Sunday, September 13, 2015

How to make adolescents curious about content

The Curiosity Connection: Relating Content to Students' Lives


Adolescent Issue
Topic
Connection
Independence: How can I separate myself from parents and other adults?
American Revolution
When is rebellion justified?
The search for identity: Who do I want to be? What do I want to become?
Percentages
To determine your likes and dislikes, compute the percentage of your life spent in various activities.
Relationships and stature: How important are my opinions of my peers, my family?
Jane Austen'sEmma
Discuss how stature and reputation affect Emma's decisions and your own.
Responsibility: For what do I want to take responsibility? What is expected of me?
Ecology
Investigate social organizations working to improve the environment.
Adapted from Beane, J. A., and R. P. Lipka. (1986). Self-Concept, Self-Esteem, and the Curriculum. New York: Teachers College Press.


http://www.ascd.org/publications/educational-leadership/sept95/vol53/num01/Strengthening-Student-Engagement@-What-Do-Students-Want.aspx

Mentoring (CT)

Note to self: Mentoring is a reciprocal process. 

Ambrosetti (2014) emphasises that effective mentoring involves strong reciprocal relationship. This view is echoed by Hudson (2013), who believes that for mentoring to be successful, both parties should be open to give and receive constructive feedback.

Mentoring can be developmental for mentors as they reflect and deconstruct their pedagogical knowledge practices, strengthen their communication skills and develop leadership competencies (Lopez-Real, 2005). 

For mentors, engaging in a collaborative and co-constructive relationship with their mentees empowers the former to reflect on their own teaching practices, reveal their assumptions about learning and teaching, and refine their pedagogical leadership. 

Above all, adopting an open mind to give and receive feedback, and understanding the reciprocal nature of the relationship will allow the experience to be mutually beneficial.

Sunday, July 26, 2015

Quote: "The heart of education" by Parker Palmer

"Tips, tricks and techniques are not at the heart of education - fire is. I mean finding light in the darkness, staying warm in the cold world, avoiding being burned if you can, and knowing what brings healing if you can cannot. That is the knowledge that our students really want, and that is the knowledge we owe them. Not merely the facts, not merely the theories, but a deep knowing of what it means to kindle the gift of life in ourselves, in others, and in the world" (Parker Palmer, p. x; Foreword to O'Reilley, 1998).


Sunday, June 14, 2015

'Wild Geese' by Mary Oliver



You do not have to be good.
You do not have to walk on your knees
For a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about your despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting --
over and over announcing your place
in the family of things.

Thursday, June 4, 2015

Article: "Tools for Teaching: How to Transform Direct Instruction"

As with the Learning Pyramid: Lecturing vs Demonstrating and Discussion Group. 
Lit device lesson example given here. "Guiding Discovery" (ACoLADE). 

 

Tools for Teaching: How to Transform Direct Instruction

Rebecca Alber , JULY 23, 2013


Photo credit: iStockPhoto

Summer is the time to look over those unit plans. As you reflect and rethink lessons, here's something to consider: How can you turn direct instruction into experiences where students instead discover?

We all know that designing learning activities takes time and brainpower -- both often limited during the mad rush of the school year. (And when we are short on time, we teachers too often turn to direct instruction.) So for those of us who philosophically see ourselves more as "a guide on the side," rather than "a sage on the stage," it's in our pedagogical DNA to sacrifice some of summer and continue to develop such constructivist, student-centered lessons.

For new teachers, I'd like to help you get started:

Let's first take this direct instruction on the topic of imagery: The teacher begins by presenting students with a definition for imagery and gives an example of it. Then the teacher instructs students to read a short story and underline sentences and passages where the author used imagery.


Now, let's transform that scenario into a lesson of student-centered discovery:

First step: The teacher dramatically reads aloud a short story, asking students that whenever they can picture something -- see an image in their minds -- put a star by those words. (***)

Second step: Then, students partner up and draw a picture to go with each star they have in common. After this, pairs of students team up (in groups of four) and share what they've drawn. The teacher asks them to also discuss in their groups how seeing these pictures in their minds made the story more interesting. (~~~ + effect)

Last step: The teacher finally reveals that this is called imagery, and rather than provide a definition, asks the groups to each write a definition for imagery together. Each group then shares the definition with the whole class. (own definition?)


Rationale

I taught high school students and used this very lesson. As they learned more complex literary devices (e.g. allusion, diction, irony), I would always strive to make the learning experience one where they did most of the talking and nearly all of the doing. On a side note, I'm not dismissing the value or importance of direct instruction; it plays a necessary role in the classroom. Just ask yourself this: Is there a balance between these three types of teaching in my instruction: direct, facilitation, and coaching? (See Wiggins' and McTighes' Understanding by Design for more on these types of teaching.)

And in case you need to justify to other faculty or an administrator why you are taking more time than a colleague down the hall to teach an idea/content/concept, there's plenty of research out there to support this constructivist approach in the classroom. You could also remind them of this well worn yet far from worn out quote by Confucius:

I hear and I forget. I see and I remember. I do and I understand.

Article: "On-the-Spot Scaffolding for Students"


"Being able to respond to The Look or 'I don't get it' on the spot is one of the greatest tricks of the teaching trade". Sentence starters, images/videos, guiding questions. 

