I am so thankful to have been in this class. I learned a ton about myself and a ton about teaching English. As a future teacher, I learned that some of the most effective lessons happen when you scratch the plan and just allow students to speak freely about their own feelings and ideas. I learned that there are thousands of effective ways to teach students, models that really work and that actually make students excited to participate. Literature (in this class) did not seem laborsome even though their were many books on the reading list. Although it seemed initimidating at first, it was exciting. I looked forward to coming to class every week because I knew that I had a voice and that my voice was valuable to everyone. I found myself wanting to see how Dr.Shannon ran the class and learn as much as I could from the various teaching methods that she "practiced" on us.
Allowing students to create, to choose, to speak, to think by themselves to gather their thoughts, to reflectively write on their feet, to connect to songs/popular culture, to teach me---all of these things enhance learning. The teacher should almost always be a facilitator of good learning, not the focus. Preparation is so important. You need to really understand and put in the time in order to present a lesson plan that is effective. Students can spot a fake a mile away. Modeling for your students shows them that not only do you want them to value what you are teaching, but it has relevance to your own life. As a teacher, we want to stay fresh, but can't be afraid to use curriculum either. There is no way that we could constantly come up with new material for every school day. With that being said, there are many resources out there. Being willing to use new materials, learn new methods, and revise curriculum to fit your particular classroom is vital to creating a stimulating learning atmosphere. Using technology is incredibly important as well, but we need to make sure that it is used properly and appropriately. It should enhance a lesson, not take away or be used as a crutch.
Culture is a huge part of how we identify ourselves. Literature, in many ways, is a representation of that identity. Creating an atmosphere where all students feel "identified" is a tough task, but one that we shouldn't get tired of trying to meet. Allow students to be themselves. Don't be prejudice, ignorant, or intolerant. Be a human being and you can connect to any other human being. Humanity is beautiful. Learning is stimulated by differences so embrace them!
I have so much longer before I have this English teaching thing mastered. I'm scared to death that I am not smart enough, don't know enough, not well read enough, but I know that this is what I was created to do. I'm going to continue to soak up all that I can, take risks, and learn from every mistake. This class was so valuable in helping me to build confidence. It's given me an arsenal of resources, teaching methods, and great texts. It's helped me to embrace my fears and challenges head on in a safe and encouraging environment. I loved the stimulating intelligent discussion and the chance to learn from all of my peers. So here's to Ad Lit Spring Semester 2011, Cheers!
Wednesday, April 13, 2011
Tuesday, April 12, 2011
Music to my Ears....
The three songs that I have chosen are:
Praise You in This Storm by Casting Crowns
Time of Your Life by Green Day
Freshman by The Verve Pipe
Praise You in This Storm
words by Mark Hall/music by Mark Hall and Bernie Herms
I was sure by now,God, that You would have reached down
and wiped our tears away,
stepped in and saved the day.
But once again, I say amen
and it's still raining
as the thunder rolls
I barely hear You whisper through the rain,
"I'm with you"
and as Your mercy falls
I raise my hands and praise
the God who gives and takes away.
Chorus:
And I'll praise you in this storm
and I will lift my hands
for You are who You are
no matter where I am
and every tear I've cried
You hold in your hand
You never left my side
and though my heart is torn
I will praise You in this storm
I remember when I stumbled in the wind
You heard my cry to You
and raised me up again
my strength is almost gone how can I carry on
if I can't find You
and as the thunder rolls
I barely hear You whisper through the rain
"I'm with you"
and as Your mercy falls
I raise my hands and praise
the God who gives and takes away
Chorus
I lift my eyes onto the hills
where does my help come from?
My help comes from the Lord, the maker of heaven and earth
I lift my eyes onto the hills
where does my help come from?
My help comes from the Lord, the maker of heaven and earth
Chorus
Green Day
Praise You in This Storm by Casting Crowns
Time of Your Life by Green Day
Freshman by The Verve Pipe
Praise You in This Storm
words by Mark Hall/music by Mark Hall and Bernie Herms
I was sure by now,God, that You would have reached down
and wiped our tears away,
stepped in and saved the day.
But once again, I say amen
and it's still raining
as the thunder rolls
I barely hear You whisper through the rain,
"I'm with you"
and as Your mercy falls
I raise my hands and praise
the God who gives and takes away.
Chorus:
And I'll praise you in this storm
and I will lift my hands
for You are who You are
no matter where I am
and every tear I've cried
You hold in your hand
You never left my side
and though my heart is torn
I will praise You in this storm
I remember when I stumbled in the wind
You heard my cry to You
and raised me up again
my strength is almost gone how can I carry on
if I can't find You
and as the thunder rolls
I barely hear You whisper through the rain
"I'm with you"
and as Your mercy falls
I raise my hands and praise
the God who gives and takes away
Chorus
I lift my eyes onto the hills
where does my help come from?
My help comes from the Lord, the maker of heaven and earth
I lift my eyes onto the hills
where does my help come from?
