Group items tagged

"While individual efforts are valuable, students can learn the skills of collaborating on civic issues by working together as a whole class. Here are the five broad steps they should follow: Identify issues important in their lives and community, and decide on one to address. Research the chosen issue and decide how to change or improve the situation. Plan an action, including determining a goal for change; identifying who or what body in the community has power to make the change; and deciding how to approach that person or those people. Carry out the action through letters, talks, meetings with officials, policy proposals, and activities, depending on the specific goals of the project. Reflect on the effort when it is over in order to understand their successes, challenges, and ways to continue learning in the future. Two features are especially crucial to making the experience authentic and empowering. First, students must own the key choices and decisions and figure out solutions to problems themselves, so they discover that they can do this. The teacher facilitates the work, of course, but leaves as much of the decision-making as possible to the students. Second, the work should culminate in some action focused on change in the school or community. It's not enough to just talk about change, practice mock legislatures, or serve in a soup kitchen (as valuable as these activities may be). Only when students see adults listening to them with respect, do they realize they have a voice and can make a difference in their world. Their efforts may not always succeed, but in being heard they come to value the studying, reading, writing and planning that they have done."

"Forty-four years later, I wonder how he would have responded to my paper, and I am still singing the five-paragraph-theme blues, having fought the template's rigid lessons ever since.  I also know, from what scores of college students have reported to me (and from students Jennifer Gray interviewed), that it also gets in the way of other writers. Conversely, students tell me that what interests them in writing is teachers engaging them in real composing problems: Giving choice in topic; experimenting with different kinds of writing for a variety of audiences and purposes; and providing opportunities for thoughtful, in-process feedback from multiple sources-teachers, parents, peers, and others. (See post by  Ken Lindblom for more suggestions.) And the more students are interested in writing, the more motivated they are to improve, just as my neighbor who spends hours, weeks, and months on his skateboard wants to get better at his skateboarding skills-falling off, sometimes dramatically, but always getting back up and trying again.  He's interested in skateboarding, is willing to concentrate on that, and has gotten pretty good.  In the same way, if we get our students interested in their writing, they too will develop their writing skills.  From amazing teachers like Donald Graves and Donald Murray, Nancie Atwell, Kelly Gallagher, and Penny Kittle, we have a wealth of ideas about how schools can nurture joy and purpose in novice writers and how we can bring authentic writing experiences into our classrooms."

"Back in January, when I asked high school seniors to send in college application essays about money, class, working and the economy, I wasn't sure what, if anything, would come in over the transom. But 66 students submitted essays, and with the help of Harry Bauld, the author of "On Writing the College Application Essay," we've selected four to publish in full online and in part in this column. That allowed us to be slightly more selective than Princeton itself was last year. What these four writers have in common is an appetite for risk. Not only did they talk openly about issues that are emotionally complex and often outright taboo, but they took brave and counterintuitive positions on class, national identity and the application process itself. For anyone looking to inspire their own children or grandchildren who are seeking to go to college in the fall of 2014, these four essays would be a good place to start."

"In New York City, 26 percent of students in third through eighth grade passed the state exams in English, and 30 percent passed in math, according to the New York State Education Department. The exams were some of the first in the nation to be aligned with a more rigorous set of standards known as Common Core, which emphasize deep analysis and creative problem-solving. Last year, under an easier test, 47 percent of city students passed in English, and 60 percent in math."

Without question, Tom Robinson would be better off today. In fact, Tom Robinson could live a life completely unimaginable and unrecognizable to the characters in Harper Lee's "To Kill a Mockingbird" - the groundbreaking book, which is celebrating its 50th anniversary this week.  No lynchings.  No all white male juries.  No presumption of guilt based on skin color.  No state-sanctioned discrimination. Yet, Tom would realize a sad, but undeniable truth -- that racism is still alive and all too well in contemporary America.  He would know it in the economic injustice that has left a disproportionate number of African-Americans -- 25 percent -- living in poverty.   He would see it in the criminal injustice that has left a disproportionate number of African-American men - 6 times the number of white, non-Hispanic men -- living in jails and prisons.  And he would feel it in the hate-filled, racist rhetoric that still defines too much of our political discourse - rhetoric that questions the Civil Rights Act, rhetoric that questions the birthplace of our President.

