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Thieme Hennis

The Teaching and Learning Foundations of MOOCs - 24 views

  • The pedagogical benefits of these characteristics of MOOCs translated into: the effectiveness of online learning, retrieval learning, mastery learning, enhanced learning through peer and self-assessment, enhanced attention and focus due to “chunking” content into small packages and finally peer assistance, or out-of-band learning.
  • When it comes to peer and self-assessment, there is general agreement that it is an effective means of marking. Assignments that are peer or self-assessed agree closely to those marked by instructors and tutors.
  • Overall, the evidence is that there is no reason to believe that MOOCs provide any less a valid learning experience than face-to-face courses. In many ways, they are simply a restatement of online learning environments which are optimised for large class sizes and modes of learning suited to todays digital milieu. When used for students enrolled in a university degree, they are usually combined with on-campus learning opportunities in a “flipped-classroom” style of presentation which brings the advantages of both environments.
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  • What is exciting about the MOOC environment is that it will provide a rich opportunity to gather data that will tell us what does and doesn’t work and how students learn most effectively in as engaging an environment as can be provided. This will almost certainly mean that the current MOOC format will evolve rapidly over time as it is driven by this research supported by real data.
  •  
    MOOC research - pedagogical notions, and scientific outcomes regarding the effectiveness of MOOCs
jojomitty

Microsoft Buys Edu Edition of Minecraft Releases OneNote Classroom Tool -- THE Journal - 24 views

    • jojomitty
       
      Mentoring would be wonderful for those of us who are not familiar with the workings of Minecraft but would like to use it in class.
  • free trial version
  • Minecraft transcends the differences in teaching and learning styles and education systems around the world. It's an open space where people can come together and build a lesson around nearly anything."
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    • jojomitty
       
      Technology = equalizer for students
  • make sure no student ever got behind in their education because of difficulties with reading... We wanted to make sure that was as little a barrier as possible, so they can focus on what they're learning."
    • jojomitty
       
      This is a huge bonus for ELL students!
Kelly Sereno

SIRS: Turn Off the Cell and Tune In - 64 views

    • Kelly Sereno
       
      con - Argument #2
  • There is an epidemic of under-the-desk text messages during class, a virtual economy of exam pictures posted to Facebook, a trade in school fight videos on YouTube, they say. To combat it, the county school board voted Thursday to ban cellphones and other electronics during the school day, even as many school systems across the country are loosening their rules.
  •  
    No cell phone use in schools - text messages, cheating, school fights
jedimind

Life, Death, and Best Elliptical under 500 - Best Elliptical - 1 views

  • Using an elliptical machine provide a total body workout.
Marianne Hart

The Creativity Crisis - Newsweek - 48 views

  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • “Creativity can be taught,”
  • it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children
    • Brian C. Smith
       
      Students are labeled as "creative" if they display a knack for art or music, and sometimes in writing, however, they are rarely recognized as creative in math or science where a lot of creativity is not only needed, but excellent for learning within those very two disciplines.
    • Bill Genereux
       
      This is precisely why creativity education is important. It is needed everywhere, not just in the arts. Those teaching outside of arts education need to start recognizing the importance of creative thinking as well.
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  • When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”
  • The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.
  • When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better
    • Ed Webb
       
      Surely, "more quickly"?
  • Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.
    • Brian C. Smith
       
      Likely because it was out of necessity and the hardships of life. Not that we don't have hardships and necessities, but innovation has solved a lot of problems and automation has made skills and tasks easy.
  • What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.
    • Brian C. Smith
       
      Everyday process of work or school... over time, consistent and non-prescriptive.
  • kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.
  • project-based learning
  • highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.
  • When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.
  • solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others
  • The age-old belief that the arts have a special claim to creativity is unfounded.
  • When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.
  • The lore of pop psychology is that creativity occurs on the right side of the brain. But we now know that if you tried to be creative using only the right side of your brain, it’d be like living with ideas perpetually at the tip of your tongue, just beyond reach
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.
  • The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer
  • The new view is that creativity is part of normal brain function.
  • “As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”
  • In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.
  • fact-finding
  • problem-finding
  • Next, idea-finding
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
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    For the first time, research shows that American creativity is declining. What went wrong-and how we can fix it.
ride4life1983