On-the-Spot Scaffolding for Students

Rebecca Alber
SEPTEMBER 30, 2014



Scrambling in the moment to figure out what students need when they just don't get it is one of the exciting challenges of teaching. Being able to respond to learners' needs on the spot is hands down one of the greatest tricks of this trade.
And when lesson planning, we can't always guess how many steps we will need to break a lesson into and how much support will be needed for each chunk. I know I've made assumptions about what students will "get" and then in the middle of the lesson, I've had to stop, think on my feet, and add something to help move the learning forward.

Just to be clear: Scaffolding a lesson and differentiating instruction are two different things. Scaffolding is breaking up the learning into chunks and then providing a tool, or structure, with each chunk. When scaffolding reading, for example, you might preview the text and discuss key vocabulary, or chunk the text and read and stop and discuss as you go. With differentiation, you may give a child an entirely different piece of text to read, you might shorten the text or alter it, and you may modify the writing assignment that follows.
Simply put, scaffolding is what you do first with kids, then for those students who are still struggling, you may need to differentiate by modifying an assignment and/or making accommodations for a student (for example, choose more accessible text and/or assign an alternative project).



3 Scaffolding Strategies

On-the-spot scaffolding and differentiating are essential skills for teachers. And the longer you teach, the better you become at both.

So when do we do it? Well, if we get The Look from students (a distant stare, a furrowed brow) this means it's time to stop, check for understanding by asking questions or in some other way, and then review. If that doesn't work, we need to add a step -- bolster what has already been shared by adding something more.

Here's some ideas to consider when the learners in the midst of a lesson need a little extra something:

Idea #1: Sentence starters. These writing training wheels work wonders for any struggling writer, whether elementary or secondary school students (heck, I use them with university students). So if a student is sitting there and says with words (or simply with a look) "I don't know what to write," take your pencil and write a few words out with a line that follows. Here's examples: "One thing I don't understand about the civil war is____," "People disagree about this issue because____," "Something important to know about photosynthesis is____." If many students are struggling to get started with a writing task, create a few sentence starters on the white board for all to see.


Idea #2: Use an image or short film clip. In the middle of a lesson, when the thinking is stuck in the room, I've jumped online to find a short film clip or a photo. One example is a time we read about and discussed McCarthyism and my eleventh grade students needed more to really get it. I quickly went online and found and projected a few anti-communism propaganda advertisements. These over-the-top messages really made the hysteria surrounding this era come to life for them. After that, our discussion deepened and so did their questions about McCarthyism and The Cold War.

Using visuals for on-the-spot scaffolding (for an individual student or for the group) is unquestionably a best practice. Research shows that the population is made up of 65 percent visual learners. And only 10 percent of students are auditory learners yet 80 percent of instruction is delivered orally (University or Illinois, 2009).

Idea #3: Give them time to talk with a guiding question. Never underestimate giving students time to talk. As learners, we need to make sense of what is coming at us -- new information, new ideas, and concepts. If you see The Look from many, stop the lesson and invite students to engage in low stakes discussion with each other and focus it on a guiding question. The question can be framed, for example, so as to clarify the information they've already received or to compare or to connect the new information to what they already know. For example, "If someone were to walk into this room right now, how would you explain McCarthyism?" Or, "What does McCarthyism remind you of? In what ways is it different (or the same) in government/politics today?"

Pinterest Boards for the Classroom

From: Twitter, Instagram and Pinterest in the Classroom by Erin Klein (April 20 2014) 
http://www.scholastic.com/teachers/top-teaching/2014/04/twitter-instagram-and-pinterest-classroom 

https://drive.google.com/file/d/0B-3t5OPYfKIRV2FRc2xMUTM5ck0/edit




https://drive.google.com/file/d/0B-3t5OPYfKIRWnZxREk1Skx1Vm8/edit


Article: "The 8 Minutes that Matter Most"


Writing and Lesson Planning. Understanding by Design. Beginnings and Endings. Begin with the End in Mind. Objectives (!)

The 8 Minutes That Matter Most

Brian Sztabnik | January 5, 2015

I am an English teacher, so my ears perk up when writers talk about their process. I've found the advice handy for lesson planning, too. That's because both writing and planning deal with craft.
In writing, you want your audience to be absorbed. You want them to care about your characters. You want them be delighted by the suspense. That's not easy to pull off, and it's just as hard in the classroom. So when writers pull back the curtain on what they do, I pay attention. I look at the ways in which they create drama and tension. I study how their twists and turns pace a story much like the transitions of a lesson. I am also fascinated by rituals.
John Irving, the author of The Cider House Rules, begins with his last sentence:
I write the last line, and then I write the line before that. I find myself writing backwards for a while, until I have a solid sense of how that ending sounds and feels. You have to know what your voice sounds like at the end of the story, because it tells you how to sound when you begin.
That is the crux of lesson planning right there -- endings and beginnings. If we fail to engage students at the start, we may never get them back. If we don't know the end result, we risk moving haphazardly from one activity to the next. Every moment in a lesson plan should tell.
The eight minutes that matter most are the beginning and endings. If a lesson does not start off strong by activating prior knowledge, creating anticipation, or establishing goals, student interest wanes, and you have to do some heavy lifting to get them back. If it fails to check for understanding, you will never know if the lesson's goal was attained.
Here are eight ways to make those eight minutes magical.

