Group items tagged

attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking

such as heightened confidence and sense of agency

Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth

Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.

The creative process at the center of CYD programs contributes to profound personal growth for youth participants

And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”

community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat

hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.

impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities

She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (

Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—

The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.

Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.

Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.

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.

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.

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.

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.

before climbing into what passes for her classroom in 2020: her daughters’ decade-old treehouse.

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.

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.

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.

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.

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.

Rule #2: Concepts before Facts (95% of the time)

Patterns make concepts useful, patternless concepts tend to have a very limited use, so they aren’t studied that much.

But it needs more time to mature in the back of your head while you do other things. Worse, it utterly fails when put under intense stress or time constraints.

Rule #4: Concept Checklists are Useful

Then create a second-order list under each of the larger bullet points with sub-concepts.

Write out (I suggest on a word document, since it allows multiple levels of bullets) all of the major concepts covered in your course.

Heuristics for Learning Better

A concept checklist is a good way to handle those scary, “I don’t understand anything!” moments that many learners face. It allows you to dissolve the frightening implications of total ignorance into a step-by-step guide that can allow you to slowly conquer any subject.

Tactic #1: The 5-Year Old Method

Tactic #2: Metaphors

I recommend brainstorming for metaphors. Start with open-ended questions like: This idea reminds me of…? This idea is used in real-life situations, such as…? What phenomenon mimics this idea? If I wanted to tell a story about this idea, it would go like…?

Tactic #3: Visceralization

combine smell, feeling and motion into an image, not just a picture.

Tactic #4: Deep Linking

if you know you don’t actually have to deeply learn the material, going deeper into a subject can actually make the original idea easier to understand.

How to Learn Faster and Better