The Role of Learning Management Systems in Middle Schools - 14 views

  • a
  • ll learning styles and levels can be met. Teachers can organize their classes and post different documents, assignments, tests, etc. for their students to work on without the students knowing they are receiving something that has been specifically developed for their own level.
  • many benefits in middle level education
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  • paper copies of their absent work; now teachers post worksheets, links, videos, and other resources
  • flipped classrooms can be created
  • communication increases. Groups are developed within the system for sharing resources, sending messages, and connecting with staff and students.
  • attracted to technology outside school;
  • built-in reward system in which teachers can give badges to students for good attendance, participation, etc. to reinforce positive behaviors.
  • opportunity to communicate
  • Class participation and collaborative work increases
  • Parents
meghankelly492

Music That Represents Culture: Selecting Music with Integrity: EBSCOhost - 4 views

  • The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).
  • In other words, authenticity lies within the perceptions of the individual.
  • Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.
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  • Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."
  • but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.
  • Having clear visions of educational goals and the broad curriculum is vital to making these determinations.
  • Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.
  • text in an unfamiliar language should include a translation so students understand the meaning of the words.
  • However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.
  • Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.
anonymous

Grove Art: Subject Guide in Oxford Art Online - 12 views

  • the Renaissance was a period when scholars and artists began to investigate what they believed to be a revival of classical learning, literature and art. For example, the followers of the 14th-century author Petrarch began to study texts from Greece and Rome for their moral content and literary style. Having its roots in the medieval university, this study called Humanism centered on rhetoric, literature, history and moral philosophy.
    • anonymous
       
      This 'rebirth' of classical thought and investigation led to many advances in the areas of art, science, medicine, and literature.
    • anonymous
       
      Make a list of three specific historical people from the article to share with the class.
bshapiro84

Timeline - 100 views

  • Storytelling Tools We build easy-to-use tools that can help you tell better stories. Timeline JS Easy-to-make, beautiful timelines. StoryMap JS Maps that tell stories. Juxtapose JS Easy-to-make frame comparisons. Soundcite JS Seamless inline audio. View More
mstuehm76

Want to improve literacy in your school? Here's how | eSchool News - 23 views

  • the district adopted the McGraw Hill curriculum for ELA.
    • mstuehm76
       
      We use Language for Learning
  • we teach students how to build an argument and develop critical-thinking skills using five steps: Claims, Evidence, Reasoning, Counterarguments, and Audience.
  • To evaluate the effectiveness of our school-wide initiative, we now administer quarterly writing assessments for each content area. We analyze student writing samples at the end of each quarter and include norming as a department, using the district writing rubric to determine strengths and areas requiring improvement.
    • mstuehm76
       
      Marzano Score 4 rubrics
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  • “I agree with what ___ said about ___, but disagree that ___.”
  • Much of what our students learn is told to them, so it is critical that they develop listening comprehension.
  • We started with a baseline assessment in September and will compare those results to a final writing sample at the end of the year.
atressler3

Guideline on Some Questions and Answers about Grammar - 36 views

  • Grammar names the types of words and word groups that make up sentences not only in English but in any language
  • sentence structure
  • conventions and style of language.
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  • apply knowledge of language structure, language conventions (e.g., spelling and punctuation)"
  • language use, patterns, and dialects
  • Students benefit much more from learning a few grammar keys thoroughly than from trying to remember many terms and rules.
  • Experiment with different approaches
  • show students how to apply it not only to their writing but also to their reading and to their other language arts activities.
  • If they know how to find the main verb and the subject, they have a better chance of figuring out a difficult sentenc
  • Traditional drill and practice will be the most meaningful to students when they are anchored in the context of writing assignments or the study of literary models
  • apply it to authentic texts.
  • Try using texts of different kinds, such as newspapers and the students' own writing, as sources for grammar examples and exercises.
  • entence combining: students start with simple exercises in inserting phrases and combining sentences and progress towards exercises in embedding one clause in another.
  • practice using certain subordinate constructions that enrich sentences.
  • All native speakers of a language have more grammar in their heads than any grammar book
  • If a word can be made plural or possessive, or if it fits in the sentence "The _______ went there," it is a noun. If a word can be made past, or can take an -ing ending, it is a verb
  • whole sentence or a fragment
  • verb phrase
  • subject
  • pronoun f
  • Students can circle the sentence subjects in a published paragraph, observe this pattern at work, and then apply it to their own writing.  
  • Most sentences start with information that is already familiar to the reader, such as a pronoun or a subject noun that was mentioned earlier.
  • end focus.
jgarciama