My help comes from the Lord, the maker of heaven and earth
Chorus
Green Day
Time Of Your Life lyrics
Another turning point;
A fork stuck in the road.
Time grabs you by the wrist;
Directs you where to go.
So make the best of this task and don't ask why.
It's not a question but a lesson learned in time.
It's something unpredictable
But in the end it's right.
I hope you had the time of your life.
So take the photographs
And still frames in your mind.
[ Lyrics from: http://www.lyricsmode.com/lyrics/g/green_day/time_of_your_life.html ]
Hang it on a shelf
In good health and good time.
Tattoos of memories
And dead skin on trial.
For what it's worth,
It was worth all the while.
It's something unpredictable
But in the end it's right.
I hope you had the time of your life.
(Music break)
So make the best of this task and don't ask why.
It's not a question but a lesson learned in time.
It's something unpredictable
But in the end it's right.
I hope you had the time of your life.
A fork stuck in the road.
Time grabs you by the wrist;
Directs you where to go.
So make the best of this task and don't ask why.
It's not a question but a lesson learned in time.
It's something unpredictable
But in the end it's right.
I hope you had the time of your life.
So take the photographs
And still frames in your mind.
[ Lyrics from: http://www.lyricsmode.com/lyrics/g/green_day/time_of_your_life.html ]
Hang it on a shelf
In good health and good time.
Tattoos of memories
And dead skin on trial.
For what it's worth,
It was worth all the while.
It's something unpredictable
But in the end it's right.
I hope you had the time of your life.
(Music break)
So make the best of this task and don't ask why.
It's not a question but a lesson learned in time.
It's something unpredictable
But in the end it's right.
I hope you had the time of your life.
Tuesday, March 29, 2011
Ah, Shakespeare....
It has been my experience that most students tend to reject Shakespeare while most teachers tend to reject teaching it. The task of teaching Shakespeare seems almost too daunting at times which makes me wonder, Why are we still teaching this? Should we be teaching this? If yes, then how can we teach it better? Let me tell you, if Shakespeare was the only playwright that I ever read or was exposed to, I would certainly almost surely hate dramatic theater. Even though I am a future English teacher, I must admit that I do not LOVE Shakespeare. Unfortunately, alot of the bad taste in my mouth has been developed due to the unfortunate experiences that I have had up until this point in my educational career. I cannot remember a time in a classroom where I enjoyed learning Shakespeare, where I embraced it, loved it, or even was semi interested. The closest I can remember ever connecting to the writer was when I was a freshman in high school and Romeo and Juliet came out in theaters starting Leonardo DeCaprio and Claire Danes. Everyone, and I mean everyone, from my highschool ran to the theater to see it immediately not just viewing it one time, but several times. Was that because we were in love with the play, or because we were in love with the actors? I'm not sure, but either way, this exposure to Shakespeare was far greater than any classroom lesson that I had. My girlfriends and I wrote about it, talked about it, and anxiously awaited the movie coming out onto VHS (yes it was VHS back then). So how do we channel this excitement into the classroom? Are we teaching Shakespeare all wrong? I think so.
Martha Tuck Rozett had some really ideas of how to differentiate the way that we have previously taught Shakespeare in the classroom. She describes her ideas in her article, "Getting to Know a Play Five Ways". Her approach is different in that it doesn't focus on main characters, plots, themes, and the common critical essay, but more of a hands on approach of examining the text as a whole so to not eliminate any part of Shakespeare's carefully crafted storyline. She spends alot of time having the students focus on visual elements such as stage directions, props, and character transformations. She also has the students focus on the dramatic production by creating their own modern versions of the text including their own ommissions and additions to creatively recreate the originals for a present day audience. Language also becomes a priority in her classroom through the examination of particular key words within the text, and their relation to various thematic elements throughout. She says that one of her three main objectives is, "To give them an opportunity to do something imaginative even fun, that requires analytical and communicative skills but that avoids the anxieties attendant on arguing an interpretive thesis using standard essay-writing techniques and academic diction" (65). I applaud her for trying to achieve this objective. I'm not sure that I even feel that an essay is necessary when teaching Shakespeare. I almost think that an essay is demeaning to such creative artistic expression as represented in Shakespeare's plays. We should treat Shakespearean plays within their genre. We shouldn't teach them from a novel perspective, but should teach them as they were meant to be taught. They were meant to be performed, so why not focus on the performance aspect of the plays. Like Rozett, teach the students how to not only close read the words, but close read the stage directions, the casting, the character doubling, the props, etc. One of the ways that we can improve upon this is by focusing on only one play by Shakespeare when we teach a Shakespeare unit. Far too many times, multiple plays are read in an effort to expose students to many different works by Shakespeare. The danger in this is that the students don't really get to closely examine the play, but focus solely on main characters and common themes. However, Shakespeare's plays may be better examined if students are really able to tear apart a play over a period of weeks rather than reading one play in two days. Piggy-backing on Rozett's approaches, I created my own five ways to get to know a play:
1. Props-put one group in the class in charge of the props in the play. Have them closely examine the text paying attention to when, why, and how props are used throughout the play. Have the students examine various screen versions of the play paying close attention to the way that the director has chosen to use the props. Do they agree disagree with what is being used? Why or why not? Have this group do a prop demo explaining what props are important to the play and how and why they chose these particular props. Have them bring the props in so that they can be used when the play is actually performed (which the class will later do as their collaborative final exam).