Beginnings

1. Trend With YouTube

YouTube reaches more 18- to 34-year-olds than any cable channel. One hundred hours of video are uploaded to it every minute. There's something for every grade, subject, and approach on YouTube. Not only does it make learning HD visible, it also allows teachers to make connections that could never happen before. I had my students draw comparisons between Carl Sandberg's poem "Chicago” and the Chrysler Super Bowl commercial featuring Eminem. Fifteen years ago, I would have had to keep my finger on the record button of my VCR remote and pray for it to air. YouTube makes anticipatory sets a whole lot easier.

2. Start With Good News

If you want to create a safe space for students to take risks, you won't get there with a pry bar. Edutopia blogger Todd Finley starts his classes with two minutes of sharing good news. Classrooms that celebrate success build the comfort necessary for students to ask critical questions, share ideas, and participate in honest and open discussions. Starting with celebrations is a short, easy way to get there.

3. Cross Disciplines

Toss a football around the class before you teach the physics of a Peyton Manning spiral. Play a song that makes a classical allusion for your mythology unit. Measure the angles of a Picasso painting in math class. Integrating other disciplines teaches students that ideas and concepts do not stand alone but rather exist within a wider web of knowledge. Starting with another discipline can open their senses to deeper learning.

4. Write for 5

Kelly Gallagher says that students should write four times as much as a teacher can grade. Students need to write -- a lot -- if they are to improve. One way to achieve that is to start each day with an essential question that students must spend five minutes answering. If done day after day, it becomes ritualistic and builds stamina. Grant Wiggins and Jay McTighe have a diverse list of essential questions.

Endings

1. Exit Tickets

Robert Marzano classifies exit tickets into four different categories: formative assessment data, student self analysis, instructional strategy feedback, and open communication. However they are used, they provide quick and comprehensive bits of data and feedback. Wiggins and McTighe also have a comprehensive list of checks for understanding.

2. Mimic Social Media

The digital world's spirit of collaboration and connection can be replicated in the physical classroom as bulletin boards become mock social media spaces to share ideas. Erin Klein has written about the positive ways to use of Twitter, Pinterest, and Instagram in the classroom. In the final four minutes, you can challenge students to compose a tweet or find an image best capturing the learning that occurred.

3. Post-It Power

Another way to create a positive classroom climate beyond the "good news" start is to end with notes of influence. Have students write one thing that they learned from someone else in class on a Post-it note and stick it to the chalkboard. At the start of the next day, read these notes aloud. This affirms that a classroom is a community of learners and validates participation because it does so much more than answer a question -- it helps others understand more deeply.

Friday, April 3, 2015

Overheard: Quote on writing

"finished writing is 'frozen thought'." 
- Frederick Millet Salter, The Art of Writing

Article: "Teachers: What's Your Motto in the Classroom?"

All about the questions and the reflection.

---


Teachers: What's Your Motto in the Classroom?


Transformational Leadership Coach from Oakland, California
Teachers make thousands of decisions each day, say the experts, as well as those of us who have been in the classroom. Making decisions can feel exhausting and draining, or efficient and effortless. Decisions are easier if we have clear guiding principles or ideals as we are making them. When these don't exist or we haven't articulated them, our decision-making process can be haphazard.
A motto is a powerful way to encapsulate the principles, values, and ideals which guide us as teachers and from which we make decisions. So teachers, what's your motto in the classroom?

The Origins of My Teaching Motto

For some of us, our mottos may emerge from our own experiences in school -- that's certainly true in my case. I was born in London, England, to a Costa Rican man and a Jewish-American woman. We lived in a working-class suburb that, in the early 1970s, was rapidly changing due to immigration from the former British colonies.
When I started going to school, I immediately learned that no one spoke Spanish (my first language), and that to do so was to speak in a language that did not belong. I abruptly stopped speaking Spanish; I wanted to fit in. The school day began in an assembly where we sang Christian hymns and prayed (there is no separation of church and state in England). As this was not my family's faith, I received another message at school: "If you want to belong, bow your head and pray."
My mother protested and an exception was made that I did not have to close my eyes and pray, but as I looked at the bowed heads of the majority of my classmates who were also not Christian, I wondered what this meant about our belongingness. The message was clear, and I did not have to wonder too long: I did not belong. In fact, over and over, I heard white British children harassing immigrants with the taunts, "Go back where you belong!"
When I was ten, my mother, brother, and I moved back to the United States, to a Southern California beach town where my grandmother had retired. While this community was tranquil, it was also very wealthy and lacked any racial and socio-economic diversity (and at this point, my mother was struggling financially to make ends meet). From my first day of fifth grade, I was teased about my clothes (which came from the Salvation Army), my accent, and told, "Go back to Mexico," which really confused me. The message from my peers was clear: "You do not belong."
When I reflect back on these formative experiences, I see that I did not belong because of my language, my family's religious traditions, my mother's income level, or my browner skin and Hispanic name. It was the message, "You do not belong" -- a message both communicated by children and not interrupted by adults, and also communicated by official institutions -- that I was intent upon rupturing when I became a teacher. My motto in my classroom was, "You belong."

You Belong!

