students] use to decode the visual image are the same skills they use for a written text, and our goal, therefore, is to use that immediate interest in and uncanny ability with film and make it work for us" (xiii). In this lesson, an entire film is used to support a complimentary text that has the same themes. Using a high-interest and entertaining film, it will allow the students to engage in the post reading activity and further support the skills that they would use if using only the print text. There are many benefits to teaching an entire film with corresponding texts. The film can introduce students to film technique, narrative structure, and allow them to examine a variety of genres. Furthermore, young adults tend to be visually oriented in these contemporary times. Teaching an entire film to a class has sometimes been looked down upon as a waste of time or inefficient. However, if done correctly, teaching an entire film can offer students an opportunity to learn about prediction, characterization, themes and setting. Golden, John. 2001. Reading in the Dark: Using Film as a Tool in the English Classroom. Urbana, IL: NCTE.

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The Rider, the Elephant, and Storytelling Through the centuries, generations have passed on wisdoms about the mind. Recently cognitive and social psychology research has indicated that a lot of this wisdom was true. In his book The Happiness Hypothesis, Jonathan Haidt discusses ten such wisdoms and how they can be applied to our lives today. Haidt also discusses the evolution of certain parts of the mind. In this commentary, I will be focusing on the origins of the storyteller and how it advises and explains our intuitive gut reactions. Buddha described the mind as a wild elephant, who will do as it pleases. Plato also used a similar metaphor, describing the soul as a chariot and the rational part of the mind as the charioteer, who must control the chariot. Similarly, Freud suggested that the mind is divided into the ego, the superego and the id. The ego is rational, the superego is committed to the rules of society and the id is the desire for pleasure. Haidt describes their interaction as that of a horse and buggy in which the ego is the driver trying to control the noncompliant horse and the superego is the father of the driver informing him about what he is doing wrong. A division in the brain which is analogous to these metaphors is that between controlled processes and automatic processes. Automatic processes are those mental processes that occur automatically without our conscious control. Most of our mental processes are automatic. Controlled processes are those processes that require conscious effort, thus can only be done one at a time. Automatic processes developed as the brain evolved and became more and more efficient. Controlled processes however, evolved only after language developed as planning and analyzing different choices requires words. Since they have not evolved as much as automatic processes, they are not as perfect. Haidt compares these two processes to the rider and the elephant. The rider (controlled processes) developed to attend to the elephant (automatic processes). The elephant is responsible for quick and dependable actions, while the rider advice the elephant and helps make better choices, but cannot order the elephant to do something. In fact, if the elephant, which also consists of gut feelings, emotions, and intuitions, does something inexplicable, the rider makes up a story to explain the behavior. This delicate balance and mismatch between the rider and the elephant can explain the irrationality with which humans often behave and the lack of willpower humans often exhibit. In a study conducted in 1970, children were asked if they would rather have one marshmallow now or two after a little while (assuming the child likes marshmallows). If the children chose the latter, the experimenter left for a few minutes instructing the child to ring a bell if he wants the marshmallow before he returns, in which case he will be given one marshmallow. However, if the child is able to wait the whole time, he or she will get two marshmallows. It was found that children who were able to wait longer possessed greater control over their desires and thus were more emotionally intelligent. As teenagers, they were able to better focus on their studies and went to better universities. These people have a skilled rider who knows how to control the elephant without aggravating it. Storytelling was an idea often talked about during this course. Science was described as a storytelling process in which we explain a set of observations and revise the explanation if we observe something different. One of the tasks of the rider is to explain all behavior of the elephant; to tell a story about why it behaved the way it did. Our brain is constantly putting together everything it observes about the world and tells us a story about the world. Brand naming is an attempt to give meaning to an object and tell a story about it. When I look at a painting I know instantly whether I like it or not. However, it is only after someone asks me why, do I think what exactly it is about the painting that I like. Do I like the colors or the way it is painted or the theme of the painting? Liking or disliking the painting is my gut reaction from the elephant, which the rider tries to explain later. Similarly, morality is both an individual and a social story. The elephant immediately judges actions to be moral or immoral and the rider must come up with a persuasive answer describing why. Sometimes we cannot come up with a reason why an action is immoral, but we just know that it is. All of these are ingrained in our cognitive unconscious and we create stories to justify these feelings. The rider has evolved to serve the automatic processes of the elephant. It can see into the future and advise the elephant on choices. It is also a storyteller and creates stories to justify the actions of the elephant. Often these are stories that we not only tell ourselves, but also share with the world. Storytellers can learn from each other and contribute to each other’s stories. They and govern our interactions and shape the sort of people we are. Haidt, Jonathan. The Happiness Hypothesis. New York: Basic Books, 2006.

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The Six Pillars of Character: Who Developed the "Six Pillars of Character"? The language itself came out of a summit conference on character education convened by the Josephson Institute in 1992 in Aspen, Colorado. The diverse group of educators, youth leaders and ethicists who gathered there to investigate ways of working together agreed unanimously that these six values are clearly central to ethical people's lives, regardless of their differences. Whose values? Some 40 states and almost 1,000 cities, counties, school districts and chambers of commerce (plus the President, the U.S. Senate and House of Representatives) have endorsed CHARACTER COUNTS! and its "Six Pillars" approach to community-wide character education. Teaching Children About the "Six Pillars of Character": The most important thing that children should take away from character development training is that: The teacher's role in character education is to introduce a lesson/topic of the "Six Pillars" one at a time. Dr. Borba, author of Character Builders, says there are five steps to building these character traits. The first is to target the desired behavior for 21 days. The second is to define the needs and values of the trait. The third step is to teach what the trait looks like and sounds like. The fourth is to provide structured practice for 21 days. The fifth is to reinforce the trait through immediate feedback and encourage uses for the trait in life. - Their character counts and their success and happiness will depend on who they are inside - That people of character know the difference between right and wrong and that these people use the "Six Pillars of Character" as a guide to their thoughts and their actions. Building character in children can also be reinforced through the use of visual and activity tools throughout the day. Posters, activity books and other small, creative and fun ideas can make this a project in which kids want to participate! Once the process of character building has begun, the Josephson Institute suggests teachers and parents: - Be Consistent. The moral messages you send must be clear, consistent and repetitive. Thus, everything you say and do, and all that you allow to be said and done in your presence, either reinforces or undermines the credibility of your messages about the importance of good character. Be as firm and consistent as you can be about teaching, advocating, modeling and enforcing these "Six Pillars of Character". The intention is to foster the virtues of good behavior via constant "teachable moments". - Be Concrete. Building character and teaching ethics is not an academic undertaking, it must be relevant to the lives and experiences of your children. Talk about character and choices in situations that your children have been in. - Be Creative. Effective character development should be creative. It should be active and involve the child in real decision-making that has real consequences. Games and role-playing are also effective. Look for "teaching moments," using good and bad examples from TV, books, movies, and the news. Summing It Up: Dr. Kevin Ryan outlines the teaching of character development education best in his article, The Six E's Of Character Education: The end result of character development education: Children who, as adults, will contribute to the community, and whose moral leadership, values and citizenship will make the world a better place. - Example. Example is probably the most obvious way to model character education. Another method for moral modeling is to teach the moral truths embedded in literature and history. - Explanation. We need to practice moral education by means of explanation - not simply stuffing students' heads with rules and regulations, but engaging them in great moral conversations about the human race. - Exhortation. Used sparingly and with explanations, helps children and employees understand that a a good student or worker is someone who makes class contributions, does homework and assists other students." - Ethos. Providing an ethical environment - climate within a classroom promotes a steady and strong influence in the formation of character and the student's sense of what's right and wrong. - Experience. Providing students both in-and out-of-school opportunities to serve. - Expectation of Excellence. Excellence in school work and behavior will encourage students to develop qualities like perseverance and determination, and those virtues will affect every aspect of the children's lives as they mature.

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To be a functioning adult in a mediated society, one needs to be able to distinguish between different media forms and know how to ask basic questions about everything we see, read or hear. Although most adults learned through literature classes to distinguish a poem from an essay, it’s amazing how many people do not understand the difference between a daily newspaper and a supermarket tabloid, what makes one website legitimate and another one a hoax, or how advertisers package products to entice us to buy. Simple questions about the media can start even at the toddler stage, planting important seeds for cultivating a lifetime of interrogating the world around us. Parents, grandparents, even babysitters can make a game of “spot the commercial” to help children learn to distinguish between entertainment programs and the commercial messages that support them. Even children’s picture books can help little ones grasp the storytelling power of images—”And what do you think will happen next?” Sometimes a media “text” can involve multiple formats. A new animated Disney film, for example, involves not only a blockbuster movie released in thousands of theaters but also a whole campaign of advertising and merchandising—character dolls and toys, clothes, lunchboxes, etc.—as well as a website, storybooks, games and perhaps eventually, a ride at one of the Disney theme parks. Uncovering the many levels of meaning in a media message and the multiple answers to even basic questions is what makes media education so engaging for kids and so enlightening for adults. Here are some questions to start thinking about the impact media has on our society: Does TV have too much sex and violence? Are the news media biased? Have TV talk shows gone too far with their sensationalized topics? Should the content of Internet be regulated? Are media shaping our values? Is TV harmful for our children? Do media drive foreign policy? Are newspapers insensitive to minorities? Is emphasis on body image harmful to our society? Should the names of rape victims be reported? Should tobacco advertising be restricted? Should the media cover criminal trials? Do media reports of crime heighten the fears of citizens? Is coverage of political campaigns fair? Is advertising ethical? Do paparazzi threaten First Amendment Rights? Does concentration of ownership jeopardize media content? Does the globalization of media industries homogenize media content? Before you can begin answering these questions, you need to gain an understanding of mass communication and the five core concepts of media literacy. These five core concepts are very similar to the five key questions that you may have learned about in another packet. This slide show lists the five core concepts of media literacy and explains each one in detail. Sophia college courses cost up to 80% less than traditional courses*. Start a free trial now.

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Historical Thinking Standards Introduction to Standards in Historical Thinking The study of history, as noted earlier, rests on knowledge of facts, dates, names, places, events, and ideas. In addition, true historical understanding requires students to engage in historical thinking: to raise questions and to marshal solid evidence in support of their answers; to go beyond the facts presented in their textbooks and examine the historical record for themselves; to consult documents, journals, diaries, artifacts, historic sites, works of art, quantitative data, and other evidence from the past, and to do so imaginatively--taking into account the historical context in which these records were created and comparing the multiple points of view of those on the scene at the time. Real historical understanding requires that students have opportunity to create historical narratives and arguments of their own. Such narratives and arguments may take many forms--essays, debates, and editorials, for instance. They can be initiated in a variety of ways. None, however, more powerfully initiates historical thinking than those issues, past and present, that challenge students to enter knowledgeably into the historical record and to bring sound historical perspectives to bear in the analysis of a problem. Historical understanding also requires that students thoughtfully read the historical narratives created by others. Well-written historical narratives are interpretative, revealing and explaining connections, change, and consequences. They are also analytical, combining lively storytelling and biography with conceptual analysis drawn from all relevant disciplines. Such narratives promote essential skills in historical thinking. Reading such narratives requires that students analyze the assumptions--stated and unstated--from which the narrative was constructed and assess the strength of the evidence presented. It requires that students consider the significance of what the author included as well as chose to omit--the absence, for example, of the voices and experiences of other men and women who were also an important part of the history of their time. Also, it requires that students examine the interpretative nature of history, comparing, for example, alternative historical narratives written by historians who have given different weight to the political, economic, social, and/or technological causes of events and who have developed competing interpretations of the significance of those events. Students engaged in activities of the kinds just considered will draw upon skills in the following five interconnected dimensions of historical thinking: 1. Chronological Thinking 2. Historical Comprehension 3. Historical Analysis and Interpretation 4. Historical Research Capabilities 5. Historical Issues-Analysis and Decision-Making These skills, while presented in five separate categories, are nonetheless interactive and mutually supportive. In conducting historical research or creating a historical argument of their own, for example, students must be able to draw upon skills in all five categories. Beyond the skills of conducting their research, students must, for example, be able to comprehend historical documents and records, analyze their relevance, develop interpretations of the document(s) they select, and demonstrate a sound grasp of the historical chronology and context in which the issue, problem, or events they are addressing developed. In short, these five sets of skills, developed in the following pages as the five Standards in Historical Thinking, are statements of the outcomes that students need to achieve. They are not mutually exclusive when put into practice, nor do they prescribe a particular teaching sequence to be followed. Teachers will draw upon all these Thinking Standards, as appropriate, to develop their teaching plans and to guide students through challenging programs of study in history. Finally, it is important to point out that these five sets of Standards in Historical Thinking are defined in the following pages largely independent of historical content in order to specify the quality of thinking desired for each. It is essential to understand, however, that these skills do not develop, nor can they be practiced, in a vacuum. Every one of these skills requires specific historical content in order to function--a relationship that is made explicit in Chapters 3 and 4, which presents the standards integrating historical understandings and thinking for history for grades 5-12.