2. Casting-you must cast your fellow students in one of Shakespeare's plays (obviously whichever play that you choose to teach). Examine the play closely for character qualities, what student would do the character the most justice. Examine the history and context of the play for ideas for costumes. Have the group give a costume demo and, hold auditions for various parts in the play. Have them examine the original Shakespearean plays and the use of males versus females. They may choose to use all males, or incorporate females as well. Have the group reveal their casting decisions to the rest of the class and explain why each person was chosen.
3. Words, language, diction-This group will examine (with the help of a concordance if your school has these) the language used throughout the text paying close attention to why certain words are chosen, what they represent, how they transform, what their meanings are, and how they can be presented visually on stage. The students can choose to change the language or words if they have strong evidence to support their change. This group will be responsible for creating the scenery for the play that will be performed for the final exam.
4. Editors/Directors-The play needs to be broken down into a forty-five minute version that will be performed in front of multiple English classes during a particular class period (if you have block scheduling, obviously the length of the play could be longer). The group will closely examine the text for the most important parts of the play. They will use the original version, but will edit it down to fit the allotted time period. They must rewrite the script so that every student in the class has a copy. The rewritten script must be approved for performance by the teacher. These students will be directing the play's performance for the final exam.
5. Play Critics-This group will be responsible for critiquing various modern versions of the play. They will watch various performances both on screen and off screen (if you can take them to a performance of Shakesepare in the Park or other local Shakespeare productions, it would be very beneficial). As they watch the performances, they will critique the dramatic representations of the play for quality, authenticity to the original, and modernity (does the dramatic portrayal convey a message that is pertinent to today's world). These students will then critique the performance of the play that is given for the final exam. They will present their critique in a creative fashion. One example could be that they present a movie review like Roger Ebert where they include not only critiques of the performance itself, but interview with the actors, writers, and directors. This is a fun way for the students to evaluate their peers.
Shakespeare is not an easy playwright to teach. However, we can make it fun, but we must stay true to the genre by allowing students to creatively interact with the text rather than just read it, discuss it, and watch weak representations in the form of bad movie clips.
Martha Tuck Rozett had some really ideas of how to differentiate the way that we have previously taught Shakespeare in the classroom. She describes her ideas in her article, "Getting to Know a Play Five Ways". Her approach is different in that it doesn't focus on main characters, plots, themes, and the common critical essay, but more of a hands on approach of examining the text as a whole so to not eliminate any part of Shakespeare's carefully crafted storyline. She spends alot of time having the students focus on visual elements such as stage directions, props, and character transformations. She also has the students focus on the dramatic production by creating their own modern versions of the text including their own ommissions and additions to creatively recreate the originals for a present day audience. Language also becomes a priority in her classroom through the examination of particular key words within the text, and their relation to various thematic elements throughout. She says that one of her three main objectives is, "To give them an opportunity to do something imaginative even fun, that requires analytical and communicative skills but that avoids the anxieties attendant on arguing an interpretive thesis using standard essay-writing techniques and academic diction" (65). I applaud her for trying to achieve this objective. I'm not sure that I even feel that an essay is necessary when teaching Shakespeare. I almost think that an essay is demeaning to such creative artistic expression as represented in Shakespeare's plays. We should treat Shakespearean plays within their genre. We shouldn't teach them from a novel perspective, but should teach them as they were meant to be taught. They were meant to be performed, so why not focus on the performance aspect of the plays. Like Rozett, teach the students how to not only close read the words, but close read the stage directions, the casting, the character doubling, the props, etc. One of the ways that we can improve upon this is by focusing on only one play by Shakespeare when we teach a Shakespeare unit. Far too many times, multiple plays are read in an effort to expose students to many different works by Shakespeare. The danger in this is that the students don't really get to closely examine the play, but focus solely on main characters and common themes. However, Shakespeare's plays may be better examined if students are really able to tear apart a play over a period of weeks rather than reading one play in two days. Piggy-backing on Rozett's approaches, I created my own five ways to get to know a play:
1. Props-put one group in the class in charge of the props in the play. Have them closely examine the text paying attention to when, why, and how props are used throughout the play. Have the students examine various screen versions of the play paying close attention to the way that the director has chosen to use the props. Do they agree disagree with what is being used? Why or why not? Have this group do a prop demo explaining what props are important to the play and how and why they chose these particular props. Have them bring the props in so that they can be used when the play is actually performed (which the class will later do as their collaborative final exam).
