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.