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Education centre > People, Plants and Habitats – a Lifelong Connection People, Plants and Habitats – a Lifelong ConnectionAmong the important questions botanical garden educators and conservationists grapple with are 'How can we sensitize and motivate children to care about endangered plants and habitats?' and 'How can we develop a conservation ethic in young children?' Endangered plants often finish a distant second behind students' concern for animals, yet few students will ever hold an endangered animal as they can an endangered plant. The importance of protecting habitats and the concept of plants as foundations of healthy habitats are not always well understood by children. Georgia students are gaining personal experience with endangered plants through their work with the Georgia Endangered Plant Stewardship Network (GEPSN). This program is making important, potentially life-long, connections between people, plants, and their habitats. Zack Williams, a 7 year old student at Colham Ferry Elementary School, Oconee County, Georgia, is one of many children who has actually held and planted endangered species. He states, 'Wow, this plant is endangered just like the whales and sea turtles. It might become extinct if we don't help. ‘Zack and hundreds of other children in Georgia are caring for endangered plants right on their school site through the GEPSN project. As the children plant, hold and care for these endangered plants, they begin to care about the larger environment and the seeds of environmental stewardship are nurtured. The Georgia Endangered Plant Stewardship Network To participate in this network, teachers attend a 20 hour training workshop to learn about Georgia's endangered species and habitats, propagation, and related science inquiry activities. Four GEPSN workshops have been held to date with approximately 90 teachers trained. Anne Shenk, Education Coordinator, and Jennifer Ceska, Conservation Coordinator, both with The State Botanical Garden of Georgia, developed the Green Plant Blues workshop and teacher notebook. Students between 7 - 15 years embark on this project and become stewards for the environment by propagating rare plants from seed and by establishing these plants on their school sites. Some schools may be involved in propagating plants that will be returned to the wild during local restoration projects. Students collect data including germination rate, flowering period, pollinator visits, and seed counts and report their findings to GEPSN Headquarters. Initially classes undertake a plant species count of their school site. Through this process they collect baseline data about the number and diversity of plant species on site. Then, through the GEPSN project, students work to increase the number of plants on their school grounds by adding common and endangered species native to Georgia. At the beginning of the school year, GEPSN teachers are sent a list of available wildflower and endangered plant seeds and then during the school year, students grow these plants under lights in their classroom to add to designated plots on their school sites. As the number of species increase, species diversity and the importance of biodiversity start to become meaningful concepts. Prior to receiving seeds, teachers and their students must apply for a permit from the Georgia Natural Heritage Program to grow endangered plant species on their site. The permitting process provides a meaningful lesson to students on legal issues related to endangered plants and on the importance of taking special care of the rare plants they are being permitted to grow. Endangered Plants on the School Site Endangered plant seeds provided to schools include protected plants such as the Atlantic White-cedar (Chamaecyparis thyoides), a tree threatened by over-harvesting for telephone poles and wooden barrels, and herbaceous species such as Mohr's Barbara Buttons (Marshallia mohrii) threatened by loss of wet meadow habitats. Teachers are trained to prepare raised beds and amend the soil in preparation for planting. Students are involved in designing the outdoor classroom, calculating the costs and amount of supplies needed, developing a plan for implementing the design, planting the collection, and caring for the plants. Students have overcome unattractive obstacles such as air-conditioning units and forbidding fences by planting vines to soften the landscape and attract pollinators. A Pitcher Plant Habitat at Jackson County Elementary t;Building pitcherplant bogs has been particularly appealing to participating classes because of their carnivorous habit. Children are surprised to learn how the pitcherplants "eat" bugs (and occasionally small frogs). Most people think of plants as passive organisms photosynthesizing quietly in the garden. Pitcherplants (Sarracenia sp.) found in eastern North America are carnivorous plants that capture prey with modified leaves through passive means (as opposed to active capture like the grasping "hands" of the Venus Flytrap). Nectar glands line the opening of the pitcher, luring insects within the lip. Once inside, stiff, downward pointing hairs force the insect deeper and deeper within. The more the insect struggles, the further it descends. The inside surface is glaucous (smooth and slippery). At the bottom of the pitcher, a pool of digestive enzymes waits to digest the prey! Carol McDonald, a teacher at Jackson County Elementary School in Danielsville, Georgia, found that the students could not understand how the insects could be trapped within the open tube. They repeatedly asked ‘Why don't they just fly out?’ After dissecting a pitcherplant leaf from their bog garden and discovering the stiff hairs and smooth interior, they soon understood. McDonald finds the GEPSN project a valuable experience for her students 'The children are taught that plants are unique and special, just like people, and they need to be cared for.' She believes the students gain a fundamental understanding and compassion for the environment because, '...they are a part of the solution, protecting the environment; it is easy to tell them about conservation, but when they actually see they make a difference, they learn these concepts better and this has more influence on what they do in their lives.' High School Project Enhances Team Building and Leadership Skills 'I feel using the student leader approach gave the team ownership in the project' says Paul Dallas, science teacher and project facilitator. 'Being owners of the bog, the students take pride in their accomplishments and demonstrate enthusiasm in educating the school and community. Now that the project is completed, it continues to provide the team with challenges. Unforeseen events such as strong winds and hail as well as rodents and weed eaters have threatened the bog; but since the team considers the habitat their own, they have accepted these challenges with enthusiasm.' Storytelling and Puppet kits As problems are presented in stories, the door is opened to content learning and problem solving needed to help the characters. Some plants are admirable characters that provide humor and innocence. Donna Rosa, a Pink Ladyslipper orchid, is portrayed as a well known beauty queen who asks visiting reporters, 'Have you come to admire me? You can look but do not touch!' She encourages people not to pick her since overcollecting is a major threat to her species. The children identify with the plant characters and their emotions and concern are engaged. They want to help these plants which might otherwise seem like obscure weeds. Plant heroines convince children that they can make a difference through their work. Richard Pitcher Plant speaks lovingly of the kind human who rescued him from the tyranny of a bulldozer in a plant rescue and carried him to his present home in a botanical garden. GEPSN Science Kits (currently under development) include puppets and scripts for teachers to instruct and entertain young students. Teachers will perform the endangered plant puppet shows for, or with, their children. High school classes and upper elementary students will carry puppet shows to classes of young students and pass on their concern and knowledge for endangered plants to these children. Puppet and story characters can help young children become stewards of our plant communities. Jim Affolter, Chair, Georgia Plant Conservation Alliance, and Director of Research, State Botanical Garden of Georgia, states, ‘The GEPSN project makes learning about endangered plants fun and stimulating, for both teachers and students. Because there are so many facets to the program - teacher training sessions, field work and gardening projects on the school sites, puppet shows and study kits - everyone has a chance to participate. Coupled with the program's well conceived teaching philosophy and strong follow-up support, this approach provides a recipe for success that could be repeated in many communities, wherever teachers are searching for ways to engage young students in issues and methods of plant conservation.’ The project has been supported with funds from the Eisenhower Plan for Math and Science Education, the Georgia Initiative in Math and Science, the Turner Foundation and The Garden Club of Georgia.

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On the definition of memory, the Oxford English Dictionary (OED) outlines the various functions of this complex and varied noun. It offers the cognitive function of remembering, the physical site of retention and custody of sensory experiences of the past. The theme of corporeality continues in a discussion of memory as the capability of an organism to manifest the previous effects or state in another setting, to retain an impression from a past experience. Similarly, the OED discusses memory as subject-specific, by which I mean outlined as a personal repository of experiences. It posits memory as a middle ground for the unconscious, the place that acts as a medium of recovery from the inaccessibility of the unconscious. Implicit in this is the accessibility of memory, the interaction of the will on the brain to recover, to preserve sensory experiences. Singular instances, impressions, also are signified by the term memory. The OED offers such moments as recollections, acts or instances of remembering, specific persons or things remembered, or the fact or condition of being remembered. Similarly, the word can connote a loss or an absence, as in the sense of a memorial or for a person or state no longer present. Objects can also function as such, in the sense of a physical, symbolic replacement for something lost or gone: a memento, monument, or memorial would be an example. Implicit in the above defined uses are that memories are simply an impression of a past experience, importantly that they are no longer present, but rather are a retrieval of a particular previous moment. In this manner, memory functions as a medium of storage, as an intervening substance between temporally past sensory impressions and present consciousness. Memories are a temporal channel, a time machine of sensory traces of the past. The Encyclopedia of Philosophy offers that memory need not refer exclusively to the past, that one could remember an event that is presently occurring or will occur sometime in the future, but argues that memory most often refers to a past experience. "Despite this variety of uses, philosophers writing on memory have tended, until recently, to concentrate on those uses of "remember" in which it takes as its object an expression referring to a particular past event or action." The OED also points to the importance of temporality for the concept of memory, showing temporality as an element of recollection, specifically the span of time in which a reminiscence passes. Movement along the temporal echoes the process of sensory experience, and links the issues of memory to the Hegelian problematization of sense-certainty. Frances Yates chronicles the historical usages of memory in rhetoric in her article Three Latin Sources for the Classical Art of Memory. Utilizing a spatial conceptualization of mnemonic processes, Roman rhetors were capable of recounting lengthy orations with little difficulty or error. By a process of visualization of the space of memory, one could 'place' elements in a linear movement throughout the conceptualized architecture and recapture them through 'moving' again through this image. Yates also likens the mnemonic process to linguistic structures, stating "(t)he art of memory is like an inner writing" . By imagining a spatial inscription or attribution, the orator would be able to revisit the symbolic recollection and summon up the information. Similarly, Walter Benjamin reflects on the social uses of memory in his essay entitled The Storyteller. He contrasts storytelling, a communicative form relying solely on memory, to information, which he defines as the communications of modernity. He sees memory functioning as a medium between generations and varied experiences. " Memory creates the chain of tradition which passes a happening on from generation to generation...in the first place among these is the one practiced by the storyteller. It starts the web which all stories together form in the end. Memory, and more specifically, collective memory, serves to unite and make links between the generations, provide a sense of shared heritage. Shared remembrances, as distinct from individual memories, sit often in a contested place. I would define Collective memory as the communal narratives regarding a past event that enjoy relative acceptance or consensus by a group. There remains however, the possibility of conflict between professional historical methodology and collective knowledges. In the telling of previously marginalized or ignored histories, conflicting narratives raise the question of validity in memory. The accuracy of memory as a media of information regarding the past becomes politicized in this discrepancies. Culture wars occur increasingly around issues of representation and the past. Public History organizations and exhibits present an arena for such disputes. One need only look to the debate regarding the Smithsonian's National Air and Space Museum's 1994 exhibit on the WWII plane the Enola Gay for an example of contestations over the past. The controversy surrounding the proposed exhibit and ensuing backlash from veterans claiming historical revisionism in the name of political correctness cogently portrays the potential contestation between professional history and collective memory, as well as between different collectives. In his chapter "Narrative, Memory, and Slavery," W.J.T. Mitchell problematizes the notion of memory as a direct representation of the past. He argues "representation... not only 'mediates' our knowledge...but obstructs, fragments, and negates that knowledge...(memory) provide(s) something more like a site of cultural labor, a body of textual formations that has to be worked through interminably" . For Mitchell, memory is not interesting for what it tells us, but rather what it hides from us. Calling memory a "medium", he posits it as a process of meaning creation that is both selective and akin to a facade. In describing memory as "a technology for gaining freedom of movement in and mastery over the subjective temporality of consciousness and the objective temporality of discursive performance" , Mitchell politicizes the function of memory. Rather than a recalling of a sensory input of the past, memory is a process by which a subject narrates the past, explains the experiences and gains power over the world he inhabits. We can see how all the uses of memory as outlined above suggest a system of storage and a medium of recovery. Whether referencing the human mental capacity for storing past sensory traces or an artificial system or technology of retrieval, a temporal transmission and mediation is a necessary component of memory. The possible tension in discrepancies between academic history and collective memories demonstrate the politics of remembering and forgetting.