2. Casting-you must cast your fellow students in one of Shakespeare's plays (obviously whichever play that you choose to teach). Examine the play closely for character qualities, what student would do the character the most justice. Examine the history and context of the play for ideas for costumes. Have the group give a costume demo and, hold auditions for various parts in the play. Have them examine the original Shakespearean plays and the use of males versus females. They may choose to use all males, or incorporate females as well. Have the group reveal their casting decisions to the rest of the class and explain why each person was chosen.
3. Words, language, diction-This group will examine (with the help of a concordance if your school has these) the language used throughout the text paying close attention to why certain words are chosen, what they represent, how they transform, what their meanings are, and how they can be presented visually on stage. The students can choose to change the language or words if they have strong evidence to support their change. This group will be responsible for creating the scenery for the play that will be performed for the final exam.
4. Editors/Directors-The play needs to be broken down into a forty-five minute version that will be performed in front of multiple English classes during a particular class period (if you have block scheduling, obviously the length of the play could be longer). The group will closely examine the text for the most important parts of the play. They will use the original version, but will edit it down to fit the allotted time period. They must rewrite the script so that every student in the class has a copy. The rewritten script must be approved for performance by the teacher. These students will be directing the play's performance for the final exam.
5. Play Critics-This group will be responsible for critiquing various modern versions of the play. They will watch various performances both on screen and off screen (if you can take them to a performance of Shakesepare in the Park or other local Shakespeare productions, it would be very beneficial). As they watch the performances, they will critique the dramatic representations of the play for quality, authenticity to the original, and modernity (does the dramatic portrayal convey a message that is pertinent to today's world). These students will then critique the performance of the play that is given for the final exam. They will present their critique in a creative fashion. One example could be that they present a movie review like Roger Ebert where they include not only critiques of the performance itself, but interview with the actors, writers, and directors. This is a fun way for the students to evaluate their peers.
Shakespeare is not an easy playwright to teach. However, we can make it fun, but we must stay true to the genre by allowing students to creatively interact with the text rather than just read it, discuss it, and watch weak representations in the form of bad movie clips.
Tuesday, March 22, 2011
I HEART GEEKS!
Gone are the days when only "super smart" kids were savvy with computers. Yeah, they may know how to build them and make them run faster, but nearly all kids these days (regardless of intellect) can navigate their way around the internet with ease. I found many things about Tracy Tarasiuk's article Moving My English Class to the Computer Lab compelling. Ironically some of the things that she said disproved the theory that America's students are the dumbest, but contrarily they may be some of the smartest. Tracy's student Robert was the model example of the common American teenager. He struggles on tests, he has trouble reading, he was labeled at an intermediate level, yet he shined brightly at creating YouTube videos and instructing others on how to use internet tools and gadgets. I think teens like Robert are more representative of the average American teen, than most educators are willing to admit. Many would probably dismiss his abilities and talents as meaningless wastes of time, but to Robert (and probably the many fans who have viewed his videos), he is as intelligent as the marketing advertisers for large corporations. He doesn't have a degree or a fancy suit, but he has passionately devoted himself to creating "how to" videos that I'm sure boys his age want to see. Why I agree that this generation has become somewhat self indulgent and addicted to social networks, they are at least communicating with each other which in and of itself is learning is it not? I think alot of our students are just waiting for schools, eductors, and classrooms to catch up with them. They are screaming to participate, but they want to participate within the realms of relevant contemporary literacies. Unfortunately, there are still teachers and school districts that think introducing technology into the classroom means typing a paper on a computer, creating a pamphlet, or showing a movie clip. This is not it people. Wake up! I know how frustrating it is to sit through Shakespeare class watching movie after movie with no relevancy because half the time the acting is so cheesy or the picture is filled with static because the movie was created over twenty years ago. Why are we using this material? Isn't it important to stay current, gather new material, find a way for students to be engaged. It has become so easy to label students as lazy or dumb, but they are quite intelligent. More times than not, they can navigate the net better than any teacher can. So, is it the student that is dumb or lazy, or is it the educator who is dumb and lazy for not using current materials and challenging themselves to learn how to use things like Google gadgets and Blogspot for discussions. I thought it was really interesting that Bauerlein makes the assumption that because students are on social networks such as Facebook that it promotes less interaction with adults (who are obviously far more mature), and more mimicry of people the same age. I would be interested to know the research that went into developing this statement, and if it holds any validity. From my experience, Facebook has done just the opposite. I am friends with many people my own age, but I am also friends with alot of parents, adults, professors, etc who I interact with on a regular basis. Many of those "mature adult friends" probably never would have had an interaction with me except for the occasional once a year phone call if they were not connected to a social network every day.
Whether we agree or disagree with the way the world is moving, we must agree to not disagree about Tracy's statement that, "It is crucial that teachers of adolescents accept the variety of tools that students use as their literacies to read, write, learn, and communicate". This is vital to being a successful educator. Right, wrong or indifferent, we must embrace this new technological world and use it to our advantage.