You belong. You belong here, no matter who you are, where you come from, what language you speak, or what traditions you follow, or where your clothes were purchased. There's nothing about you that isn't accepted in this classroom. This is the first rule in our classroom: You belong.
Having a motto means that your actions are guided by a principle. My motto wasn't something I necessarily said out loud all the time to my students but rather something that guided how I made decisions.
These decisions included:
  • How students were seated with each other in groups
  • How they selected or were matched with partners
  • How games were played during recess
  • How new students were integrated into our community
  • How I intentionally planned for developing our community of learners.
Perhaps it would be obvious to state, but "put downs" of any sort were not acceptable in my class. In fact, any kind of put down or insult would result in taking whatever amount of time it took to resolve it.
I recall one afternoon when I taught third grade, two girls were in the midst of a conflict around who could be a part of which group. I remember sitting on the floor with them for hours and helping them resolve this conflict (I don't remember, I confess, what the rest of the class was doing). I remember feeling a little frustrated that I had to be doing this, but the frustration was trumped with a conviction that it was all about kids feeling that they had a place, a community, and that they were accepted.
While this was my aspiration, I'll also confess that I didn't always reach it. There were times when I exhausted my skill set for dealing with a particular child -- a child who had social and emotional needs so extensive and for which I didn't have the skills to address.
I feel sad as I think about that handful of children and guess that they didn't feel welcomed in my classroom, or didn't feel as if they belonged. Overall, I think the great majority of my former students would say that they felt they were a part of a community in my classroom, and that I didn't let kids feel left out, or without a buddy during a project, or standing alone during recess. And that feels good.

Articulating Your Own Motto

So what is your motto as a teacher? What drives you most deeply, most authentically? What do you aspire to create for your students and in your classroom? I encourage you to spend some time reflecting on these questions.
Ponder these questions with colleagues, write about them, and see if this leads you to a motto. It can help alleviate the decision-making processes every day, help you feel more grounded and powerful, and ultimately, it will probably help you better serve your students.



Wednesday, February 18, 2015

Article: "Ten Steps to Better Student Engagement"

[Recommended]

Ten Steps to Better Student Engagement by Tristan de Frondeville 
March 11, 2009

As a teacher, my goal was to go home at the end of each day with more energy than I had at the beginning of the day. Seriously.
Now, as I travel the country coaching teachers on how to successfully use project learning, my goal remains the same. And I try to teach educators the strategies they need to achieve this goal in their own classrooms.
A teacher in one of my workshops said, "When my students and I are in the flow, then I don't feel like I have to work as hard." I heartily agree. When 90 to 100 percent of my students are excitedly engaged in their tasks and asking deep and interesting questions, I experience joy, and joy is a lot less tiring than the frustration that comes with student apathy.
Project-based classrooms with an active-learning environment make such in-the-flow moments more common. Yet these same classrooms require many teacher and student skills to work well. As teachers, we can feel overwhelmed when we try something new and experience chaos instead of flow.
The good news is that the strategies for creating and managing high-quality project-learning environments are productive in any classroom, whether project learning is a central part of the curriculum or not. Here are ten ideas that you can start practicing in your classroom today to help you create more moments of flow.

Create an Emotionally Safe Classroom

Students who have been shamed or belittled by the teacher or another student will not effectively engage in challenging tasks. Consider having a rule such as "We do not put others downs, tell others to shut up, or laugh at people." Apply it to yourself as well as your students. This is the foundation of a supportive, collaborative learning environment. To learn and grow, one must take risks, but most people will not take risks in an emotionally unsafe environment.
(M) 'A conversation'

Create an Intellectually Safe Classroom

Begin every activity with a task that 95 percent of the class can do without your help. Get your students used to the fact that when you say, "Please begin," they should pick up a pencil and start working successfully. This gets everyone on the bus. Then make sure your students know that these initial easy tasks will always be followed by increasingly challenging ones. Create rich and complex tasks so that various students have a chance to excel and take on the role of helping others.
(M) [Lit] Plot -> Character/Theme/Style questions

Cultivate Your Engagement Meter

Be acutely aware of when your students are paying strong attention or are deeply engaged in their tasks. Master teachers create an active-learning environment in which students are on task in their thinking and speaking or are collaboratively working close to 100 percent of the time. Such teachers notice and measure not only when students are on task but also the quality of their engagement.
Although it may take years to develop the repertoire of skills and lessons that enable you to permanently create this active-learning environment, you can begin by discerning which activities truly engage your students. The more brutally honest you are with yourself, the faster you will get there.
(M) Reflection activities (2015)

Create Appropriate Intermediate Steps

The first question I ask educators when I coach them on project learning is how many of their students say, "We can't wait to do another project," versus "Oh, no! Not another project." Teachers tend to get the first response when they scaffold challenging tasks so that all students are successful.
For example, take the typical task of interviewing an adult outside the classroom. Some teachers assign the task on Monday and expect it to be done the following Monday, confident that by including the weekend, they are providing sufficient support. Other teachers realize that finding, cold calling, and interviewing an adult are challenging tasks for most young people, so they create intermediate steps -- such as brainstorming, searching online for phone numbers, crafting high-quality interview questions, and role-playing the interview -- that train all students for success.

Practice Journal or Blog Writing to Communicate with Students

Japanese teachers highly value the last five minutes of class as a time for summarizing, sharing, and reflecting. A nice way to change the pace of your class is to have students write regular reflections on the work they have done. Encourage and focus their writing with a prompt, such as "The Muddiest Point and the Clearest Point: What was most confusing about the work you did today, and what new thing was the most clear?" Use this approach to guide future lessons and activities. Consider writing responses to student journal entries in order to carry on a conversation with students about their work.