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IASL 2012 Conference, 11 to 15 November 2012 By taking part in the GiggleIT Project your students will have opportunities to develop a range of skills and demonstrate a number of learning outcomes. You can use these as a guide, but add your own to suit individual programs and different teaching-learning contexts. think objectively, critically and creatively about written texts; further develop oral and written communication skills; further develop information research skills; expand their use and knowledge of language in a number of contexts; work collaboratively in a team environment and independently as a responsible team member; work collaboratively with students from other cultures/countries; and develop understandings about how people from other cultures use language for communication. Students use language to understand, develop and communicate ideas and information and interact with others (West Australian Curriculum Framework). Students will develop critical literacy skills: understand that the way language is used and varies according to context; devleop creative writing skills; use a drafting/editing/publishing process; explore different types of literature – poetry, school yard rhymes, limericks, sayings, jokes/gags, short stories; use a range of language and build vocabulary; and use correct language conventions appropriate to audience, purpose and context. Students recognise when and what information is needed, locate and obtain it from a range of sources and evaluate, use and share it with others (West Australian Curriculum Framework). Students will develop critical information literacy skills: they will develop mindmaps and graphic organisers as tools to develop critical thinking and comparative skills; they will locate/research, collect, group and collate, evaluate and deconstruct meaning from a range of information sources; they will discuss and redefine information and reconstruct it to make meaning within a new context; and they will examine and compare different types of literature from their own and other countries to develop cross cultural understandings about information. Students select, use and adapt technologies (West Australian Curriculum Framework). During the course of the project, students will have opportunities to use a range of technologies (email, digital mindmaps and graphic organisers, electronic portfolios, Wordprocessing and desktop publishing, the Internet/World Wide Web, digital data projectors, computers, and digital cameras). They may adapt these technologies to produce their formal presentations, discussion tasks and creative writings. Students will develop critical technology skills: to locate and explore information; research using a variety of formats and delivery modes, through research of national identity as found in humorous national literature; managing, collating, reconstructing information, referencing using a range of technologies; evaluation of electronic resources and student publications, progress and process; and to communicate using appropriate conventions with others around the world. Students will develop critical social cultural understandings and skills: Students will not only explore the language and humour of peoples from other countries, but they will also find out where they live, information about the participating students, how they live and how they see themselves. Students value and implement practices that promote personal growth and well being (West Australian Curriculum Framework). The GiggleIT Project is a partner with the International Children's Digital Library Last updated May 2013 (ER)

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Arrowheads of the Past and Present Look closely at the National Park Service arrowhead symbol and you will see the purpose of the National Park System-the protection and understanding of all the objects illustrated there-the trees and bison for plant and wildlife, the mountain and river for landscapes and water resources, and all this inside an arrowhead representing the human history of our nation. The arrowhead is a fitting symbol for our history; it is part of the beginning of the human story of our nation. The story of American Indians in the New River Gorge area of southern West Virginia is very rich, but often misunderstood. Most of the stories involving native peoples center on "historically" documented tribes and their interaction with the European and African peoples who came into this area in the mid-1600s. What we usually consider the beginning of the story is actually an ending. The story of American Indians in West Virginia began hundreds of generations before the written history. The keys to this amazing story are literally found in the arrowheads and multitudes of other artifacts and historic sites left behind by these ancient peoples. The oldest artifacts from New River Gorge are Clovis points. Made more than 11,000 years ago over much of North America, these intricately-shaped stone spear points were used by ancient nomadic hunter-gatherers, Paleoindians, to kill mammoth, mastodon, and other Ice Age creatures. Later artifacts found in excavated village sites, such as pieces of pottery, stone and bone tools, seeds, beads, and arrowheads, show the development of thriving agricultural-based permanent communities connected by well-established systems of trails. Peoples of the Archaic and Woodland periods lived in our area for thousands of years (from approximately 8,000 B.C.E. to 1,200 C.E.), constructing palisade villages and elaborate burial mounds, progressing from spears to bow and arrows, producing clay and stone pottery and art objects, and extensively cultivating corn, squash, and beans. They were the ancestors of the people we know of today in eastern North America as the Cherokee and Shawnee. Dating artifacts and archeological sites is the first step in unfolding the history of humanity. To carelessly remove or disturb archeological sites is like tearing out chapters from an ancient book or throwing away pieces to a puzzle-the story of our past will never be complete. The National Park Service arrowhead symbols reminds us all of our responsibility to protect and preserve our nation's heritage. The lands of New River Gorge National River, Bluestone National Scenic River, and Gauley River National Recreation Area protect 400 documented Indian archeological sites. These sites range from temporary rock shelter campsites to small villages. All artifacts and objects in the parks are protected, and may be collected and studies only by the park archeologist, or authorized university or preservation organizations. The Sandstone Visitor Center includes an exhibit concerning American Indian peoples and a sample Clovis point. The park occasionally offers special programs, including the display of ancient artifacts, storytelling, and demonstrations of American Indian lifestyles by costumed Did You Know? Over one million visitors come to New River Gorge National River each year. Park rangers assist visitors and help them better understand the park and the park resources.

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Last Thursday marked the 237th anniversary of this nation’s founding, when a group of men announced a set of “self-evident” principles, whereby “all men are created equal” and endowed with the inalienable rights of “life, liberty and the pursuit of happiness.” As President Obama said in his second inaugural address, “While these truths may be self-evident, they’ve never been self-executing.” The country’s history is rife with examples of how reality often falls fall short of the Founding Fathers’ ideals. That the Founders declared a universal equality at a time when the original sin of slavery suppressed 20 percent of the population is a contradiction that haunts everyone in the country to this day. As a quintessentially American art form, and one invented by African-Americans, jazz has long reflected the battles that have been fought in order to form “a more perfect Union,” most notably with respect to race. In his seminal 1963 book, Blues People, writer Amiri Baraka traces the history of jazz from the African perspective, placing a particular emphasis on the music’s blues roots. Beginning with slavery, continuing through Reconstruction and the Great Migration to northern cities, and concluding with his then-contemporaries, Baraka traces the influence of jazz and blues on American culture. In this book and his scathing assessment of jazz criticism, “Jazz and the White Critic” (1960), Baraka argues that jazz music cannot be separated from the socio-historical context in which it is created. He says that its context has been, and continues to be, that of a people whose roots were cut from underneath them, and who therefore invent modes of expression in order to maintain spiritual and social connections – to the past, a brighter future, each other – in the face of an oppressive authority. The facts of jazz’s evolution bear out Baraka’s argument. In 19th century New Orleans, when jazz’s roots were taking hold, Creoles – or African Americans of some white extraction – were not initially subject to Jim Crow laws. They embraced European musical traditions and many aspects of its culture, trying to distance themselves from other African Americans. When Jim Crow settled into the Crescent City, Creoles were relegated to lower-class status. The more they worked alongside Black musicians, the more they infused Western classical techniques into “jass,” helping to inject a new type of anti-authoritarian energy into the form. This connection between the plight of African Americans and the music they created continued through much of the 20th century, as jazz musicians would find themselves front-and-center during the Civil Rights Movement. In 1957, Louis Armstrong famously cancelled a State Department tour of Russia to protest the Eisenhower administration’s equivocal position on desegregation. And there is no doubt that the urgency of bebop had at least some roots in the racial dynamic of the day. In 1960, Charles Mingus released the vocal version of his “Fables of Faubus,” mocking the Arkansas governor who refused to integrate high schools in Little Rock. Just as explicitly, drummer Max Roach, lyricist Oscar Brown and vocalist Abbey Lincoln collaborated on We Insist! Max Roach’s Freedom Now Suite, which traces a throughline from the Emancipation Proclamation to political movements across the African diaspora. Then there was the iconic Miles Davis, whose entire lifestyle was a middle finger to white authority. As influential and as crucial as these recordings and actions were in the context of the Civil Rights Movement, they don’t necessarily tell today’s story. In order to remain relevant, the social and political commentary coming out of the American jazz community has to go beyond just black and white and reflect the current state of affairs. In 2008, after Obama’s election, Washington pundits started making references to a “post-racial” society, an utterly laughable concept. With issues of race being so intertwined with American history, the notion that race might no longer be a factor in society’s discourse or distribution of privilege is one whose time will probably never come. We definitely don’t live in a post-racial country – it’s just more racially diverse. So there are more stories to be told, and jazz has proven an accommodating canvas on which to depict those pictures. It remains an important music for African-American storytelling and sophisticated protest: Terence Blanchard’s work in the wake of Hurricane Katrina brought attention to the tragedy of the storm, and the largely racial divisions that separated those affected from those left unscathed – and it spoke more broadly to the country’s growing economic inequality. The topics that today’s jazz musicians address stretch into many realms. On his two most recent albums, Yesterday You Said Tomorrow and Christian aTunde Adjuah, Christian Scott (a.k.a. Christian aTunde Adjuah) deals with themes as wide ranging as gay rights and the inequities of our penal system. Vijay Iyer’s collaborations with Mike Ladd have focused on the plight of veterans returning from Iraq and Afghanistan, and the societal effects of media saturation. There are also musicians whose very presence within the community is a statement in and of itself. The rise of women and immigrant populations has had a profound effect on jazz. Allison Miller has written eloquently about her experience as a queer, female drummer and makes no bones about the fact that this informs her music. As of 2010, there are over 1.6 million African born people living in the United States, with approximately one-third of them coming from West Africa: Guitarist Lionel Loueke and bassist Richard Bona are among the most sought-after musicians on the scene, and their West African upbringings are front-and-center in their music. Violinist Jason Kao Hwang is one of over 3 million Chinese Americans living in the United States; his Far East Side Band establishes a pan-Asian connection to jazz. The immediate effect of this progression is that the music itself draws from a much wider vocabulary, and therefore, in order to keep up with its developments and receive what these artists are trying to communicate, jazz’s audience must adopt a more eclectic sensibility. No longer can blues-based expression define the boundaries of jazz, nor can writers use lazy words like “exotic” to describe an Arabic or Romani melody line. The open-minded listener will also receive intangible inputs that come from the different philosophies that inform musicians of varied backgrounds. For example, one reason behind the power of African-American music is that while it comes from a place of suffering – slavery and apartheid – it still reflects the joy of a resilient ethos. On another hand, a composition that incorporates an Indian raga is drawing from a religious tradition that reaches back thousands of years. This tie to the very earliest human civilizations offers a different pathway to spirituality. Though the relevance of Blues People has become more complicated in light of society’s complexity, that does not mean that it is irrelevant. Baraka’s assertion that jazz is always defined by a social context remains true – it’s just that the context has changed. New blues people are now part of the jazz chronicle. An update is in order. Sriram Gopal is CapitalBop’s monthly columnist. He can be reached at firstname.lastname@example.org. His column typically appears on the first Thursday of every month, but this month it was delayed a week due to the July 4 holiday.