Whether we agree or disagree with the way the world is moving, we must agree to not disagree about Tracy's statement that, "It is crucial that teachers of adolescents accept the variety of tools that students use as their literacies to read, write, learn, and communicate". This is vital to being a successful educator. Right, wrong or indifferent, we must embrace this new technological world and use it to our advantage.
Tuesday, March 15, 2011
Rage against the Censorship Machine!
My initial response to the articles on Censorship is that of ANGER coupled with frustration and a small amount of fear. Notice I said a "small" amount. My fear is not of those who parade around their authoritative censoring regulations sterilizing freedom of choice and true learning, but of the day that I will have to stand up for a text, movie, or magazine article that I know is of grave value. Will I be ready? Will I lose the battle? Will my students, parents, community rally behind me? I am semi-fearful of this day, but it also somewhat excites me. People who make a difference in the world take risks, have passionate moral convictions, and are willing to do the unpopular for the sake of bettering the world around them. I actually laughed outloud to myself as I read Elizabeth Noll's article The Ripple Effect of Censorship: Silencing in the Classroom when she commented, "Those who rock the boat or question the status quo are viewed as trouble-makers. Being 'good' teachers--like being good students--often means accepting the authority of others, not resisting, or challenging it" (63). After my laughter subsided, I highlighted this passage and scribbled in red pen in the margin This is going to get me in trouble! Lord knows, I'm a boat rocker from wayyy back. In my world, and the world where my teaching perspective comes from, there is no status quo. Everything challenges the status quo. Everything is a chance to dialogue back and forth in an effort to embrace the immensely differentiated world in which we live in. Sure, I have my own opinions, ideas, convictions, but I'll be damned if I don't try to learn something new every day from the people that I encounter. Censorship is like saying, these people's opinions, struggles, experiences don't matter. They are not worthy of our time. They shouldn't be read because like cigarettes, if you smoke them, you will die. Now, I'm taking a very sarcastic approach towards the idea, but really, should we lie to our students about what the real world is about in an effort to make their parents, the school district, or local community organizations comfortable? It's terrifying to think that teachers who have studied hard to promote critical thinking, encourage cultural understanding, preserve history, and bring awareness to real world issues are not even allowed to choose the materials that they want to use in their own classroom, but are forced by combative outside limiting forces to conform and use "safe" literature that may never have any impact on the student's life at all as it is quickly discarded from their memory bank when they leave the school year behind and go about their summer vacations. As a teacher, i would so much rather the "tough" realities come up in the classroom ( a safe open environment) where students can wrestle with their feelings, emotions, and questions in an organized disciplined non-threatening environment rather than have them experience these realities first hand where they are disarmed having no type of understanding of what is going on around them.
Alright so off of my soapbox, how can we combat the Censorship that we will face in our classrooms? How can we be prepared to fight the good fight, or to know when to throw in the towel? I think the following suggestions taken from the NCTE and Elizabeth Noll's article will help:
establish a committee of teachers who will evaluate and prescreen potential classroom materials-the committee should be made up of many different teachers who represent many different aspect of the school as a whole
get parents involved/encourage children to talk about what they are reading with their parents-send home letters explaining what the students will be reading, why you have chosen the particular text, and how you will represent it
sometimes it is necessary to give students other options-meet with a student and his/her parents individually to discuss situations where a different text may be substituted. (However, make sure that the student knows that they will still be required to have full participation in the classroom which may be harder since they will be doing a different outside reading)
know the material, really know it-know the background of the novel, understand the author's perspective, know your audience, know the content (be able to pick out specific passages to support teaching the novel)
be in constant dialogue with students about their interests, hot topics that they want to discuss, global issues that they want clarity and better understanding of
teach multiple supportive texts at once from varying perspectives if possible so that all of your students regardless of cultural background feel included
be present in the community, make allies with the organizations and authorities within the community in effort to gain respect and a reputable reputation that will allow you more freedom to teach outside nonconventional
"unsafe" texts or resources
establish an organized way of filtering complaints so that situations of Censorship do not get out of control-a complaint card that is filtered to a committee who has established guidelines and agreements of what the school district has decided to teach is very effective in putting out small fires
Remember, as Noll states, "By coming together in schools and communities across the country in a spirit of openness, trust and common purpose, we give voice to the conviction that, 'ignorance and stupidity, not knowledge, are dangerous" (64). We have a right and an obligation as educators to teach our students not just basic reading, writing, and mathematical skills, but how to survive in the world as they strive to make a difference.