Create a Culture of Explanation Instead of a Culture of the Right Answer

You know you have created a rich learning event when all students are engaged in arguing about the best approach to the assignment. When you use questions and problems that allow for multiple strategies to reach a successful outcome, you give students the opportunity to make choices and then compare their approaches. This strategy challenges them to operate at a higher level of thinking than when they can share only the "correct" answer. Avidly collect problems and tasks that have multiple paths to a solution. As a math teacher, I create problems that have a lot of numbers instead of the usual two. For example, I can present this problem:
5 + 13 + 24 - 8 + 47 - 12 + 59 - 31 - 5 + 9 - 46 - 23 + 32 - 60
Then I can say, "There are at least three fundamentally different strategies for doing the following problem. Can you find them all?"
(M) [Lit] How do you feel questions - support with evidence and explanation
(M) [EL] ~ Compre questions; More writing?

Teach Self-Awareness About Knowledge

All subjects build on prior knowledge and increase in complexity at each successive level of mastery. Effective learning requires that certain skills and processes be available for quick recall. Many students let too much of their knowledge float in a sea of confusion and develop a habit of guessing, sometimes without even knowing that they are guessing.
Credit: Courtesy of Tristan de Frondeville
To help students break this habit, paste the graphic at right next to each question on your assessments. After the students answer a question, have them place an X on the line to represent how sure they are that their answer is correct. This approach encourages them to check their answer and reflect on their confidence level. It is informative when they get it wrong but marked "for sure" or when they do the opposite and mark "confused" yet get the answer right.

Use Questioning Strategies That Make All Students Think and Answer

Pay a visit to many classrooms and you'll see a familiar scene: The teacher asks questions and, always, the same reliable hands raise up. This pattern lends itself to student inattention. Every day, include some questions you require every student to answer. Find a question you know everyone can answer simply, and have the class respond all at once.
You can ask students to put a finger up when they're ready to answer, and once they all do, ask them to whisper the answer at the count of three. They can answer yes, no, or maybe with a thumbs-up, thumbs-down, or thumbs-sideways gesture. That also works for "I agree," "I disagree," or "I'm not sure."
Numerical answers under ten are easy to show with fingers, but don't limit yourself to math questions. For instance, if you're teaching time management, have students let you know what their progress is halfway through the class by putting up one or more fingers to show whether they are one-, two-, or three-quarters done with the assignment, or finished. Do these exercises at least two or three times per class.

Practice Using the Design Process to Increase the Quality of Work

Students in school get used to doing work at a consistent level of quality. Unfortunately, low-performing students get used to doing poor-quality work. To help them break the habit, use a draft-and-revision process.
Many professionals use such a design process to increase the quality of their work. Engineers build prototypes, respond to critical feedback, and refine their design before going into production. Artists make sketches of big works and revise their ideas before creating their final piece. Use the design process to drive your students to produce higher-quality work than they are used to doing when they create only a first effort. Include peer evaluation as part of the feedback they receive.
(M) Check-in with projects, peer evaluation

Market Your Projects

When your students ask, "Why do we need to know this?" you must be ready with the best answer possible. Great projects incorporate authentic tasks that will help students in their lives, jobs, or relationships. Engage students by developing an inventory of big ideas to help you make the connections between your assignments and important life skills, expertise, high-quality work, and craftsmanship. The Partnership for 21st Century Skills provides a good starter list.
Also, search out the powerful processes and ideas experts in your own subject use repeatedly. (In math, for instance, my list includes generalizing and parts and wholes.) Keep a journal of the big ideas you've discovered simply by teaching your subject. By continually referring to these big ideas, you will encourage students to think and act like subject-matter experts and develop skills they will use throughout their lives.
(M) 'Essential Questions' 

Saturday, February 7, 2015

Article: "For gifted children, being intelligent can have dark implications"

For gifted children, being intelligent can have dark implications

Marcello Di Cintio, January 30, 2015




Reed Ball started playing Monopoly with his family at age three—and beat them. In the early 1980s, he was one of the first kids to have a “portable” computer, a 10-kilogram Amstrad PPC512. Reed brought it to class until one of the school’s bullies knocked it out of his hands and down a stairwell.