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The Common Core Standards are the cornerstones of the Smarter Balanced and PARCC assessments, Webb’s Depth of Knowledge (scale of cognitive demand) and Blooms Revised Taxonomy (levels of intellectual ability) are the framework and the structures that will be used to evaluate students. Assessing curriculum, developing formative assessments, evaluation curriculum, and evaluation of students knowledge at the highest levels is being shared by two progressive cognitive matrices. Depth of knowledge, and complexity of knowledge is the heart of the more rigorous assessments being implemented in 2014. They share many ideas and concepts yet are different in level of cognitive demand, level of difficulty, complexity of verbs vs. depth of thinking required, and the scale of cognitive demand. Teachers need to learn how the frameworks are used to develop curriculum and how to use them to enhance instructions. Teachers and students can use Blooms Questions Stems and Webb’s DOK questions stems to create higher order thinking and improve achievement. 80% of the PARCC assessments will be based on the highest levels of blooms and the deepest levels of Webb’s DOK. Are you ready to use the DOK or Blooms daily in your class? - Levels of Thinking in Bloom’s Taxonomy and Webb’s Depth of Knowledge - Hess’ Cognitive Rigor Matrix & Curricular Examples | Revised Bloom’s Taxonomy | - Webb’s Depth of Knowledge Guide - Depth of Knowledge: Assessing Curriculum with Depth and Meaning - Blooms and Webb Comparison - Depth of Knowledge Consistency - Developing Higher Order Thinking Questions Based on Webb’s DOK andFCAT Content Complexity - PARCC Transition Information: AIMS Test and Common Core - DOK Question Stems - Depth of Knowledge (DOK) Levels - INTRODUCTION TO WEBB’S DEPTH-OF-KNOWLEDGE LEVELSMathematics Depth-of-Knowledge Levels - Depth-of-Knowledge Levels for Four Content Areas - What conclusions can you draw from each sister refusing to keep the golden nugget? - How would you react to finding a golden nugget? - Can you predict the outcome if the sisters did not have great virtue? - What is your interpretation of the author’s main idea or moral to this fairytale? - How would you describe the sequence of events and their importance to the story? - Can you elaborate on the reason why the author used a snake in the story? - What would happen if the fairies left three golden nuggets? - Can you formulate a theory for why the fairies are leaving nuggets of gold in the forest? - Can you explain what it means when Anna feels ground to the bone by her boss? - How would you compare the tone of The Golden Nugget with Hansel & Gretel? - How are The Golden Nugget and Hansel & Gretel Different? - How would you summarize the feeling of the sisters for each other? - What do you notice about the authors use of figurative language? Fiction DOK STEM | What key details or examples (e.g. dialogue or feelings) in the text can you draw on too explain the antagonists reactions? Fiction DOK STEM | What evidence do you cite when determining the main idea? Explain why you think that is the main idea! Non Fiction DOK STEM | What text features (e.g. charts or illustrations) can you use to appraise facts for validity? Are charts an illustrations always based on facts? Non Fiction DOK STEM | Did you asses the authors use of literary elements or literary techniques when drawing conclusions /inferences from the text? How does the author use literary elements or literary techniques to develop key ideas?

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Fun Practice For The Simple Past Drilling games and communicative activities for intensive practice of the Past Simple The Simple Past is in many ways easier than the Present Simple, with no third person S to worry about. Students can still need intensive practice, especially to stop themselves from slipping into present tenses halfway through a story and to be able to produce irregular forms quickly and with good pronunciation. Some students might also need some help with understanding and/or producing the pronunciations of “ed” endings. Here are some ideas of how to do so: We often use present tenses and other past tenses such as Past Continuous to give our anecdotes a bit of colour, but it is perfectly possible to construct a simple linear story with just the Simple Past. Perhaps the easiest way to prompt storytelling is to give groups of students a set of cards to make a story from, with each card being a word, phrase or picture. To practise the regular and/or irregular verb forms, those cards could be verbs in the infinitive. The most common thing to tell stories about is yourself. As people like talking about themselves, anything on anecdotes tends to work well. The challenge is to give the person listening a reason to do so. Things they could do while listening include working out which anecdotes aren’t true, asking as many questions as they can when the anecdote is finished, and interrupting the anecdote as much as they can to ask questions. You can add intensive practice of particular verbs by giving them ones they have to include in their stories, especially if they are allowed to make some of the stories up. Video tasks for Simple Past The obvious way of using a video for past tenses might seem to simply describe what happened, but in fact this is difficult to do without using Past Perfect and Past Continuous. One more controlled way of using a video is to give them a list of verbs and ask them to put up their hands when they think they can use one to describe what just happened. Another one is to give them pairs of actions and ask them to predict the order, e.g. “Mr Bean bought some balloons and then snatched a bow and arrow”, then watch and check. Alternatively, you could ask them to make any true sentences about what just happened in the video that they can, but only using irregular verbs, verbs with a particular vowel sound, or verbs with a particular pronunciation of the -ed ending. What did the teacher do then? You can do something similar to the video tasks above by doing a string of actions and asking the students to say or write all the things you did. This has most impact if you don’t tell them what you are going to do but simply start the lesson in an unusual way such as turning round twice and kicking the bin. Do about ten more strange actions and then walk out the door. When you come back in, ask them to say or write all the things you did. They could then work in groups to write down sequences of strange actions to do and test other groups with in the same way that you just did. As the ultimate challenge, they could all do their lists of actions at the same time and the people watching could also try to remember who did what action. Who did what? This is similar to the last idea above. Students are given some cards with verbs or whole actions on (e.g. “Jump” or “Jump next to the teacher’s desk twice”). Several students stand up and do their actions at the same time, and the people sitting down have to say or write down who did what, plus in what order if each student had more than one card. Guess my life Students can also do something similar with actions that they did outside the classroom. In one version, students say an action they did yesterday or this morning and the other students try to make true sentences including the time, e.g. “You brushed your teeth at 7:30”. The person whose action it is gives hints like “No, much later” until their partners get it exactly right. You can also do it the other way round by one student giving the time and the others trying to guess what they did at that time. You can also do similar things with months and years, e.g. “You lived in England in 2000”. Another possibility is to tell the story of someone’s day or life in order. In groups of three or four, one person has his or her story told and corrects the other people if they say something which isn’t true. One person says “You got up” and the next person continues with anything that happened soon (but not necessarily just) after that, e.g. “You made a cup of coffee”. They can continue that way through the whole day or stop whenever someone makes a mistake and switch roles. As well as the communicative ideas above, it is well worth spending some time on drilling the forms and pronunciation of the Simple Past. The easiest way is to give them tables of irregular verbs and ask them to test each other in pairs. A more fast-paced drilling game is Past Forms Tennis, where the person serving does so with an infinitive and the person returning must do so with the correct past form. With young learners you can even do this with a real beach ball, making it more like Past Forms Volleyball. An even more intensive game is Grammar Reversi. Prepare cards with the infinitive on one side and the past on the other. Students have to guess the form on the other side to be able to turn the card over and continue their turn, either to play a whole game of Othello (as in the original game in the book Grammar Games) or just to work their way along the entire length of a set of these cards that have been put on the table in a row. A more physically active game for the same language is Stations. Students must react in one of two ways depending on what they hear, e.g. raise their right hands if they hear a word whose past tense ends with /t/ or run and touch the right hand wall if they hear or see a word whose past form has a the same vowel sound as “more”.

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What Will Kids Learn in 1st Grade? For many kids, 1st grade is a year to feel "big." They're no longer the youngest in the school, they can read a little bit and they've most likely experienced a physical growth spurt since kindergarten. First grade teachers use that bigness as a way to challenge students to learn bigger things this year. Reading takes off, math becomes more complex and science and social studies explore beyond kids' inner circles. State-by-state, lessons and topics may vary, but there are some common topics 1st grade kids will learn this year. First grade is a year to explore and introduce a number of different concrete building blocks of math, such as problem solving, operations and number sense. Last year, your 1st grader learned to count with one-to-one correspondence, recognize numerals and sort into groups. This first grade year continues to build on these concepts, using hands-on manipulatives like Cuisenaire rods and snap cubes to more concretely visualize the numbers as your child begins basic addition and subtraction. She will learn to use an analog clock to tell time to the minute, be asked to recognize coins, count money, solve simple word problems, count beyond 100 and understand basic place value. First grade is the year when students seemingly begin to read overnight. By now your child is able to recognize her name and some other core words in print, is able to write, recognize and have sound correspondence of most of the letters in the alphabet and, even if she's not reading yet, she has a good grasp on concepts about print. This year she will continue to build phonemic awareness with more complicated sounds like blends and digraphs. She will be taught a number of strategies for decoding words she doesn't know or is unable to sound out and start to answer questions about the meaning of what she's read. Your child's fine motor skills have improved a great deal since she began kindergarten, providing the control she needs to really begin writing. Expect your child to begin formal work on handwriting skills this year in addition to creative writing tasks. Some teachers will focus on inventive spelling, allowing children to write the sounds they hear in words, while also instructing students using weekly spelling words. Your 1st grader will learn how to use punctuation and capitals, but, more importantly, she will start to use writing as a tool for communication. Like math, science in 1st grade focuses on finding patterns, though in science the patterns explored are in the natural world. Your child will spend time learning about insects and their common characteristics and may even follow the life cycle of a butterfly. She'll learn about weather patterns and how they contribute to the water cycle, as well as learning how the water cycle is a pattern for sustaining life. Other areas of study include: dental hygiene, magnets and animal and plant life. Expect your child to begin exploring the concept of community beyond her family this year. She'll learn about how neighborhoods make up cities, cities make up states and states make up nations, with a focus on how all of those components work together to create a cohesive unit. For many students, this year brings a number of field trips to neighborhood businesses, local government and public institutions like the library.

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- slide 1 of 4 Visual Storytelling with Comics: Lesson Plan Background Topics Covered: Media/Art/Literacy/English Lesson Aim/Objective: To learn visual storytelling through comics using a three-panel strip, showing a beginning, a middle, and an end. - To show understanding of storytelling through the creation of a three-panel comic strip. - To be able to illustrate a story with a beginning, middle, and an end using drawings, photographs and/or clip art. - To tell a story using narrative and/or dialogue through the comics. - slide 2 of 4 Preparations for Lesson - Print out blank 3-panel comic strip templates, as well as some blank speech and/or thought bubbles for the comics. There are a variety of different templates available online or you can create one of your own. - Have clip art and/or photographs ready for those who may choose to use them. - Make sure to give students a background lesson on storytelling with the use of beginnings, middles, and endings, as well as a lesson on narration and dialogue. - Collect comic strips that you can use as examples. Create some of your own using some of these comic making tools, if you don't have any existing ones handy. - slide 3 of 4 - Start the lesson with a review of storytelling elements (e.g., beginning/middle/end, as well as narration and dialogue). - Talk about how pictures enrich a story, particularly through comic strips. Give examples of comics, particularly comic strips with three panels. Explain the beginning, middle and end of each comic strip. About three examples should suffice, if students are able to understand the concept. - Hand out the blank 3-panel comic templates to students. Ask them to create their own comics using the template. Let them know that they can use photographs, clip art, or their own drawings. - Give them time to complete their work. Move around the classroom to check if anyone needs help. - Collect the completed comic strips. You can assess them using the suggested criteria below. - slide 4 of 4 - Title (Does it show originality and creativity?) - Illustration/Photography/Art (Do they tell the story appropriately from start to finish?) - Narration/Dialogue (Were they used correctly and creatively to tell the story?) - Story (Does it have a beginning, a middle, and an end?)