Wall Street by julianagarciamaldonado on emaze - 3 views

  • Discriminación entre estímulos
  • aprendizaje ele las respuestas
  • Discriminación entre estímulos
  • ...38 more annotations...
  • aprendizaje las respuestas
  • Discriminación entre estímulos
  • Aprendizaje de las respuestas
  • Discriminación entre estímulos
  • Aprendizaje de las respuestas
  • Aprendizaje de las respuestas
  • conocill1iento de que respuesta acompafta a cual estimuh
  • Aprendizaje de las respuestas
  • Conocimiento de que respuesta acompaña a cada estímulo
  • Conocimiento de que respuesta acompaña a cada estímulo
  • Los sujetos reciben una lista de terminos y los recuerdan en cualquier orden.
  • Conocimiento de que respuesta acompaña a cada estímulo
  • los sujetos reciben una lista de terminos y los recuerdan en cualquier orden.
  • os sujetos reciben una lista de terminos y los recuerdan en cualquier orden.
  • Conocimiento de que respuesta acompaña a cada estímulo
  • Economic system
  • Global Cities
  • The system of producing and distributing of goods and services and allocating resources in a society.
  • según la cual vez q
  • pleto.
  • teoría e la inte1ierencia del alvido, segun la cual una vez que se aprenden las asociaciones, nunca se olvidan por co
  • The system of producing and distributing of goods and services and allocating resources in a society.
  • Interferencia proactiva
  • La de las asociaciones mas antiguas que obstaculizan el nuevo aprendizaje.
  • Interferencia proactiva
  • Interferencia proactiva
  • Interferencia proactiva
  • Tareas del aprendizaje
  • Interferencia proactiva
  • La de las asociaciones mas antiguas que obstaculizan el nuevo aprendizaje.
  • Teoria de la interferencia
  • Aprendizaje verbal
  • Asociaciones de estímulo y respuesta
  • Cada vez que prestamos atención a los sucesos del medio 
  • Cuando se codifica la información que se debe aprender 
  • almacena la nueva información en la memoria y la recupera cuancio la necesita (Shuell , 1986) .
  • Cuando se relaciona la información nueva con la  que se tenía anteriormente.
  • PROCESAMIENTO DE LA INFORMACIÓN
linda_augusto

The 5 Best Free Slideshow Presentation and Creation Tools for Teachers - eLearning Indu... - 48 views

  • Animoto
  • Kizoa
  • allows users to create zooming slideshow presentations that truly capture your students’ attention.
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  • Users create memorable and mentally engaging videos by inserting pictures, videos, and text into a template video style.
  • slideshows, videos, or animated collages.
robert morris

STEM + Art: A Brilliant Combination - Education Week - 44 views

  • asked permission to hire an arts-integration teacher
  • and that year and subsequent years, the scores on the state assessments improved.
  • a compendium of 62 research studies that support the powerful positive academic and social effects of learning in and through the arts
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  • The research confirms what we know to be true. The arts impact all learning.
  • Neuroscience has also provided an emerging branch of research related to studying the arts. For instance, "Learning Arts and the Brain: The Dana Consortium Report on Arts and Cognition" reinforced the positive impact arts learning has on a young person's ability to retain information.
  • Neither the arts nor the sciences have a monopoly on teaching creativity, collaboration, or problem-solving skills.
  • The design process proved to be as important as the finished product.
  • Schools must provide opportunities for students to learn across disciplines. No longer can we teach in silos.
  •  
    ""Education is not the filling of a pail, but the lighting of a fire." -William Butler Yeats"
  •  
    ""Education is not the filling of a pail, but the lighting of a fire." -William Butler Yeats"
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 1 views

  • The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
  • However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
  • The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
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  • how does each author use authenticity as a strategy for making or justifying decisions in music education?
  • authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
  • since the original loses some of its essential qualities in a simplification.5
  • His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
  • Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
  • Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
  • Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
  • Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
  • Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
  • "World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.
Martin Leicht