Reed was a math whiz, and used to correct his teachers’ science errors. When they warned him he would get lead poisoning if he kept stabbing at his own arm with a pencil, Reed replied, “actually, it is graphite.” Just before he graduated from high school in 1991, Reed developed software for a major oil company that converted old blueprints into working documents. He began his studies for a degree in mathematics that September, but flunked out a year later. Then, when he was 21 years old, Reed Ball swallowed a bottle of sleeping pills. He died quietly with his pet kitten, Solis, beside him and his computer still on.
“Reed never fit in,” says Jennifer Aldred, one of his longtime schoolmates. “My heart broke for him.” Aldred recalls Reed’s math skills and his heavy computer, but what she remembers most about Reed was how he used to twist his slender body around the legs of his desk. He would tie himself into such knots that the caretaker would be summoned to rescue Reed by taking apart the desk with a screwdriver.
Reed’s entanglements serve as an apt metaphor for the school life of severely gifted children. For those who feel weird and wrong and struggle to find like minds among their peers, school itself can be a contortion. Reed’s exceptional life and early death inspired Aldred into a career in gifted education. She and her colleagues work to help children like Reed untwist. His tragedy reveals what can be at stake for these kids. Our most brilliant children are among our most vulnerable. The challenge of teaching them is finding a way to nurture their souls and ease the burden of their extraordinary minds.
“Giftedness is a tragic gift, and not a precursor to success,” says Janneke Frank, principal of Westmount Charter School and a local guru of gifted education. “The gifted don’t just think differently, they feel differently. And emotions can ricochet out of control sometimes.” To speak of giftedness as a disability seems counterintuitive. Part of the problem is simply semantic; the word “gifted” suggests an advantage and does not conjure up the intense challenges these children can face.
Intelligence test results also fail to tell the whole story. Quantitatively, giftedness is rather easy to define. A child is considered gifted with an IQ at or around 130—about 30 points higher than those of us with average brains. But IQ scores alone don’t reflect the range of psychological issues that trouble many gifted students. Gifted children might express heightened physical sensitivities to light, touch and textures. Parents of some gifted children have to cut the tags out of their kids’ clothing, for example, or buy specially-designed socks with no seams. More serious, though, are the emotional challenges. Gifted children are more prone to depression, self-harm, overexcitability, and learning deficits. A gifted student might be so paralyzed by her own perfectionism, say, that she refuses to hand in any assignments. The same 10-year-old who can set up the school’s computer system with the proficiency of a college-educated tech might also throw a tantrum like a toddler if she’s not invited to a birthday party. Another child might be so affected by a piece of music that he won’t be able to focus on anything else the rest of the day. For these “twice exceptional” children, emotional intensity is the evil twin of high intelligence.
Aldred, too, was an eccentric and gifted child. She traded her eraser collection for a classmate’s cast-off eyeglasses, and fashioned herself a set of braces from metal paperclips she pilfered from her teacher’s desk. “I was delighted with the look,” Aldred says, even though the glasses made her eyes hurt and the paperclips lacerated the inside of her mouth. “When I smiled, blood dripped down my teeth.” Eventually Aldred modified her design to include eyeglass frames without lenses and plastic-coated paperclips that didn’t cut her gums.
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Aldred believed with heart-pounding certainty that her school was the sort of enchanted forest or magic kingdom she read about in the books she loved. In addition to the glasses and fake braces, Aldred wore gowns, crowns and glitter-covered wings to school to be ready when this magic revealed itself. Aldred had absolute faith the dream world she yearned for was perpetually at hand. Looking back, Aldred wonders if this fantasy represented her own contortion. Like Reed’s twisted body, Aldred’s belief in magic was her way of coping with a real world that made little sense to her. “It was an attempt at resiliency—to somehow scream ‘but this is what I see’, even when a thousand forces tried their best to tear it from me.”
Those forces succeeded eventually. Aldred’s teacher confiscated the glasses and banned her from raiding the paperclip jar. Aldred started to leave the wings and crowns at home. “Parts of me died in those early years,” she says. “When I started teaching, the only thing I wanted to be sure of—especially working with gifted kids—was that no part of them died.”
In Aldred and Reed’s time, schools offered little programming for gifted students. Aldred briefly attended a “cluster group” at Prince of Wales Elementary. The school administration yanked the smartest kids from each grade out of their regular classes and grouped them together for special learning. No doubt the developers of the program meant well, but the effectiveness of the pull-out class seems rather dubious. “We sat in dark rooms where we imagined different ways to build stuffed animals and played chess for a while,” Aldred remembers. Colin Martin—Aldred’s cluster classmate who used to play Monopoly with Reed, on multiple boards at the same time, in Reed’s parents’ basement—says the program aided the school bullies by assembling all their favourite victims in one convenient location.
After graduating from high school in the early ’90s, Aldred left Calgary for Queen’s University, where she completed honours degrees in English and fine arts, followed by a bachelor of education with a focus on gifted learning. She returned to Calgary for her practicum and, by coincidence, ended up teaching back at Prince of Wales. By this time, more sophisticated programs were available for Calgary’s gifted students. Prince of Wales was one of five schools running the Calgary Board of Education’s Gifted and Talented Education program, or GATE. In addition, Westmount Charter School offers “qualitatively differentiated educational programming” for gifted students. Both programs require potential students to undergo psychological assessments and score high on intelligence tests to identify their giftedness.
At Prince of Wales, Aldred was charged with teaching English literature to GATE students. She’d taught Shakespeare’s plays to “regular” teenagers in Ontario, and suspected she’d have to find simplified versions for her younger charges at Prince of Wales. She was wrong. “They just got it,” Aldred says. Her gifted students took to the poetic language immediately and grasped the metaphorical elements in the text better than students 10 years older. When Aldred taught a unit on Arthurian legend, her students showed no interest in the illustrated children’s anthologies Aldred brought for them. Instead, they looted the stack of academic treatises and primary source material on Aldred’s own desk. One nine-year-old girl hauled away a 900-page copy of The Mists of Avalon. She read the entire book that night and returned it, exhausted, the next morning.