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Beowulf exists in only one manuscript, and that manuscript has had some close calls. In 1731, the British library in which it was stored caught fire. Although someone carried the ancient poem to safety, it was badly scorched. The manuscript has deteriorated since that time, with parts of it flaking away. Fortunately, a Danish scholar named Thorkelin had two copies of the poem made in 1786, before the damage became too severe. Since he lived long before the invention of photocopy machines or cameras, these two copies of the 3,200-line poem had to be written carefully in longhand. Then, as if the poem had some lingering evil curse on it left over from the days of the monster Grendel and his mother, Thorkelin's exhaustive twenty-year study and analysis of Beowulf suffered a serious setback during the Napoleonic wars. A British bombardment of Copenhagen, Denmark, in 1807 destroyed all of Thorkelin's valuable notes on the poem! Luckily, his copies were not damaged, and he used them to issue the first published edition of Beowulf in 1815. Today, the original, fire-damaged manuscript is carefully protected in the British Museum in London, England, and many different translations of the Old English poem have appeared. Because Beowulf gives us only a hazy glimpse into long-forgotten times, the epic poem continues to fascinate readers. Although we may no longer believe that mythical dragons and monsters dwell in the fog-shrouded swamps, we can experience the mystery and sadness of the poem. We can also appreciate the literary masterpiece's underlying universal messages: courage in the face of great odds, loyalty even in the teeth of terror, and friendship to the very end. Beowulf was composed by an unknown poet, so you would think we wouldn't know very much about the author. In a way that's true, but we can make some educated guesses. To begin with, the poet was probably a scop, or court poet. The Old English poem Widsith gives us a good idea of what such a poet was like. He went from place to place, searching for a king who would give him a home. In return, the poet entertained the nobles with his songs and even wrote songs about the king, so that the king's fame "may last under heaven." Picture an English banquet hall in the dead of winter. Outside, snow falls and the wind howls. Inside, the atmosphere is stuffy, crowded, and noisy as people eat and talk loudly to their neighbors. Then a short, slight man seated near the king rises, holding a small harp. Everyone falls silent. He begins to play a melody on the harp, and in a clear, high voice he sings the words of a heroic poem. Everyone listens attentively, imagining the action of the poem battles and raids, monsters and great deeds. After a few minutes, the scop ends his song and sits again, and people nod their appreciation. The scop was essentially an entertainer, of course, but he was much more than that. He was the memory of the people at a time when very few people knew how to read or write. His songs were an important part of the oral tradition of storytelling. They kept the past alive and made history seem real. If the scop was very good at his craft -- like the one who first sang about Beowulf his poem would last and become part of our literature. That is why, more than one thousand years after the tale was first told, we can read today of Beowulf's heroism, strength, and sacrifice. About Brad Strickland Brad Strickland is a writer and college professor who lives in Oakwood, Georgia. As an associate professor of English at Georgia's Gainesville College, he has often taught Beowulf and is always stirred by the poem's heroics. He is sure that a daring character like Wishbone would find the tale a fascinating adventure. In addition to writing Be a Wolf!, Brad has authored Salty Dog, a Wishbone adventure based on Scottish writer Robert Louis Stevenson's classic pirate tale, Treasure Island. He has also written or co-written twenty-two other novels, fifteen of them for young readers. Brad's first young-adult novel was Dragon's Plunder, a story of adventure on the high seas. With his wife, Barbara, Brad has co-written stories for the Star Trek and Are You Afraid of the Dark? novel series. He also co-wrote four books with the late John Bellairs, and he continues to write books in Bellairs's popular young-adult mystery series, most recently The Hand of the Necromancer. Brad and Barbara have two children, Jonathan and Amy. In addition to teaching and writing, Brad enjoys photography, travel, and amateur acting. In fact, he once played the role of a dragon on radio -- and remembering that role helped him get in the mood to write the exciting last part of the Be a Wolf! story. The Strickland family is home to a menagerie of pets, including cats, ferrets, a rabbit, and two dogs, neither of which has so far shown much interest in books.

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In the 20th century literacy was simply the “ability to read and write”. The subset of skills necessary to be called literate has changed greatly and the definition has expanded to encompass the, ” …ability to identify, understand, interpret, create, communicate, compute and use printed and written materials associated with varying contexts. Literacy involves a continuum of learning in enabling individuals to achieve their goals, to develop their knowledge and potential, and to participate fully in their community and wider society.” (United Nations Educational, Scientific and Cultural Organization) With the advent of the internet and social media students have been challenged to add new resources to their tool set to be prepared to be productive citizens in the information age. Modern literacy in the information age calls for lifetime learners with a set of skills that are constantly evolving and is permeated by dynamic, participatory media (social), and web-based tools that aid collaboration and information sharing. In the book “Using Participatory Media and Public Voice to Encourage Civic Engagement,” Howard Rheingold wrote: “If print culture shaped the environment in which the Enlightenment blossomed and set the scene for the Industrial Revolution, participatory media might similarly shape the cognitive and social environments in which twenty first century life will take place (a shift in the way our culture operates). For this reason, participatory media literacy is not another subject to be shoehorned into the curriculum as job training for knowledge workers. Participatory media include (but aren’t limited to) blogs, wikis, RSS, tagging and social bookmarking, music-photo-video sharing, mashups, podcasts, digital storytelling, virtual communities, social network services, virtual environments, and videoblogs.” Modern youth multi-task more often, multi-task more effectively and have shorter attention spans than any up to this point in history. This student demands the use of rich multimedia learning environments and, project-based instruction that engages the student and challenges him to use dynamic web-based tools and participatory media. Terms like “Connectivism” and “Networked Learning” are now being used to describe the new processes that are emerging. Here is a excellent video that explains these new paradigms and what they mean for the 21st century classroom. This is a key reason teaching must change to keep up with the new paradigms called for in the information age. The lecture-based educational model is obsolete and role of the teacher has morphed from the “sage on the stage” to the “guide by a students side”. - Let kids ‘Tweet’ in class, says expert (cbc.ca) - The presence of a teacher (deangroom.wordpress.com) - Hunger to learn (news.bbc.co.uk) - Re:Reinventing Project Based Learning (deangroom.wordpress.com) - The Future Is Now — 21st Century Teaching And Learning (slideshare.net) - Why we need another great education debate (guardian.co.uk) - Techno Literacy (slideshare.net) - Literacy -> Digital Flow: moving beyond Traditional Literacy. (dougbelshaw.com) - Mrs. Cassidy’s Classroom: Media Literate 6-year-olds (wired.com)

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BY ANDREA ZEVENBERGEN, ASSOCIATE PROFESSOR, SUNY FREDONIA What did we do at the beach?” Susan asked her daughter, 2-year-old Makenna. Makenna says, “Made castle!” Susan and Makenna are telling a family member about the day’s events. It’s fun to talk about past events with one’s child, to see what the child remembers and hear the child’s perspective on the events. Parents also talk about shared events with their child because it can increase emotional closeness, and can also help the child understand why events occur. Researchers have shown that shared storytelling between parents and young children can also assist in the child’s language and later literacy development. The ways in which personal stories are told do vary across cultures, but in many cultural groups, parents and children tend to co-construct personal stories together; that is, they tell the stories together rather than having the child just listen while the parent tells the story. The parent asks the child questions to give the child a chance to tell part of the story, even if the parent knows the answers to the questions. For example, Susan knows that they made castles at the beach, but wants to give Makenna a chance to talk about the parts of the beach trip that were most exciting to her. There are many ways to facilitate children’s language development through shared storytelling. Researchers have made the following recommendations: 1. Take time each day to talk with your child about shared past events. Conversations can take place in the car, on a walk, in a store, eating supper, anywhere! 2. Particularly in the early preschool years, children can more easily contribute to discussions about shared past events compared to events that only they experienced. Conversations about shared past events can be directed to another family member or friend, or the parent can review the event with the child even if no one else is present. For example, a conversation can begin with something like, “What did you like best at the picnic?” 3. When talking with your child about past events, ask questions that will keep the conversation going as long as possible, such as “who”, “what”, and “where” questions. Asking your child questions such as, “What happened next?” will help the child to see the event as a chronologically-organized set of smaller events. Use open-ended questions to elicit longer statements from your child, particularly as he/she gets older. For example, you might ask your child, “What did we do today? Tell Aunt Rose all the places we had to go to today.” 4. If your child does not know the answer to a question you ask when telling a story together (i.e., the child does not remember), provide the answer and ask the child to provide another detail. Here’s an example: Steven (father): “How old was Matty at the birthday party?” Noah (son): “Uh.” Steven: “You don’t remember? He’s 5 now. Do you remember what he got for a present at the party?” Noah: “A plane!” 5. Provide positive feedback to your child when he or she contributes to the shared storytelling. Saying, “You’re right!” and “That’s great you remember all that” are very encouraging to your child. Repeating what the child says shows you are listening to the child’s contributions. Even brief comments such as “Uh, huh” and “Wow” reinforce the child’s efforts to tell the story. 6. Stay on one topic as long as possible, rather than switching quickly from one topic to another. This will help your child to understand more fully the past event you are talking about together, and give him/her more chances to contribute his/her words to the discussion. Researchers Peterson, Jesso, and McCabe showed that parents’ using these strategies in conversations about past events with their preschoolers lead to significant vocabulary improvement and greater ability to tell stories independently in the preschoolers. So, it’s definitely a double-bonus: staying connected, while helping to prepare a child for kindergarten! Andrea Zevenbergen is an associate professor of psychology at SUNY Fredonia. She has been conducting research related to parent-child shared reading since 1990. She lives with her husband and son, who is now a fifth-grader, in Chautauqua County.