Treehouse teaching and laundry art: Educators find creative ways to reach kids - 5 views

  • was also concerned about her students’ lack of engagement — so few were completing the assignments she emailed to parents
  • Playing with her family’s laundry marked the first time Maliah seemed happy — actually happy — since the start of the pandemic.
    • Martin Leicht
       
      NOTE - happy - happy is good. Happy kids want to learn or are more likely to learn.
  • Nobody should ever be penalized or put at a disadvantage for the supplies they don’t have,” Dillingham thought to herself. “But everyone’s got laundry!”
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  • Clark started an online fundraiser to pay for bikes. He raised more than $10,000, and neighbors donated dozens of bikes and helmets for the rides.
    • Martin Leicht
       
      NOTE - a little digital citizenship too mixed in with online fund raising.
  • She couldn’t be sure whether her kids were uninterested or whether they lacked the necessary pens, paper and crayons at home.
  • He decided he would take his students on socially distanced bike rides across the city. “It was a leap of faith. I got extremely nervous. I was trying to find a way to connect with kids,” Clark said.
  • her young students are musical detectives, in search of learning. She teaches most grade levels and the school chorus.
    • Martin Leicht
       
      NOTE - musical detectives searching for music.
  • t he’s found other ways to keep his students engaged and cycling the city. He invited students to a weekly entrepreneurship class for which they rode their bikes uptown from Dunbar to the gym where Clark works, Sweat DC. The students met with the owner of the gym and the owners of a nearby bar, Hook Hall, and the bagel shop Call Your Mother Deli to learn what it takes to run a business.
  • She wanted them to create their own composition, their own snowy-day song.
    • Martin Leicht
       
      NOTE - used flipgrid for this
  • When Clark wanted to teach them about resilience, he took them through the hilly streets of Georgetown.
  • In lessons for older students, some days there were makeshift drums involved or recorders that students had taken home.
  • she was able to use the treehouse as a key part of her lessons.
  • She lugged a bookshelf, desk and heater into the 5-by-7-foot space, and ran an Ethernet cable from the house so she’d have Internet.
    • Martin Leicht
       
      NOTE - properly set up
  • before climbing into what passes for her classroom in 2020: her daughters’ decade-old treehouse.
    • Martin Leicht
       
      NOTE - different locals - maybe something with changing backgrounds.
  • So as one class studied architecture this fall, Daney, 54, encouraged them to walk in their neighborhood to take photos of houses of different styles: ranch, colonial, Victorian.
    • Martin Leicht
       
      NOTE - use what you have around you.
  • nd he stuck with his usual method of helping students learn about the design process, asking them to prepare a meal. They started with ideas and research, made a plan, carried it out and evaluated it. The result: soups and pastas and pastries.
    • Martin Leicht
       
      NOTE - edTech class on engineering and design
  • Kids need connection, he said. “I think they’re starving for conversation,” including with adults.
  • In fifth grade, students are expected to learn how to add, subtract, multiply and divide with whole numbers, decimals and fractions. Through a computer application the students have, they can program the robot to move a certain distance, stop, maybe even turn.
    • Martin Leicht
       
      NOTE - use a robot or technology to achieve the same result.
  • With learning all-virtual, he packs a big Ziploc bag — for each student, each quarter — with things like fishing line, foam board, pipecleaners, magnets, Popsicle sticks and rubber bands. Whatever they will need for their projects.
  • And a lot of the math is a little sneaky. They think they are trying to get the robot to move, when they are actually measuring the angles to get it to move.”  
  • Others complete their math problems directly on the computer, which can lead to some troubles as they try to show their work.
    • Martin Leicht
       
      NOTE - will share screen be viable.
  • When Kristin Gavaza interviewed for the music teacher position at Dorothy I. Height Elementary in the summer, she told the principal she had some ideas for how to create a festive concert while students were scattered and learning from home.
    • Martin Leicht
       
      NOTE - picture references a complete teacher set up of a large screen and standing desk. Sure, she's video editing yet the concept carries to teaching class too.
  •  
    Numerous creative examples to how educators promoted learning on line and worked to build engagement.
Leslie Grahn

It's all about choices - 3 views

  •  
    Blog about the power of choice in the classroom and the differentiation strategy of choice boards
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