"The one thing that generates the juice - the electricity - that brings everything in a story to life, giving it meaning, conflict and urgency, is this: a clear sense of how what's happening in the plot is affecting the protagonist internally. The story, I realized, is not about the plot. The story is about how the things that happen in the plot force the protagonist to struggle with an unavoidable problem, thus triggering - scene-by-scene - a long needed, incredibly hard internal change. What hooks and holds the reader is internal conflict, not external "drama." Recent advances in brain science and evolutionary biology have born this out. Stories are simulations - think of them as the world's first virtual reality: you are there, viscerally experiencing what the protagonist is going through, from the inside out. A story isn't about what someone does, it's about why they do it. Only by diving deep into what someone is really struggling with as they make a hard, unavoidable decision, can we reap useful intel on what it would actually be like to be in that situation ourselves. You're not reading about Jane Eyre's experiences from the outside in, you are Jane Eyre, experiencing those events yourself."

"Language merely reflects our way of trying to make sense of the world. - Frank Smith Frank Smith (1982) says 'writing touches every part of our lives'. One of the first reasons we write is because it is a tool for communication in culture. It gives us the ability the share information over time and space with multiple individuals (explaining, recounting & opinion). It can also be used as a permanent record or as a statement e.g. in history, geography  & science genres. The third cultural aspect for writing is artistry (narrative and poetry). Finally, there is also the personal aspect to writing. Writing allows us all to reflect, express our perceptions of self, to socially dream or to be critical (memoir). By writing, we find out what we know; what we think. Ultimately though, writing is a means for us to express ourselves in the world, make sense of the world or impose ourselves upon it. The question now is why do children write at school? For these purposes? - Not often. There is a massive discrepancy between the writing done in the real-world and that of the classroom. Donald Graves says 'all children want to write'. It is just a case of allowing them to write about the things they are interested in. As Frank Smith says, 'all children can write if they can speak it.' If they can talk about it, they can write it down. The transmission of narrow decontextualized writing skills; that English is just a formal system to be learnt. The insistence on task-orientated writing. The insistence on teacher-chosen writing tasks. The insistence on the use of external stimulus (literature units, film-clips, topic-writing) at the expense of children's knowledge, interests, loves, talents and idiosyncrasies. The formal rather than functional teaching of grammar. These examples embody the 'commonsense' assumptions which claim an authority which is supposedly natural and unshakable. Writing in classrooms at present isn't seen by children as important

"Two years ago, Zak Malamed and a few friends held their first Twitter chat for students who were feeling frustrated about how little say they had in the school reform debates going on all around them. At the time, Malamed and two other friends were still in high school, and one friend was in college. But when they formed Student Voice, the group that rose out of that first chat, they agreed that "Revolutionizing education through the voices and actions of students," in whatever form that would take, would be their mission. "Students want to achieve in school. They want to find purpose being in school." said Malamed. "They want to discover their talents. Without students having a voice, we cannot collectively ensure that this will all happen for every student.""

"Pearson would like to become education's first major conglomerate, serving as the largest private provider of standardized tests, software, materials, and now the schools themselves. To this end, the company is testing academic, financial, and technological models for fully privatized education on the world's poor. It's pursuing this strategy through a venture called the Pearson Affordable Learning Fund. Pearson allocated the fund an initial $15 million in 2012 and another $50 million in January 2015. Students in developing countries vastly outnumber those in wealthy nations, constituting a larger market for the company than students in the West. Here in the US, Pearson pursues its privatization agenda through charter schools that are run for profit but funded by taxpayers. It's hard to imagine the company won't apply what it learns from its global experiments as it continues to expand its offerings stateside.

"In the middle of the school year, I always regret my choice of becoming an AP and Honors English teacher. Not because I hate to teach, but because I'm always swimming in essays that I have to grade. In order to accommodate the load, I adapted the elementary way of thinking and formed a writers' workshop for my own classroom. Once they participate in the workshop, students are able to learn how to revise their own essays. Because of this, the time it takes for me to grade essays is literally cut in half. Suggestions for Implementing a Writers' Workshop in Your Classroom"

"The key to getting kids to read deeply in any format is to have them engage with the text in meaningful ways. In the digital space, that means disrupting a pattern of skipping around, writing short chats and getting lost down the rabbit hole of the internet. It means teaching kids ways to break down a complex text, find key ideas, organize them and defend them. Practicing those skills in class can be time-consuming, but it also builds good digital reading habits that hopefully become second nature. "The goal in almost all the strategies is to slow the kids down so they are focusing on this text," Hess said. "Number two is to engage them in an active way with the text, and number three you want to encourage oral discourse. And number four you want them to do some reflection." Those steps should sound familiar to teachers because they are important for any kind of reading for comprehension and analysis. The trick for teachers is to learn how to transfer these processes into the digital space and push them even further."