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• Grade One • • Grade Two • • Grade Three • • Grade Four • • Grade Five • • Grade Six • • Grade Seven • • Grade Eight • • Overview • Sixth Grade Overview Teaching changes significantly in the sixth grade to address new conceptual capacities that are awakening in the children as they approach adolescence. The curriculum, as well as the needs of individual students, becomes increasingly complex through the next few years. The newly and often chaotically emerging individuality of the pre-adolescent yearns to find a place within the world that is unique and recognized and respected by others. The sixth grade is a firm, intentional step into the outer world. It is an arrival upon the earth. Changes in the physical body as the children approach age 12 become noticeable. There is an increased awareness of gravity and weight; hormones begin to affect the feeling and emotional life as well as physical maturity; and differences between male and female development become a source of interest. The themes explored over the course of this school year are chosen expressly to assist both the inner and outer questing of these young people. Sixth Grade Curriculum Rhythm of the Day Each day begins with Main lesson. The main subjects, such as history, language arts, science and mathematics are taught in blocks of 2 hours per day, with each block lasting from 3 to 6 or even 8 weeks long. The sixth grade mornings continue to include movement and speech work: handclap, beanbag, drama and movement games. After Main lesson the children have a hearty snack (brought from home) and time to play outdoors. The afternoon consists of subject classes including handwork, movement, french, music and art, as well as lunch (brought from home) and more time to play outdoors. Mathematics work continues with all the processes learned in previous years with the addition of ratio, percentage and an introduction to algebraic formulae. Mathematics from real life is explored in depth with the introduction of economics and Business Math, barter and money economies and the moral uses of money. During business math some classes set up a trial business studying banking, interest rates, discount and commission. Some of the first laws of algebra and the processes involved in manipulating a formula to find the unknown are introduced. The students also learn how to read and construct line, bar and pie graphs. The first block of the school year is often spent exploring geometric constructions. Many movements from circle time and Eurythmy are now executed with precision and artistry as geometric forms. While brought freehand geometry work in previous years, the children, now using compass, straight-edge, and lead pencil, learn the importance of following directions and using precision to lay out and describe various geometric problems. The children learn how to bisect a line segment, construct a parallel segment, bisect an angle, construct a perpendicular, construct a square, a pentagon, isosceles and equilateral triangles, and to divide a circle by three, four, five, six, twelve and twenty-four using a compass. This subject allows the children to use logic in exploring necessary relationships in two-dimensional space. The story curriculum begins where the teacher left off at the end of grade five, often with the story of the Trojan War, this time told from the Roman perspective. The Roman epoch represents in a historical sense what the children are experiencing in their bodies and in the development of intellect. Of all the ancient peoples, the Romans most strongly dominated the physical world. Each student might explore a topic of personal interest and construct a model of something from Roman times. The life of the Roman citizen, the slave and the gladiator are studied. The life of Christ and his followers, the biographies of the Caesars, Peter and Paul in Rome and the early Christian experience, the Crusades, the Feudal system and the Dark Ages, the life of Muhammad and the rise of Islam are all explored in the sixth-grade year. Reading and writing work in grade six is extensive and varied. Most teachers include daily practice of short quotes or form drawings to improve penmanship and regular dictation from the lessons. Also, there is a greater emphasis on writing and grammar. Students are expected to proofread their own and others’ work and correct their own spelling errors. Each student writes several reports and is responsible for retelling stories from lessons in his or her own words. Basic spelling rules and sentence forms are explored. The eight parts of speech from previous study are practiced, and students learn to write in active and passive moods. The subjunctive mood is introduced. The children often do research and some creative writing. Words with Latin roots are studied. Students practice identifying subject and predicate, proper punctuation and capitalization, compound subjects and predicates as well as work with parts of speech such as nouns, verbs, adjectives, etc., including phrases and clauses, paying particular attention to prepositional and verbal phrases. Each child usually recites a daily verse, and the class perfects several group recitations during the year. Reading work consists of a combination of whole-class reading assignments and reading-level-appropriate individual reading work. Some classes assist younger students from other grades with their reading goals. Flute playing is an integral and daily part of classroom life; most teachers switch midyear to work with alto and/or soprano recorders. The sixth grade performs at least one play with greater expectations placed on dramatic presentation and complexity. Painting class often moves from a weekly activity to a biweekly event due to scheduling demands, but an additional upper grades art class begins once each week. Nearly all teachers also do curriculum-related artistic projects throughout the year. Science and History As the child of this age develops more of a sense of self inwardly, a distance is created between the self and the outside world. One result is a sharpening of the powers of observation. Although students of this age may act as if they have seen, heard and experienced everything, they are moved and awed by simple phenomena, such as a candle shining in a dark room or the whirling pattern of convection currents rising in a brightly colored tank of water. Sixth-grade science begins to explore the lawfulness of natural phenomenon through the formal study of physics: acoustics, optics, thermodynamics, magnetism and static electricity. To explore geography, geology and astronomy in grade six, the world is viewed as a whole: from the perspective of the contrasts and configurations of land and water masses, which leads to the identification of continents, oceans, seas, mountain ranges and tributaries; from a historical/conceptual perspective, comparing the perceptions of the Earth of peoples of the past; from the perspective of what we can see with the naked eye from where we stand on the earth (the changes of the sun, moon, stars and planets); and finally, to examine the earth from the inside-out with the study of geology and mineralogy. Here the students experience a reflection of their own process of physical development as they move more fully into their own bodily experience and become conscious of their own circulation, muscles and bones. They take up the study of rocks, rivers, stars, mountains and oceans. A study of the sun and its movement, shown through changing shadows, is recapitulated in physics study and in both drawing and painting work. Sixth-grade history follows the transition from ancient to modern. The students are, at this age, involved in a parallel transition as they move from a more poetic consciousness to a search for truth in the form of scientific concepts. Twelve-year-olds are ready to grasp history as a sequence of cause and effect relationships. Some classes host a Medieval Games tournament with a nearby school in the late spring.

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Volume 2, Issue 10 Algorithmic Music Composition Tired of hearing the same music over and over again? Computer science can allow you to become a creator, not just a listener of cool music! See students in action as they create music through programming at: http://www.usatoday.com/video/hip-hop-tracks-composed-with-computer-code/1733703278001 Musicians have been using computers to make music since the 1950s, when the first digital computers became available at university and research labs. Using programming can enable a musician to have control over their music composition so that it can be exactly what they want. This algorithmic composition allows musicians to automate tedious tasks, easily experiment, make random decisions, and ultimately turn anything – current temperature, value of the stock market, number of people in the room, lyrics of poems, and even pixels of a photo - into music by mapping data to music notes. The ability to take non-auditory information and convert it into an auditory message is known as data sonification. Think about a Geiger counter that plays audio clicks that are directly dependent on the radiation level around the device. Similarly, a composer can take any data and input it into a program, which in turn generates music based on the properties of that data. A student working with Earsketch. Photo courtesy of Georgia Institute of Technology. Using a learning environment called EarSketch, high school students in the Atlanta, Georgia area are doing just that! After the students input data in the program, they can analyze properties of the resulting sound files and easily change the composition based on musical properties like timbre (tone), pitch, or loudness. Students learn how to mix music while also learning computer science in a fun and engaging way by writing Python code that can control musical samples, effects, and beats. Because EarSketch starts with musical samples (the project has a growing library thanks to Young Guru who recently became a partner of the project) instead of individual notes, students with no background in music theory or composition are able create their own music immediately. Image of Professor Brian Magerko. Who Thinks of this Stuff?! Brian Magerko is an Assistant Professor at Georgia Tech and head of the Adaptive Digital Media (ADAM) Lab, the home of EarSketch. Professor Magerko created EarSketch in conjunction with his research partner, Dr. Jason Freeman of the Georgia Tech School of Music, and an army of graduate and undergraduate students. Professor Magerko’s research interests explore the themes of computation and creativity, which results in such expressive fields as interactive narrative, digital performance, artificial intelligence-based computer game design, and educational media. He is a computer scientist, who is able to combine his work with his love of art in his lab. Brian enjoys playing accordion and trombone in his spare time, and as a member of a gypsy jazz group, often performs with a local circus, The Imperial Opa. Learn more about EarSketch at: http://earsketch.gatech.edu/. Read how EarSketch uses hip-hop to teach computer science at: http://www.gatech.edu/newsroom/release.html?nid=139831. Watch videos of different computational music experiences by students and teachers at the University of Massachusetts Lowell using the programming language of Scratch: http://teaching.cs.uml.edu/~heines/TUES/ProjectResources.jsp#videos.

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Frozen tableau is a strategy in which students create a scene and freeze the action, then discuss what is happening and their reactions to it. Using physical poses, gestures, and facial expressions, students convey the characters, action, and significance of a historic moment. Frozen Tableau in Laina Jones's Clasroom Laina Jones uses the frozen tableau strategy to help her students contextualize The Watsons Go to Birmingham -- 1963. Her goal is to help them understand what it was like to live during the civil rights movement and feel the emotions of that turbulent time. Jones presents students with five emotionally charged images, including Rosa Parks being fingerprinted and Elizabeth Eckford being stopped by soldiers outside Little Rock High School. The students then write answers to questions, below, about how they feel when they look at each picture. Jones leads a class discussion afterward to clarify any misunderstandings about the photographs. Then Jones asks groups of students to pose like the people in the photographs. Playing the role of a reporter, Jones asks each student/"character" what is happening and how they feel about it. Finally, as an extension, Jones asks the students to write poems about the emotions of the civil rights movement. Steps for Creating the Frozen Tableau Preparation With the Whole Class Teachers should begin by selecting photographs from a particular historic moment. Photos that depict the emotional impact of an event on people will engage students best, especially if the pictures depict a range of emotions and attitudes. To help the students understand diverse perspectives, teachers might want to select photos that show people in conflict over an issue -- though not necessarily physical conflict. One photo Laina Jones chose for her civil rights unit, for instance, shows an African American and two white supporters at a lunch counter sit-in. The anger of the crowd behind them is palpable. To begin, project one photograph for the class and ask the students to discuss the following questions: After the class has discussed these questions, ask students to volunteer to "become" the people in the picture. As they arrange themselves in their frozen tableau, the teacher can guide their poses, gestures, facial expressions, and spatial relationships. The students observing the frozen tableau can compare their classmates' representation with the photograph on the overhead and suggest ways to improve the accuracy of the scene. - If you were the photographer, what title would you give this shot? Why? - What's going on in this picture? - Who are the people in this picture? What emotions do you think they are feeling? - Choose one person in the photograph. What do you think he or she is thinking at this moment? - If you were showing this photograph to other people, what message would you want them to come away with about this event? When the students pose in their frozen tableau, the teacher or a student can play the role of a television reporter. The reporter "unfreezes" characters in the scene by touching their shoulder. The reporter can ask the unfrozen character questions such as "Who are you? What is going on in this scene? What are you feeling? What brought you to this moment? What do you think will happen next? What do you want the viewing audience to know about this event?" Each character responds to the reporter's questions, then returns to position. After modeling a tableau with the whole class, the teacher should divide the class into small groups and ask the students to create their own tableaux. Each small group should select a different photo and use the original discussion questions to deduce what the scene depicts. When each group has finished creating a tableau, they can show it -- and the photo that inspired it -- to their classmates. Viewers might make suggestions on how each small group can more accurately represent its photograph. The teacher can clarify any misunderstandings the students may have about the photograph's events. At the end of the activity, the teacher may ask the students to write or speak about how the frozen tableaux affected their understanding of history. The teacher might ask, "What do you know or understand now about this time in history that you didn't know or understand before?" or "Choose one character depicted in any of the tableaux today, and, in that person's words and from that person's point of view, tell what you think about this historical event." Tips and Variations for the Frozen Tableau Benefits of the Frozen Tableau - This strategy can also be used with scenes from multicultural fiction, such as The Watsons Go to Birmingham -- 1963. Students can create frozen tableaux that represent important conflicts among characters or powerful scenes in the text. To help student groups move from copying poses to inferring what a fictional scene might look like, teachers can ask all the groups to use the same scene in a novel or story, such as the "Wool Pooh" scene or the scene where Kenny tries to find Joetta in church. As the groups share their tableaux, the students can see a range of interpretations. The whole class might then discuss which tableau seemed to capture the original text best. - Alternatively, the frozen tableau strategy can be used to deepen the classroom discussion of themes or issues brought out in a text. In the case of The Watsons Go to Birmingham -- 1963, for example, the teacher might ask the students to identify scenes that illustrate incidents of racism. Small groups can then choose appropriate scenes and rehearse them in private. As each small group presents its scene, the class might guess which scene they chose and how it speaks to the particular theme or issue. Next, students or the teacher might interview some of the characters in the frozen tableau, asking them questions that range from "How are you feeling right now?" to "What would you say to teenagers today about this issue or theme?" By analyzing photographs and other students' frozen tableaux, students become more observant of how history is both made and told through storytelling -- whether the storyteller is a writer, a speaker, or a photographer. - Through this exercise, students see how interpretation is born of an interaction among a storyteller, historical events, and the reader. The strategy also enables students to "live" the past and discover history as stories of people taking risks, making decisions, and addressing problems. When students create frozen tableaux based on multicultural literature, they also visualize a written text, infer what individual characters might feel, imagine how to distill and capture the main idea of a scene, and empathize with people of diverse cultures and epochs.