Check out these banned books from 2010:
http://www.huffingtonpost.com/2010/03/29/the-11-most-surprising-ba_n_515381.html#s76401&title=Grapes_of_Wrath
Alright so off of my soapbox, how can we combat the Censorship that we will face in our classrooms? How can we be prepared to fight the good fight, or to know when to throw in the towel? I think the following suggestions taken from the NCTE and Elizabeth Noll's article will help:
establish a committee of teachers who will evaluate and prescreen potential classroom materials-the committee should be made up of many different teachers who represent many different aspect of the school as a whole
get parents involved/encourage children to talk about what they are reading with their parents-send home letters explaining what the students will be reading, why you have chosen the particular text, and how you will represent it
sometimes it is necessary to give students other options-meet with a student and his/her parents individually to discuss situations where a different text may be substituted. (However, make sure that the student knows that they will still be required to have full participation in the classroom which may be harder since they will be doing a different outside reading)
know the material, really know it-know the background of the novel, understand the author's perspective, know your audience, know the content (be able to pick out specific passages to support teaching the novel)
be in constant dialogue with students about their interests, hot topics that they want to discuss, global issues that they want clarity and better understanding of
teach multiple supportive texts at once from varying perspectives if possible so that all of your students regardless of cultural background feel included
be present in the community, make allies with the organizations and authorities within the community in effort to gain respect and a reputable reputation that will allow you more freedom to teach outside nonconventional
"unsafe" texts or resources
establish an organized way of filtering complaints so that situations of Censorship do not get out of control-a complaint card that is filtered to a committee who has established guidelines and agreements of what the school district has decided to teach is very effective in putting out small fires
Remember, as Noll states, "By coming together in schools and communities across the country in a spirit of openness, trust and common purpose, we give voice to the conviction that, 'ignorance and stupidity, not knowledge, are dangerous" (64). We have a right and an obligation as educators to teach our students not just basic reading, writing, and mathematical skills, but how to survive in the world as they strive to make a difference.
Check out these banned books from 2010:
http://www.huffingtonpost.com/2010/03/29/the-11-most-surprising-ba_n_515381.html#s76401&title=Grapes_of_Wrath
Tuesday, March 1, 2011
Why didn't I think of that...
Before taking adolescent lit class, I must say that I didn't really focus to much on teaching styles or approaches. Teaching is naturally the profession that I am choosing because alot of it just comes natural to me. However, this class has opened my eyes to see that you can't just rely on God-given talent. Teaching is so much more than that. It is strategizing, creating, innovating, relating, and motivating just to name a few. So much goes into preparing classes and lesson plans that are effective, purposeful, and have longevity to stand the test of time over many years. Honestly, I have thought about my first day of school many times this semester, you know your first day of school where it will be you and you only, where you will have to establish who you are and make a good first impression, where you will have to somewhat impress your students so that they are interested in learning from you, where you will have to be creative and innovative...Ahhhhh!!!! The thought of this blissfully nightmarish day scares me to death. The weird thing is that it never did before, but now (when I'm more equipped with good teaching arsenal), it does. With that being said, I know my confidence will build over time. It's really quite crazy because most people are afraid of speaking in front of other people or leading a large group. That doesn't scare me at all. My biggest fear is not "teaching". You know real, true, interesting, learning where the teacher makes things fun and different, where she is aware of all the differences in the class and teaches to them, where she is a good listener, where she differentiates the days so that they aren't all the same mundane classroom activities. I'm so thankful for this class because it has really made me aware of who I am and who I want to be with regards to my classroom. The techniques such as multi-culturalism, literature circles, grouping, tracking, untracking, use of comics/anime/manga, blogging, etc. were all very unfamiliar to me, but have now given me alot of hope that the classroom can be a place where everyone feels welcome, everyone feels included, and everyone can learn something in a meaningful way.
Throughout the semester, I've kept a small teaching journal where I wrote down effective teaching methods that I want to embrace in the future. Here is just a top 10 sneakpeak at some of the things on the list:
1. Review/Recap: begin each day with a brief review of concepts introduced the day or maybe the week before..let the students do the recap, make up a review game or open it up for free discussion-there is power in repetition
2. Build courage in your students who don't feel comfortable in groups by starting them in small groups first (partners or groups of 3) where they can discuss in a non-threatening situation which will help them build up the confidence for large group discussion
3. Student choice: especially in literature circles or thematic units, introduce choices..if you have the students read an article or book, allow them to write down 5 response questions to their reading and then collect those questions, choose 3 of those responses and use them to develop discussion within the classroom..allow the students to choose what they want to learn/read
4. Persuasion sometimes is a no go-don't always try to sway your students towards your opinions, biases are natural especially when teaching certain material, but not everything is black and white..allow your students to teach you something new, but of course maintain control of correct/accurate information while celebrating multiple angles of learning
5. Assessments: design assessments to test the material that the students should know and remember, challenge their critical thinking skills, but don't make assessments scary "gotcha quizzes" or surprises, when possible give practice tests, allow students to retake quizzes, grade with detail in mind (3-5 can be a 100%), and throw out your lowest score
6. Final exams/tests: allow student choice..some students get test anxiety so give them the option of doing a paper, a project, or another assessment of their choice approved by you that proves that they have learned the material that was required
7. Discussion based classrooms: discussion based classrooms are extremely effective if managed properly. Utilize things such as role sheets, student leaders, prompts, wrap ups, and reviews. Don't allow discussion to be so chaotic that the students leave the classroom not know what was expected of them to have learned.
