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Catherine Strattner

PS22 Chorus "JUST DANCE" by Lady Gaga - YouTube - 0 views

www.youtube.com/watch

dance lady gaga youtube

shared by Catherine Strattner on 15 Aug 12 - Cached
  • Catherine Strattner on 15 Aug 12
     
    A video of PS22 students singing Lady Gaga's "Just Dance." An inspiring example of student engagement.
Heather Kurto

Pedagogical Love and Good Teacherhood | Määttä | in education - 1 views

ineducation.ca/...348

shared by Heather Kurto on 15 Jun 13 - No Cached
  • A teacher’s proficiency is manifested by the ability to look at the subject from a learner’s point of view, to foresee the critical junctions in learning, and to design teaching to meet learners’ information acquisition and collection processes (e.g., Zombylas, 2007).
  • van Manen (1991) claims that as teachers embrace all children, regardless of their characteristics they become real educators, and thus, educators’ pedagogical love becomes the precondition for pedagogical relations to grow (p
  • Individualistic features, position, nationality, gender, abilities, race, or language do not determine a human being’s value. Those differences based on skills, intelligence, or knowledge are insignificant compared with that basic human presence that is the same for all people: the right and need to be loved, accepted, and cared for as well as the right and need to grow and develop (Bradshaw, 1996; Lanara, 1981; Sprengel & Kelly, 1992).
  • ...19 more annotations...
  • A teacher’s ethical caring means genuine caring, aspiring to understand and make an effort for pupils’ protection, support, and development. Because of this pedagogical caring, the teacher especially pursues pupils’ potential to develop and thus help them to find and use their own strengths.
  • Pedagogical love has been considered the core factor in the definition of good teacherhood for decades, though the characteristics of a good teacher have always included a variety of features. Features such as the ability to maintain discipline and order, set a demanding goal level, and the mastery of substance have been especially emphasized (e.g., Davis, 1993; Zombylas, 2007; Hansen, 2009)
  • Love influences the direction of people’s action as well as its intensity. Positive emotions, joy, strength, and the feeling of being capable lead mental energy toward the desired goal (Rantala & Määttä, 2011). Negative emotions, grief, fear, and anger cause entropy, an inner imbalance that burns off energy, brands the target with negative status, and pursues nullifying and undervaluing (e.g., Isen, 2001).
  • he educator’s task is to provide pupils with such stimuli and environment where students are guided to limit their instincts by controlling enjoyment and vital-based values, in order to be able to achieve higher values and skills (Solasaari, 2003).
  • Mihaly Csikszentmihalyi (1990, 2000) has launched the concept that refers to an optimal or autotelic experience where people are riveted so comprehensively by a challenging performance that the awareness of time and place blurs. Flow is possible when the challenges in a task are balanced with an actor’s abilities. Flow is an enjoyable state of concentration and task orientation, leading to optimal performance, whether the case is wall creeping, chess playing, dancing, surgery, studying languages, painting, or composing music.
  • This sets challenges for skill development. If a task is too easy, it will bore. If it is too difficult, it will cause anxiety and fear. The exact experience of flow and the active sense of well-being resulting from the former, encourage people to develop and improve their skills. People are willing to strive for flow whether it was about love for math, art, programming, or orthopedics (Csikszentmihalyi, 1990).
  • In an interview, Gardner (as cited in Goleman, 1999) said flow is intrinsically rewarding without the hope for reward or threat of punishment. We should use learners’ positive moods (love) and through it get them to learn things about fields they can succeed in. People have to discover what they like, what things and doings they love and do these things. Even a child learns the best when he/she loves what he/she is doing and finds it enjoyable. (p. 126)
  • Pedagogical love might contribute to pupils’ learning and success by providing them with positive learning experiences, initial excitement, and perceived successes. These are the seeds of expertise as a positive feeling that can be considered the source of human strengths (Isen, 2001).
  • Pedagogical love springs from an individual learner’s presence persuading it to come forward more and more perfectly and diversely. A skillful educator does not just sit by and watch if a learner makes worthless choices or fails in his or her opportunities to grow and develop.
  • Haavio emphasized the meaning of pedagogical love in teachers’ work and considered that teachers’ work consists of the following two obligations: attachment to learners and dutiful perseverance of life values.
  • Pedagogical love speaks to interdependence—the recognition and acceptance that we need others.
  • Love appears in teaching as guidance toward disciplined work, but also as patience, trust, and forgiveness. The purpose is not to make learning fun, easy, or pleasing but to create a setting for learning where pupils can use and develop their own resources eventually proceeding at the maximum of their own abilities
  • A loving teacher reveals for a pupil the dimensions of his or her development in a manner of speaking. This is how a pupil’s self-esteem strengthens and he or she can develop toward higher activities from the lowest, pleasure-oriented ones. Achieving high-level skills is rewarding because it brings pleasure, and yet, it often demands—as mentioned previously—self-discipline and rejections
  • A teacher’s work is interpersonal and relational, with a teacher’s own personality fundamental to building relationships with students. A teacher’s work involves plenty of emotional strain. In addition, a teacher inevitably has to experience frustration in his or her work. There are many situations when a teacher will feel like she or he has failed regardless of the solution he or she creates.
  • Consequently, teachers are likely to experience guilt because they cannot sufficiently attend to all pupils in an appropriate way that is congruent with the notion of caring.
  • However, teachers have to realize that their own coping, motivation, and engagement require attention; they are not automatic.
  • Pedagogical love emerges through teachers’ emotions, learned models, moral attitude, and actions
  • Good teachers are examples to learners even in the most difficult life situations. Teachers have to believe in their work and endeavour to build a nurturing environment and a more humane world.
  • To be happy about life, to guide students to see the wonder and joy in the mundane is a teacher’s most important skill. Being able to help students find and negotiate the joy, wonder, happiness, and pain in the everydayness of life is an increasingly important quality in today’s insecurities, with the mounting pressure of increased demands for efficiency
diane hamilton