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What delighted Aldred most about her first gifted class was that despite their sophisticated grasp of the material, the GATE students were still children. They believed in magic the same way she used to. “Intellectually, they were at a university level, but they were trapped in these little kid bodies that still believed in unicorns,” Aldred says. Their enthusiasm for the material astonished her. The day after she read aloud the first three lines of A Midsummer Night’s Dream, one of her students came to class dressed as the Queen of the Fairies. Some of these kids acted as if they’d been waiting their whole life for Aldred to bring them Shakespeare, or Sylvia Plath, or Margaret Atwood. “For me, as a teacher, it was a dream come true,” Aldred says.
After her practicum, Aldred earned a master’s in gifted education at the University of Calgary. By then, her experience convinced her that gifted students should have their own classrooms and not be scattered among the general school population. “I believe hugely in a congregated setting,” she says. To argue against integration also feels counterintuitive. The separation of the gifted may seem unfair and discriminatory; parents of “regular” kids often wonder why resources and special classrooms are devoted to gifted students. Kathy Stone, the mother of gifted twin boys, remembers an irate father standing up at a meeting with a school superintendent to protest funding a gifted program. “I am so sick of hearing that elitist crap,” Stone remembers the man saying. He called gifted kids arrogant, complained that they already have everything, and rejected the idea that they needed ‘country club programming.’ “Kids are all the same and should be treated the same,” he continued.
Nearly all teachers and parents of gifted students, however, consider congregated classrooms essential. “People say it teaches the kids not to get along in the real world,” Aldred says. “I believe it is about survival.” Gifted kids need a place where they can feel safe and accepted for all their various intensities. A place where they can be themselves, quirks and all.
Janice Robertson agrees: a congregated gifted program may well have saved her son’s life. Janice had long been concerned about Mark (both their names have been changed). He was an exceptionally smart kid who taught himself to read by the time he was two years old. But a darkness always hung behind Mark’s brightness. “He would say things like, ‘I’m just going to hurt myself,'” Janice remembers. He used to bang his head on the floor and once, when he was three, pointed to a digger on a construction site and said, “I’m going to ask that digger to dig a hole and put us in it and bury us.”
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Mark’s early schooling in Saskatchewan proved difficult. He behaved poorly. Mark threw things around the classroom, made animal noises during quiet reading time, and hurled snowballs at cars at recess. The school principal called Mark’s parents with reports of misbehaviour several times a week. A doctor wrote Mark a prescription for Zoloft, an anti-anxiety drug, but the medication had no effect. “He was driving himself and everyone else crazy,” Janice says. She decided to have Mark tested for giftedness.
These tests are expensive. The Wechsler Intelligence Scale for Children (WISC), one of the most common tests used to determine giftedness, costs anywhere between $800 and $2000 to administer. In most cases, individual teachers will identify a child who should be tested and recommend the school cover the cost. But without a teacher’s referral—or if the school’s budget for testing runs dry—parents must foot the bill. Mark’s family was fortunate that they could afford the tests, but many lower-income families cannot. Gifted-education advocates like Aldred and Frank worry that many gifted children are not being identified at all.
Mark scored well into the gifted range and was eligible for special programming, but the gifted programs in Saskatoon’s public school system did not start until Grade 5. Mark’s parents decided they couldn’t wait. The whole family moved to Calgary and Mark started the GATE program at Hillhurst Elementary. After about a year into the program, Mark settled down and his grades improved. “He wasn’t as bored. There was not as much need to create chaos to keep himself entertained.” Most importantly, though, was that Mark had found his tribe. “People understood him better. He made more intellectual connections.” Occasionally, Mark clashed with kids “outside his little clan,” Janice says, but never with his fellow GATE classmates. These were his people.
Mark continued with the GATE program until Grade 11, when he enrolled in a hockey program at Athol Murray College of Notre Dame in Wilcox, Saskatchewan. (A true eccentric, Mark played goal.) Now he studies engineering at Queen’s University. As it turns out, his roommates in Kingston are old classmates from the GATE program in Calgary. Without that program, Janice says, Mark would have fallen apart. “I honestly believe if we hadn’t gotten him into that segregated program he would have dropped out and started dealing drugs somewhere,” Janice says. “Mark would have ended up killing himself or someone else.”
Not all students feel saved by gifted education, however. Alyssa Morgan needed to be saved from her gifted program. Morgan had always been an odd kid. For as long as she can remember, she has never been able to stand tags on her clothing and can’t wear anything made out of corduroy or polyester. “I’ve worn jeans and a cotton T-shirt for basically my entire life,” she says. Morgan started to notice her own giftedness in Grade 3 when she started to find school unbearably dull. Morgan often snuck out of her classroom to read books in the library. When she did attend class, Morgan pestered her teacher with constant questions. “It was like an itch I couldn’t scratch,” Morgan says. “The thirst to know and understand everything.”
Morgan’s parents didn’t worry too much about their daughter’s eccentricities until Grade 4 when a substitute teacher—and mother of two gifted children—recognized something exceptional in Morgan’s misbehaviour. The substitute teacher suggested testing Morgan’s IQ. She scored a 137 and started in the GATE program at Nellie McClung the following year.
In a way, Morgan was lucky she was such a pain in the ass. Gifted boys tend to act out much more often than gifted girls. Young males tend to combat their boredom by disrupting the class. Often their frustrated teachers send them to be tested for behavioural problems only to discover that the little monsters have off-the-chart IQs. Gifted girls, however, are more likely to turn inward. Their silent brooding may be interpreted as nothing more than feminine coquettishness, and their giftedness may be overlooked.