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If you are learning English as a new language, view The Grade 3 classroom is a busy, exciting place. Grade 3 students take eight required subjects: Art, English Language Arts, Health and Life Skills, Mathematics, Music, Physical Education, Science and Social Studies. Some schools may offer additional optional subjects. English Language Arts (REQUIRED SUBJECT) A spotted cow walked through the deep grass. Grade 3 students use their language skills to describe things in greater detail. They make their own stories more interesting and notice how they can add excitement by saying certain words louder or at a higher pitch. Words become more colourful than ever! Mathematics (REQUIRED SUBJECT) I’m learning how to multiply and divide! Your child will explore numbers to 1000, using place value and counting in different ways. They’ll use their own strategies to add and subtract 2-digit numbers, and they’ll learn how to multiply and divide. Your child will solve problems involving number, patterns, measurement and data collection. Science (REQUIRED SUBJECT) Can you hear me? Grade 3 science students learn about sound and about rocks found on Earth’s surface. They test and evaluate building materials and apply problem solving strategies to build structures for a specific classroom challenge. These young scientists also study the life cycles and needs of animals. Physical Education (REQUIRED SUBJECT) What are the benefits of an active lifestyle? Your child will take part in various activities that will help them to lead a healthy, active lifestyle. They will grow to appreciate the importance of physical activity, while discovering essential life skills, such as cooperation, leadership, fair play and teamwork. Health and Life Skills (REQUIRED SUBJECT) I know what to do if someone tries to give me a cigarette. Thanks, but NO WAY! Your child will become more confident about saying no to bullies and taking a stand in making safe and healthy choices. They will know what to do in an emergency and how to express feelings, even anger, in an appropriate way. Art (REQUIRED SUBJECT) I can make it look even better! Your Grade 3 child will focus on improving the things they make and on making their art look more realistic. They will look closely at the qualities of objects to make their work as good as possible. Your child will also use art to express feelings and ideas. Music (REQUIRED SUBJECT) Feel the beat! In Grade 3, students listen to different kinds of musical instruments and recognize that sounds are made in different ways. Through movement, dance and singing, your child will explore various kinds of music and discover different beats and dynamics of music. Drama (OPTIONAL SUBJECT) Express yourself! Drama students experiment with dramatic play and discover creative ways to express themselves. Through puppetry, storytelling and other types of dramatic play, students discover who they are and discover the connections they have with others. Languages (OPTIONAL SUBJECT) Languages open the door to other cultures and new ways of thinking. A variety of language courses are offered across Alberta. Your child may have the opportunity to learn a First Nations language or an international language. Learn more about:

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Writing and Research with a Manatee Theme Stephanie, k-5 resource teacher This two week multidisciplinary unit incorporates technology, research methods, and written expression through creative writing activities and friendly letters--all through the theme of manatees. - Access to internet and printer - Notebook paper - Roll paper (for hallway display) - Friendly Letter example or format Unit Lesson Plans - Lesson One - Familiarize students with Internet as research tool. - Lesson Two - Introduce research topic of manatees, students form questions. - Lesson Three - Students work in groups to answer questions. - Lesson Four - Students write "Tale From a Manatee." - Lesson Five - Students write a friendly letter. - Lesson Six - Students create a hallway display to show what they have learned. Lesson Plan One: Goal- To familiarize students with the Internet as a research tool and on line library. - Students will understand internet terms like search engine, web site, Internet, book marking, URL, WWW, scroll, and any others you feel important. - Students will demonstrate understanding of basic internet usage after teacher demonstration and guided practice by finding various random facts in groups and as individuals. Lesson Plan Two: Goal- To introduce the research topic of Manatees. - Students will create a "What we know" list about manatees as a whole group. - Students will then have a "question web" demonstrated on the board before they create their own question web that will list "What they want to know" about manatees. - Class will combine individual question webs to create one web to use for research. Lesson Plan Three: Goal- Students will work in groups and as individual to find answers to questions from the class question web about manatees. - Students will work in groups of three to five productively and efficiently. - As a group, the students will tilize the internet as a research tool to find and record information about manatees. - Students will gather data and combine it to result in a presentation of their findings by the third day of research. - Students will present their findings on manatees. NOTE: Teacher should assign each group with specific questions from the question web. Each group should have different questions and know exactly what they are looking for in their research. Lesson Plan Four: Goal- To encourage creative writing and strengthen written expression abilities. - Students will write a "Tale From A Manatee", taking the view point of a manatee. Children will be encouraged to use details from the information researched about manatees and their habitat, migration, dangers, etc. Lesson Plan Five: Goal- To introduce and practice the Friendly Letter Format. - The students will choose an organization that protects manatees and write them a friendly letter, thankng them for their support and efforts in the save the manatee cause. Lesson Plan Six: Goal: To summarize the manatee unit and create a hallway display of the creative writing activities, facts they found, as well as drawings and internet print out pictures to share with the rest of the school. - Students will write a summary papragraph about the unit and what they learned, liked or disliked. - Students will draw a picture of a manatee to add to the display. This is an easy way to service resource students with a learning difference in written expression in the whole classroom, and all students benefit from the unit. Try going in to the regular classroom for thirty/fourty-five minutes a day and team teach with the regular educator. Between the two of you, plenty of assistance can be provided to those students who need the additional help and they will experience success in the classroom. Pull out asssitance can still be provided as needed at other times during the day.

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Each chapter of the novel is told by a different narrator. Discuss the effect that this narrative technique creates. To what purpose does it serve? On the most obvious level, the multiple narrators allow for the story to be told in a communal rather than an individual way. Gaines has carefully selected these narrators across a broad spectrum. They are black, white, male, female, young, old, educated, not educated, liberal, and racist. Each of these narrators understands the murder of Beau Bauton in a different manner. When their different perspectives are placed side by side, the reader is able to understand the novel's events from not just one, but from multiple points of view. Furthermore, the ability to see into fifteen characters' minds as they speak in the first person allows for the reader to become intimately acquainted with them. This ability becomes especially important with the old black men who narrate. When the thoughts of these old men are visible, it becomes clear that most of these men have operated for years with a dual consciousness. They have lived in a world of silent acceptance but entertained dreams of action in their mind. By giving each of these old men voice, Gaines allows them the opportunity to finally tell their stories. Storytelling is a theme within the book, and a motif that persists in African-American literature. The importance of mastering language and its connection to self-realization can be seen in African-American texts from The Autobiography of Frederick Douglass to the The Invisible Man. Most of the old men in Gaines's novel are not literate, meaning that they will never write their own stories. By granting them narrative control with his novel, Gaines grants them the power of self-definition. For these old men, the act of defining themselves with words is as important as redefining themselves with action. Overall, Gaines's narrative technique allows for a complex rendition of his Louisiana community where the perspectives of all characters, white, black, and Cajun, can be known with a greater complexity than if they were not able to explain themselves in their own words. Many of the old men express gratitude for the fact that they can confess to Beau's murder, even though they did not kill him. Why would they feel grateful when they could be possibly punished for their confessions? The old men feel gratitude for the chance to confess because it will allow them to redefine themselves. These men have spent their lives trying to avoid trouble with the local whites. The racist system of the South long has relegated them to a subhuman existence. Now in their final years, Beau's murder gives these men the opportunity to salvage some of their dignity before they die. Suddenly these old men are prepared to rise up and fight against the injustice that they have suffered through the years. By deciding to help Mathu, these men are seizing power over their lives and reaffirming their humanity and their manhood. Although there is only one murderer of Beau, each black man has longed to commit the same murder in his mind. Beau is only one man, but he represents all of the white men who have subjugated the blacks over the years. To claim to have killed Beau provides each man with the chance to revenge a social order that has disdained and abused him. The murder of Beau allows the men to act and through their action they are able to discard the cowardice that has haunted them for many years. It is their ability to now take a stand for themselves and against their previous persecution that makes them grateful. Discuss the character of Gil Bauton. Discuss the symbolism of his role in the "Salt and Pepper" duo on the Louisiana State Football Team. Gil Bauton is a white Louisianan who represents the new South. As a football halfback, his offensive moves depend upon the work of Cal Harrison, a black running back. Because of their white and black combination, the press has labeled them "Salt and Pepper." Gil and Cal together have made the Louisiana State Team a success. Gaines compares the dependency of these two players to the dependency of two hands on a baseball bat: without one another neither would succeed. The success of their combination has made the issue of their races unimportant. The racial unity that they symbolize has caught the attention of the black and white communities of local Baton Rouge, as well as the rest of the country. Gil Bauton's desire to become an "All-American" player also depends upon his work with Cal. It is only by working together that the two men can become All-American. Effectively, Gaines suggests with this symbolism that true Americanism can only be found with racial unity and cooperation, not division. Just as Cal and Gil work together on the football field, so too must whites and blacks work together in the South and in the entire country. It is only through such joint cooperation that all Americans can become all-American. Gil and Cal's football duo represents the possibility of future of racial harmony in the United States. Although book seems to deal mostly with men, black women are quiet but still strong characters in the novel. Discuss their role. The book deals with many serious issues of miscarried justice. What do you think of the judge's final verdict? Why does the author choose to close the book with a comical courtroom scene after dealing with such serious issues? Gaines frequently reports upon how the blacks have different skin tones. Why does Gaines think that this fact is important? Using at least three blacks as examples discuss their skin color in relation to their personality and the community. On the way to Mathu's house, why do the old men linger in the cemetery? What does the graveyard represent? Sheriff Mapes sits down and seems to give up during the shootout even though he is barely hurt. Why does he do this? Discuss the character of Jack Marshall. Why does he spend his days in a drunken stupor? How do his daily actions relate to his family's history? Hello my dear, my name is miss Marijane, l meet your profile today on this site so that is why l contacted you. l want us to be friends.write back to me so that l will send to you my beautiful pictures. my email; ( email@example.com ) l wait for your reply. my email ( firstname.lastname@example.org ) 2 out of 7 people found this helpful