Teach - 0 views

www.bgsu.edu/...CWteach.htm

embodied learning

shared by diane hamilton on 28 Jun 12 - No Cached
  • The M-BOD scenarios sketched out above differ from those described in the EL section in that the former take seriously the role of desire in student learning. In the M-BOD scenarios, students resource their creative and dramatic selves to become their own guides in working out the meaning(s) of History, ethics, bullying, etc. This learning is “deep” because it involves the body in several ways: Sometimes bodies actually get up and move through space (i.e., the walking dance or doing field research) Students are prompted to respond to situations more than follow directions; these situations require them to “read” other people and multiple texts and contexts Students’ formal presentations (their strategic, other-directed productions) elicit actual responses from people, which (whether good or bad, or a mix) then require some expression and reflection Back to Discussion of "Situating M-BOD"       Preface One: Situating Embodied Learning Two: Case Study: Oliver Identity and Learning: “Follow What I Am Doing: Do The Rules That I’m Doing: It’s Very CoM-pli-cated” Improvisational/Feedback "1,2,3...16, 17,18, NineTEEN" Innovation: “I Can Look At Your Cards” Producelike Behavior: "Why Do The Make Queen Better Than Jack?" Conclusion: "The Bricolage, The Music, The Movement" Three: Implications for the Literacy Autobiography Assignment              
  • diane hamilton on 28 Jun 12
     
    example of embodied learning and distinguishing it from traditional learning and experiential learning
rhondamatrix

Fearless Writing (a book by Tom Romano) - 2 views

www.heinemann.com/...romanosamplechapter.pdf

teaching learning

shared by rhondamatrix on 11 Jun 14 - No Cached
  • rhondamatrix on 11 Jun 14
     
    This link will take you to the opening chapter of Tom Romano's latest book about multi-genre papers. Romano has been working on this concept for close to two decades. It branches off Gardner's work on multiple intelligences, which Samantha wrote about on the Module 1 discussion board. I believe that we need to rethink what an academic paper "should" look like. Are we teaching an outdated model?
  • dkiesel on 11 Jun 14
     
    Rhonda, I started reading Fearless Writing with this link you provided and if I had nothing else to do today I would curl up and just read it. This is a topic that I have been thinking about whie taking these ETAP classes that there needs to be a paradigm shift in letting people just write. As a writer, of sorts at least I have published a book, I write best with editing a thousand times as the writing becomes better targeted. However, one can notice in our online discussions how some students do not write much, or do not write from the soul of self, the creativity with the science and theories to figure out how to remember and apply what we learn. During the years I was writing my book, I discovered that when I played the piano or figured out some 1700 Spanish classical guitar piece..I could write easily. It was like food for the writing. Now days I have that music in my head whenever write like right now there's a tune being built with the pace of tapping the keys. This process is what we need to let flourish when student have their dance of art, music, and other types of deigns in the Mind that form pathways to help us learn.
  • rhondamatrix on 11 Jun 14
     
    Thanks for the comment. I haven't done much with multigenre papers since getting the teacher certification, but I do think it's an area that needs more exploring. Romano focuses mostly on the high school population but I see no reason why these ideas can't be pulled up into an expository writing course. Yes, college students need to know how to do the basic research, citation, and so on, but they also need to know how to CREATE, how to enjoy words for words' sake rather than putting words on the page to fulfill a grading formula. Again, call me a Luddite if you will but I fear that as these web tools grow more sophisticated, we are losing our grip on the simple pleasure of the written word...
Diane Gusa

Teaching Creativity - 0 views

www2.goshen.edu/...tc.html

creativity teaching socratic questioning education

shared by Diane Gusa on 27 Jun 11 - Cached
  • Most five year olds are totally confident that they can draw, sing, and dance.  Tragically, within three or four years this child, if she is typical, will experience a crisis of confidence
  • She will no longer feel competent or creative. 
  • When allowed to do what we want to do, we are most likely to revert to whatever we previously found enjoyable and/or successful.
    • Diane Gusa
      Diane Gusa on 27 Jun 11
       
      I have experienced this with my students, but now I also understand that they need more confidence to be risk-takers
  • ...11 more annotations...
  •   In order to force a new idea to the surface, an artist might reverse the order of work, change the medium, change the scale, forbid a certain common component in the work, and so on.  These are limitations to jog or jump start the creative impulse.
  • In creative teaching, assignment limitations provide a way to change the student's habits of work
  • people have developed problem solving habits that lack confidence in their own ability to bring any life experience or judgement to the situation.
  • a society that values conformity above indiviual creativity and choice making probably should teach drawing as a series of prescribed symbols rather than teaching actual observation, thinking, feeling, and interpretation skills.
  • Teach creativity by giving TIME FOR THE CREATIVE PROCESS Assign HOMEWORK OF THE MIND
  • When we show an end product in order to help explain something, we risk that students will not be challenged to think creatively
  • To teach process, we avoid posting charts that gives answer unless the students themselves have invented the charts.
  •   The scientific method says that questions must be answered experimentally and the results are repeatable.
  • the scientific method takes more time in the short run, but if a student learns that they can design experiments to solve their own problems, they have learned not only the scientific method, they have learned one of the important components of artistic thinking and artistic behavior. Ultimately, time is saved because students have learned to figure out how to answer their own questions. They are empowered.
  • True creativity happens when intuitive imagination brings forth the previously unknown and unimagined
  • The creative process includes preparation, incubation, insight, elaboration, and evaluation.
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