Initially, the GATE program was everything Morgan wanted. “The first two years I was in that program were incredible,” she says. Her teacher assigned expansive projects to the class. They discussed concepts, shared ideas, and approached each piece of curriculum from several angles at once. “Every single day I was coming home bursting at the seams with all of this,” Morgan says. At the family dinner table, Morgan rambled on about how she learned about pi. About Archimedes. About the pay system of the ancient Incas. “It got to the point that my parents said ‘You need to stop and let everyone else talk about their day as well.'”
The GATE teachers at McClung knew how to manage the various excitabilities and sensory issues of their students. Morgan’s Grade 6 teacher, Michelle Odland, gave the students regular “body breaks.” Allowing them to get up and run around the class a few times a day helped their concentration. Odland also wrapped everyone’s desk in sheets of paper so that they could doodle nonstop if they needed to. When some of the more sensitive kids complained about the constant buzz of the fluorescent tube lighting, Odland strung up Christmas bulbs everywhere to provide a calmer, quieter light. “She would constantly ask ‘What’s bugging you?'” Morgan says. “This was a teacher who understood we weren’t just a bunch of kids that were really, really smart. She offered us emotional support.”
But Morgan’s dream education ended when she left McClung and started junior high at John Ware. In an effort to tend to their diverse learning needs, the administration divided the GATE students into two groups Morgan termed the “Perfects” and the “Clods.” The Perfects were all high-achieving gifted kids—those who could sit still and listen to their teacher and, therefore, scored higher on tests. Morgan, on the other hand, was a Clod. The Clods, Morgan says, “were all over-excited. All hyper-sensitive. There were sensory issues running wild.” Chaos reigned in the Clod classroom. “No one could sit still. We were all talking back and yelling over each other.”
The Clods’ teachers lacked Mrs. Odland’s talent for teaching gifted kids. Instead of assigning big projects, most teachers handed out worksheets. Students were not encouraged to debate concepts anymore, and were expected to simply sit, listen and behave. “We did not have enough teachers who actually understood what gifted is.” Before long, the students turned on each other. Gifted students are rarely bullies, but without an outlet for their various intensities the Clods of Nellie McClung vented their frustration on Morgan. The teasing and abuse escalated throughout junior high and into high school. Morgan hid most of what was happening from her parents. “They were aware there was bullying, and would give advice and pep talks, but they were not aware of the levels I was being attacked,” she says. Morgan did not elaborate on the details of all she endured, only that the incidents culminated in something she calls the “Terrible Awful.” She finally fled the GATE program altogether in Grade 11.
Now 21, Morgan is studying journalism at the University of Vancouver Island. Her gifted eccentricities endure. She hauled 400 books into her tiny dorm room when she moved in, for example, and recently spent an entire night reading all the case files and grand jury testimony in the Michael Brown case in Ferguson. The “Terrible Awful,” though, still haunts her. Morgan’s doctor recently diagnosed her with PTSD. “I did not handle what happened to me the appropriate way,” Morgan admits, but she believes much of the blame lies with her GATE teachers. “The people who failed us were those who didn’t know what gifted was,” Morgan says. “Had my teachers been better, none of this stuff would have happened.”
Mercifully, Morgan’s story is an anomaly. Most gifted students thrive in the programs designed for them. But her experience exposes the vital role of the teacher in gifted education. Congregation, though essential, is not enough for some of these students. They need educators who possess a holistic understanding of giftedness. In Canada, no specific training is necessary for gifted-education teachers. In the U.S., teachers of the gifted need to have special certification. “Here you just have to be alive,” Frank says. Very few teachers possess a gifted-focused master’s degree like Aldred.
Principals and administrators assign teachers to gifted programs based on interviews and on the teacher’s interest. At Westmount, Frank looks for teachers who display flexibility in their thinking and are intellectually honest. An ideal teacher of the gifted must also be creative and humble. “If you are paralyzed by someone being smarter than you, please do not go into giftedness,” she advises. Above all, Frank says a teacher of the gifted needs to understand that “these students are wired differently.” Gifted teachers “encourage students, in their authentic search for self, to make conscious choices towards the good.”
Empathy is key. For this reason, Frank believes the best teachers of the gifted are gifted themselves. She understands the suggestion may rankle some, but no one understands the nuances of giftedness better than those who have endured them first hand. Thankfully, gifted education tends to self-select for gifted teachers anyway. Many of those who apply to teach gifted programs, Frank says, display the same exceptional traits their potential students do.
Frank and Jennifer Aldred both admit that there is little gifted students can learn from their teachers, at least intellectually, that they cannot learn on their own. These exceptional kids can speed through a year’s worth of school board curriculum in a matter of hours. “I will never know more than they do,” Aldred says. They need teachers and programs that focus not on the magnificence of their brains, but on the fragility of their hearts. “Unless their heart is intact, no learning can happen,” Aldred says. She quotes from Galway Kinnell’s “Saint Francis and the Sow,” a poem she teaches her literature students:
…sometimes it is necessary
to reteach a thing its loveliness,
to put a hand on its brow
of the flower
and retell it in words and in touch
it is lovely
“I can’t teach them anything,” Aldred says. “But I can reteach them their loveliness.”

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Saint Francis and the Sow

BY GALWAY KINNELL
The bud
stands for all things,
even for those things that don’t flower,
for everything flowers, from within, of self-blessing;   
though sometimes it is necessary
to reteach a thing its loveliness,
to put a hand on its brow
of the flower
and retell it in words and in touch
it is lovely
until it flowers again from within, of self-blessing;   
as Saint Francis
put his hand on the creased forehead
of the sow, and told her in words and in touch   
blessings of earth on the sow, and the sow   
began remembering all down her thick length,   
from the earthen snout all the way
through the fodder and slops to the spiritual curl of the tail,   
from the hard spininess spiked out from the spine   
down through the great broken heart
to the sheer blue milken dreaminess spurting and shuddering   
from the fourteen teats into the fourteen mouths sucking and blowing beneath them:
the long, perfect loveliness of sow.