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Short Stories for Point of View in Literature When the point of view changes, the story changes. Teach the importance of point of view with these short stories ELA Common Core Standards Covered Teaching point of view in short stories may cover the following ELA Common Core Standards. This is for your administrator, not your kids. Kids need student-friendly worded objectives. - RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. - RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature. - RL.9-10.10 By the end of grade 9, read and comprehend literature, including stories, dramas, and poems, in the grades 9-10 text complexity band proficiently, with scaffolding as needed at the high end of the range. By the end of grade 10, read and comprehend literature, including stories, dramas, and poems, at the high end of the grades 9-10 text complexity band independently and proficiently. Point of View in Literature Defined We all teach that point of view is the perspective from which a story is told, but teaching mastery requires learning more than just a definition. Here are the levels of learning in regards to teaching imagery. - Define point of view: You can teach a monkey to recite a definition. It's simple memorization. It is necessary for mastery but does not come close to achieving it. - Identify a story's point of view: You'd have trouble teaching a monkey to identify the point of view in a story (unless it's a really smart monkey). Most high school students know it when they see it. Simply identifying it, however, has no practical application outside of a classroom. It is not mastery. - Interpret point of view: Now we're approaching mastery. Students who can explain the author's purpose in using a particular point of view and how the point of view relates to the overall theme of the literary work are using critical thinking skills, skills that can be applied outside of the classroom. - Choose point of view with a purpose: Students who can use point of view to suit a specific purpose in writing or in speech have mastered the concept and are one step closer to becoming a master of words. Short Stories for Teaching Point of View in Literature - "Content's of the Dead Man's Pocket" by Jack Finney - Tom Benecke compiles a report that just may get him his big raise, but as the piece of yellow paper flies out the window and onto a ledge, Benecke must decide whether to risk his life and retrieve the paper or let it go. The reader sees the story develop from a third-person limited point of view, knowing the thoughts and actions of the story's protagonist. Gain the perspective of another character -- Tom's wife, a passerby on the street below, his boss -- by rewriting a particular passage or by conducting a mock interview. - "The Secret Life of Walter Mitty" by James Thurber - Walter Mitty is a brow-beaten middle-aged man who dreams of so much more. Join Walter on his life-and-death adventures in James Thurber's most popular short story. Thurber employs a third-person limited point of view and entertains his readers with Mitty's daydreams. Taking a look at how his wife views the situation would be entertaining indeed. - "The Scarlet Ibis" by James Hurst - Break out the tissues as you read the first person account of Doodle's death from his brother. By employing first person point of view, Hurst allows the reader to identify with his narrator. - "The Cask of Amontillado" by Edgar Allen Poe - Montresor's chilling first person account of his plan to kill Fortunato has been a high school favorite for years. Making a character chart comparing the two main characters, from both Montresor's and Fortunato's perspective makes for an interesting class discussion. It's also fun to imagine Fortunato as the first person narrator. - "The Celebrated Jumping Frog of Calaveras County" by Mark Twain - Twain's frame story encompasses a third person account from Simon Wheeler from a first person narrator who's been the recipient of a prank. Laugh along with Twain as he takes his narrator on a labyrinthine diatribe. Discuss the elements of a frame story by creating a frame with "The narrator asks Simon Wheeler about Leonidas W. Smith." Inside the frame write "Simon Wheeler narrates the following stories" Another Point of View on Point of View Point of View can also refer to the cultural perspective from which a story is told. The following lesson plan on point of view can help students understand both aspects of point of view. - Read a story. - Instruct students to rewrite a scene from a different point of view. This different point of view can be the literary point of view or the cultural/gender point of view or both. - This activity works well in a group setting with one person in each group writing from the perspective of a different character, an omniscient narrator, or an outsider. - Share the same story from a different point of view with the class. Teaching Literary Elements with Short Stories Understanding literary elements is necessary for literary analysis. These short stories will help you teach literary elements.

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Digital literacies4138 oct13Presentation Transcript Digital Literacies C&T 4138 Fall 2010 multimodality Digital storytelling 21 st -century literacies Ting Yuan Why digital literacies? What are the possible relationships between digital literacies and the school literacy curriculum? Perhaps the greatest demand, however, is to imagine a curriculum that helps children to draw on their knowledge of different ways to represent and communicate ideas and that acknowledges and builds teachers’ professional expertise—a curriculum for the twenty-first century. (Bearne, 2005, p. 26) Digital Storytelling An example Blogging More examples : Students in Ms. H , Ms. B , and Ms. M’s grade five classrooms at International School Bangkok (Thailand) connect with students in 4 other schools around the world using blogs and podcasts to share their reading and writing strategies as they learn to become better readers and writers with the TCRWP approaches. “ Supporting developing writers is partly about encouraging them to find a voice , to explore the power and practical significance of writing.” (Merchant, 2005, p.81) “ For the children producing, designing and re-designing episodes and segments included in their podcast created a space to get at the notion that texts are socially constructed and that literacy is most definitely not a neutral technology. ” (Vasquez, 2011) Podcasting How to make classroom podcasting Blog - Vlog - Glog ? One more example about personal digital portrait “ Using new technology can help young writers to develop their identity-in-writing as well as their identity-as-writers.” (Merchant, 2005, p.81) Comic Life E-book Converting Tool: ISSUU Professor Garfield An online tool for creating comic strips Toondo An online comic book tool Storybird A collaborative e-book tool for young children Scratch A programming tool for children to create stories, games, music and art works “ New” literacies are categorized as new “ technical stuff ” and new “ ethos stuff ” by Lankshear and Knobel (2007). The former focuses on the functional use of new technologies, while the latter brings students immersive learning experiences which are “more ‘participatory’, ‘collaborative’, and ‘distributed’ in nature than conventional literacies.” (p. 9) A participatory culture —"a social ethos based on knowledgesharing” (Jenkins et al, 2006, p. 50) brought by the web 2.0 era is replacing the web 1.0 culture, the culture about passive content consumption. “ ... a culture with relatively low barriers to artistic expression and civic engagement , strong support for creating and sharing one's creations , and some type of informal mentorship whereby what is known by the most experienced is passed along to novices. A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection with one another (at the least they care what other people think about what they have created).” (Jenkins et al, 2006, p. 3) Manyvoices as an Example @manyvoices was an ongoing collaborative story started by Mr. Mayo's 8th grade students in Maryland. The collaborative story was written by over 100 elementary and middle school students in six different countries using Twitter.com . “ Digital media and the new forms of communication provide rich possibilities for redefining interaction and establishing kinds of participation and production that reach out beyond spaces… ” (Merchant, 2005, p. 80)

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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 email@example.com.

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- Basic Writing - International Literacy Day - Readability Formula - Secondary Orality Etymology:From the Latin, "letter" - "Literacy is a human right, a tool of personal empowerment and a means for social and human development. Educational opportunities depend on literacy. "Literacy is at the heart of basic education for all, and essential for eradicating poverty, reducing child mortality, curbing population growth, achieving gender equality and ensuring sustainable development, peace and democracy." ("Why Is Literacy Important?" UNESCO, 2010) - "The notion of basic literacy is used for the initial learning of reading and writing which adults who have never been to school need to go through. The term functional literacy is kept for the level of reading and writing which adults are thought to need in modern complex society. Use of the term underlines the idea that although people may have basic levels of literacy, they need a different level to operate in their day-to-day lives." (David Barton, Literacy: An Introduction to the Ecology of Written Language, 2nd ed. WileyBlackwell, 2006) - "To acquire literacy is more than to psychologically and mechanically dominate reading and writing techniques. It is to dominate those techniques in terms of consciousness; to understand what one reads and to write what one understands: it is to communicate graphically. Acquiring literacy does not involve memorizing sentences, words or syllables--lifeless objects unconnected to an existential universe--but rather an attitude of creation and re-creation, a self-transformation producing a stance of intervention in one's context." (Paulo Freire, Education for Critical Consciousness. Sheed & Ward, 1974) - "There is hardly an oral culture or a predominantly oral culture left in the world today that is not somehow aware of the vast complex of powers forever inaccessible without literacy." (Walter J. Ong, Orality and Literacy: The Technologizing of the Word. Methuen, 1982) - "We expect the contradictory and the impossible. . . . We expect to be inspired by mediocre appeals for 'excellence,' to be made literate by illiterate appeals for literacy." (Daniel J. Boorstin, The Image: A Guide to Pseudo-Events in America, 1961) - Women and Literacy "In the history of women, there is probably no matter, apart from contraception, more important than literacy. With the advent of the Industrial Revolution, access to power required knowledge of the world. This could not be gained without reading and writing, skills that were granted to men long before they were to women. Deprived of them, women were condemned to stay home with the livestock, or, if they were lucky, with the servants. (Alternatively, they may have been the servants.) Compared with men, they led mediocre lives. In thinking about wisdom, it helps to read about wisdom--about Solomon or Socrates or whomever. Likewise, goodness and happiness and love. To decide whether you have them, or want to make the sacrifices necessary to get them, it is useful to read about them. Without such introspection, women seemed stupid; therefore, they were considered unfit for education; therefore, they weren’t given an education; therefore they seemed stupid." (Joan Acocella, "Turning the Page." Review of The Woman Reader by Belinda Jack [Yale University Press, 2012]. The New Yorker, October 15, 2012) - Time for a New Definition of Literacy? "We need a radical redefinition of literacy, one that includes a recognition of the vital importance that orality plays in shaping literacy. We need a radical redefinition of what it means for society to have all the appearances of literacy and yet to abandon the book as its dominant metaphor. We must understand what happens when the computer replaces the book as the prime metaphor for visualizing the self. . . . "It is important to remember that those who celebrate the intensities and discontinuities of postmodern electronic culture in print write from an advanced literacy. That literacy provides them the profound power of choosing their ideational repertoire. No such choice--or power--is available to the illiterate young person subjected to an endless stream of electronic images." (Barry Sanders, A Is for Ox: Violence, Electronic Media, and the Silencing of the Written Word. Pantheon, 1994) - From the Website of California Literacy, Inc. "The literacy rate in the US has many educators in search of answers about this problem that has plagued our country for decades. Instead of decreasing, the numbers of literacy has steadily increased over the years. This raises a lot of questions about our education system, how it is ran, and why there is such a problem with illiterate people in our country." (quoted by The New Yorker, Nov. 22, 2010)

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Teaching Oral Communication Skills in the K-8 Classroom This course is occasionally offered in Summer Session Dates and Times for this class: Not currently scheduled for 2012 Credits/Clock hours available Many children and adults fear speaking in public. Teaching students at a young age how to speak with skill, enthusiasm and confidence will not only serve to meet the WA state EALR in communication, but will give children the foundation of a vital life-long skill. This workshop will cover specific teaching methods for giving children the tools they need to develop effective oral and physical communication skills, and reduce communication apprehension, through storytelling, reader's theatre, oral interpretation of literature, and public speaking. Oral Communication skills learning is a vital component of the WA state Arts and Communication EALRs. However, the majority of communication teaching in k-8 schools is focused on interpersonal, written and media communication rather than public presentation skills. There has been a reduction in the teaching of oral communication skills in recent years due to a greater emphasis on subjects more strongly included in standardized testing. Teachers also attribute this reduction (along with larger class sizes and less time) to an inadequate understanding of how to teach specific oral and physical delivery skills and a certain sense of inadequacy in terms of their own public communication effectiveness. This course will increase teachers’ understanding of the importance of early communication skills learning and will inspire them to employ more specific and effective techniques in teaching these skills. Studies indicate that children who learn the art of public communication at an early age, with specific skills comprehended, are less likely to suffer from communication apprehension and continue to be more confident in their speaking in subsequent years. Currently most “public speaking” instruction is given in secondary and higher education settings, yet the most effective time for students to learn oral communication skills is during the elementary education years. Topics covered in course: - Psychology of communication apprehension in child development, and benefits of early oral skills learning. - Justification for oral communication activities and creative drama as meeting educational requirements and supporting learning across the curriculum. - Methods of teaching oral and physical delivery skills to differing age levels. - Specific and varied activities in speaking and creative drama and be used to help children learn, practice and improve communication skills: - Theatre Games - Reader’s Theatre - Oral Interpretation of literature - Public Speaking Goals or learner outcomes: - to recognize the roots, causes and psychology of communication apprehension in children (and, subsequently, adults). - to learn techniques to reduce communication apprehension in children while giving them the tools to develop effective oral communication skills. - to appreciate the differences and connections between oral communication and written communication skills learning and the necessity of both to meet the state’s Essential Academic Learning Requirements (EALRs). - to develop the leadership and role modeling skills to effectively draw out the best in children by using a variety of oral communication activities in their own classrooms. - to leave the workshop with a plan of action and specific tools to include more oral communication activities in their classroom teaching. For registration information and details on other summer courses offered by Woodring College of Education, please go to the webpage of the Professional Development Resource Center.

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