8. Structure of the classroom: the way that you seat your students effects the way that they learn. Be aware of it. Tailor your classroom around the content. Different content requires different seating. For instance, in a discussion based classroom, circle seating may be best. In a lecture style classroom or a classroom with many demonstrations, seminar seating may be best where students are able to see the leader, but still see each other enough to interact. There is nothing wrong with casual seating as long as it does not become a distraction.
9. Be a facilitator: as a teacher, we automatically assume the expert role (this is not necessarily a bad thing), but sometimes it is better to allow students to figure out concepts on their own, or to wrestle with tough issues from their current experiential perspectives. Give students the freedom to do this, but interject yourself as necessary to stear conversation/teaching in various directions. As the students dialogue, ask questions that expand upon their ideas and force them to think further than surface level.
10. Model what your students are doing. If they are reading, read with them. If they are writing, write with them. Daily journals can be very effective within the classroom. Give students a prompt on reading from the night before, or on a literary concept, or even a current event. Allow them 15 minutes of reflective writing. While they are writing, you write as well. Periodically share what you have written with the class so that they can see you modeling good reflective writing skills.
Don't be scared, just go for it! We are going to be great educators some day, we really are!
Throughout the semester, I've kept a small teaching journal where I wrote down effective teaching methods that I want to embrace in the future. Here is just a top 10 sneakpeak at some of the things on the list:
1. Review/Recap: begin each day with a brief review of concepts introduced the day or maybe the week before..let the students do the recap, make up a review game or open it up for free discussion-there is power in repetition
2. Build courage in your students who don't feel comfortable in groups by starting them in small groups first (partners or groups of 3) where they can discuss in a non-threatening situation which will help them build up the confidence for large group discussion
3. Student choice: especially in literature circles or thematic units, introduce choices..if you have the students read an article or book, allow them to write down 5 response questions to their reading and then collect those questions, choose 3 of those responses and use them to develop discussion within the classroom..allow the students to choose what they want to learn/read
4. Persuasion sometimes is a no go-don't always try to sway your students towards your opinions, biases are natural especially when teaching certain material, but not everything is black and white..allow your students to teach you something new, but of course maintain control of correct/accurate information while celebrating multiple angles of learning
5. Assessments: design assessments to test the material that the students should know and remember, challenge their critical thinking skills, but don't make assessments scary "gotcha quizzes" or surprises, when possible give practice tests, allow students to retake quizzes, grade with detail in mind (3-5 can be a 100%), and throw out your lowest score
6. Final exams/tests: allow student choice..some students get test anxiety so give them the option of doing a paper, a project, or another assessment of their choice approved by you that proves that they have learned the material that was required
7. Discussion based classrooms: discussion based classrooms are extremely effective if managed properly. Utilize things such as role sheets, student leaders, prompts, wrap ups, and reviews. Don't allow discussion to be so chaotic that the students leave the classroom not know what was expected of them to have learned.
8. Structure of the classroom: the way that you seat your students effects the way that they learn. Be aware of it. Tailor your classroom around the content. Different content requires different seating. For instance, in a discussion based classroom, circle seating may be best. In a lecture style classroom or a classroom with many demonstrations, seminar seating may be best where students are able to see the leader, but still see each other enough to interact. There is nothing wrong with casual seating as long as it does not become a distraction.
9. Be a facilitator: as a teacher, we automatically assume the expert role (this is not necessarily a bad thing), but sometimes it is better to allow students to figure out concepts on their own, or to wrestle with tough issues from their current experiential perspectives. Give students the freedom to do this, but interject yourself as necessary to stear conversation/teaching in various directions. As the students dialogue, ask questions that expand upon their ideas and force them to think further than surface level.
10. Model what your students are doing. If they are reading, read with them. If they are writing, write with them. Daily journals can be very effective within the classroom. Give students a prompt on reading from the night before, or on a literary concept, or even a current event. Allow them 15 minutes of reflective writing. While they are writing, you write as well. Periodically share what you have written with the class so that they can see you modeling good reflective writing skills.
Don't be scared, just go for it! We are going to be great educators some day, we really are!
Tuesday, February 22, 2011
Literature Circles 101
Being fairly new to the English education scene, I found myself interestingly deceived as to what Literature Circles really were and how they operate. The model that I have seen commonly used that I referred to as a LC was when a teacher instructed students to move their desks into a circle so that they could discuss aloud the assigned reading. According to Harvey Daniels, this would be a variation possibly, but far from the intention of a true LC. LCs involve alot more student involvement. I was surprised to see that the "real" model was fueled by student choice, student led discussions, reading assignments decided upon by the students, etc. Freedom and ownership (two of the key focal points of LC) are part of the design to help students want to read and to be come better readers and writers. I definitely think that LC can enhance the classroom with a few adaptations.
As I was reading the chapters, I did find it hard to see how middle school and high school students would embrace the methods established in Daniels' book. I think in some regards it would be easier for them because they are very much about finding their identity, presenting their own thoughts and ideas, and exercising their freedoms so I think they would do quite well as leading discussions, journaling, and being actively involved in groups. However, one of the things that makes LC particularly difficult at this level is the time constraint. Daniels suggests that reading/logging/group discussion is all done in class and to make sure that it is done properly to allow at least 45 minutes. Most classes in high school last right around 45 minutes which presents a challenge. One adaptation to making this work may be to have students do all of the assigned reading/logging outside of class so when they come to class they are ready to get right into discussion groups. Another challenge that presents itself is that most middle school and high school curriculums are very rigid in what reading materials can be used. If that is the case, the LC would have to be less about choice and more about interaction between students on an assigned text. However, as Daniels suggested, we need to push as educators to get more diversity in the classroom with regards to texts. If we make an honest effort to help the governing educators around us to see that our students are highly benefiting from LC, then the possiblities of new books in multiple copies may be a reality. Also, taking advantage of things such as book buy backs, scholastic point systems, and donations/grants can really help to grow a classroom's literary library. There is definitely power in choice. I love the idea of choosing several texts and then allowing students to pick what they want to read. Not only is this great for the students because it breaks up the monotony of always reading the same thing, but it is great for the teacher as well because now you can read/refamiliarize yourself with a variety of texts rather than just teach the same one text all the time which usually leads to watered down assignments and discussions.
Sidenote: speaking of familiarizing yourself with new and different texts...one of the examples that I found so powerful in the book was that of the teacher who invited other educators to be a part of the LC that were happening in her classroom. What a brilliant idea! The students were engaged because not only were they reading the texts, but teachers who they loved and respected were reading right alongside of them for pleasure. These groups really reinforce lifelong reading, as well as promote true appreciation for differences because the students are mixed together with various genders, skill levels, ethnicity, and even sometimes age.
In Middle school/High school, I'm not sure how often LC should be used in the classroom. I would say maybe two different times a year rather than every day as is often the case in the elementary model. Also, the roles become less important in High school. Students at this point are usually familiar with LC and assume certain roles without them necessarily being defined. However,some roles are important and should remain such as that of the "historian/researcher". It is always beneficial for a student to really know the W's (why, when, who, where) about any text. You cannot always understand a text in its entirety unless you understand its surroundings. This role cannot be lost in order for the students to really learn and understand from the text as a whole.
There is so much more to be said about LC. This is just the tip of the iceberg. I hope some of these thoughts were helpful. Enjoy!
As I was reading the chapters, I did find it hard to see how middle school and high school students would embrace the methods established in Daniels' book. I think in some regards it would be easier for them because they are very much about finding their identity, presenting their own thoughts and ideas, and exercising their freedoms so I think they would do quite well as leading discussions, journaling, and being actively involved in groups. However, one of the things that makes LC particularly difficult at this level is the time constraint. Daniels suggests that reading/logging/group discussion is all done in class and to make sure that it is done properly to allow at least 45 minutes. Most classes in high school last right around 45 minutes which presents a challenge. One adaptation to making this work may be to have students do all of the assigned reading/logging outside of class so when they come to class they are ready to get right into discussion groups. Another challenge that presents itself is that most middle school and high school curriculums are very rigid in what reading materials can be used. If that is the case, the LC would have to be less about choice and more about interaction between students on an assigned text. However, as Daniels suggested, we need to push as educators to get more diversity in the classroom with regards to texts. If we make an honest effort to help the governing educators around us to see that our students are highly benefiting from LC, then the possiblities of new books in multiple copies may be a reality. Also, taking advantage of things such as book buy backs, scholastic point systems, and donations/grants can really help to grow a classroom's literary library. There is definitely power in choice. I love the idea of choosing several texts and then allowing students to pick what they want to read. Not only is this great for the students because it breaks up the monotony of always reading the same thing, but it is great for the teacher as well because now you can read/refamiliarize yourself with a variety of texts rather than just teach the same one text all the time which usually leads to watered down assignments and discussions.
Sidenote: speaking of familiarizing yourself with new and different texts...one of the examples that I found so powerful in the book was that of the teacher who invited other educators to be a part of the LC that were happening in her classroom. What a brilliant idea! The students were engaged because not only were they reading the texts, but teachers who they loved and respected were reading right alongside of them for pleasure. These groups really reinforce lifelong reading, as well as promote true appreciation for differences because the students are mixed together with various genders, skill levels, ethnicity, and even sometimes age.
In Middle school/High school, I'm not sure how often LC should be used in the classroom. I would say maybe two different times a year rather than every day as is often the case in the elementary model. Also, the roles become less important in High school. Students at this point are usually familiar with LC and assume certain roles without them necessarily being defined. However,some roles are important and should remain such as that of the "historian/researcher". It is always beneficial for a student to really know the W's (why, when, who, where) about any text. You cannot always understand a text in its entirety unless you understand its surroundings. This role cannot be lost in order for the students to really learn and understand from the text as a whole.
There is so much more to be said about LC. This is just the tip of the iceberg. I hope some of these thoughts were helpful. Enjoy!
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