"1. Survey students about our school's writing atmosphere What role do you expect writing to play in your life during the next 5-10 years? What do you think colleges/universities expect in terms of student writing? What writing do you think is valued at your high school? What does your teacher value in terms of writing? How do you know what writing is valued at your school and in this class? In the last 2-3 years, what has positively influenced your writing? What feedback is most helpful to you as a writer? How does grading influence your writing? My colleague and I turned these questions into a Google form survey, and the results will give us lots to think about in the months ahead. This is a great opportunity to talk with students about what they value about writing and help them find ways to make their writing reflect what they value and what readers might need.  2. Separate my reading roles At the symposium, participants discussed how rarely we simply read student work as readers. 3. Create opportunities to switch "modes""

"If PBL is to become a powerful, accepted model of instruction in the future, a vocabulary change may be in order - preferably to the term project based inquiry. It's time to not only address the flaws in PBL, but to reinvent it in a way that leads to deeper learning, creative inquiry, and a better fit with a collaborative world in which doing and knowing are one thing. Here are thoughts about five areas in which PBL needs to move forward."

"If PBL is to become a powerful, accepted model of instruction in the future, a vocabulary change may be in order - preferably to the term project based inquiry. It's time to not only address the flaws in PBL, but to reinvent it in a way that leads to deeper learning, creative inquiry, and a better fit with a collaborative world in which doing and knowing are one thing. Here are thoughts about five areas in which PBL needs to move forward."

"Four years ago, I quit zeroes. They are no longer allowed in my classroom. I still have F's which communicate, in number and learning, performances well-below standard. Kids still receive failing scores in my classroom, but I don't tack on punishment, additional insult to injury in the form of sub-50% scores; 50% is now the lowest score possible in my class. The kids know from the mark that they have failed to meet standard; I don't need to crush them more with added penalties. It makes sense to me, it makes sense to my kids, and it makes sense to parents. It's also beginning to make sense to some of my colleagues, who, too, have adopted a no-zero policy. But not all. Some of my colleagues have accused me of malpractice, suggesting I am ruining kids' lives by not teaching them a lesson. And I guess of that I am guilty. But I sleep at night knowing that I have given kids a fair shake, and while I may not be teaching them the harsh lessons of life, I am giving them opportunity by creating a realm of possibility in room 219."

"A new musical explores life in high school in a way that's eerily familiar. It's called Ranked, and it's set in a dystopian world where your class rank - determined by grades and test scores - governs everything from where you sit to what your future holds." This musical, written by a high school teacher, explores some really interesting questions inspired by the students including: "How do we know the difference between who we actually are and what people want from us?" Usually, Granite Bay announces its spring musical by posting headshots of the performers in the hallway. But this year, it tried something a little different: Holmes asked students to anonymously submit personal text messages, exchanges and emails that depicted the pressure the students were under from parents and counselors. One text exchange reads: A: How was the test? B: I got an 86%! A: Oh no what happened? Another: A: I'm watching you B: Where am I currently then A: Failing class They used the messages in a collage that included headlines from recent news stories ("The Silicon Valley Suicides," "Is class rank valid?") and hung it in the hallway instead of the headshots. A banner at the top reads: "Pain is temporary. Grades last forever."

"For years, we've thought that the answer to boosting adolescent reading comprehension lay in building students' vocabulary. Teens often struggle with the jargon and advanced terminology they encounter as they move into middle and high school, so educators have designed curricula and interventions that explicitly teach these complex words. But these strategies aren't always fully effective, according to literacy researcher Paola Uccelli. As she writes, many of these interventions have yielded "significant growth in vocabulary knowledge yet only modest gains in reading comprehension." Too many teens still struggle to understand assigned texts. Uccelli's research explores a new approach. By focusing on how words connect in academic texts - and by recognizing that this connecting language is a possible source of difficulty for adolescent readers - teachers may be better able to equip middle and high school students with the tools to comprehend the texts they're reading for higher-order learning. Her work identifies a set of language features that are common in academic text but rare in informal spoken language. She's found that many of the most common language features of middle school texts are unknown to large proportions of students, even by eighth grade. "

""The high school structure doesn't work for every student," said West Seattle Principal Ruth Medsker. Often big high schools like West Seattle require students to be compliant in order to fit in and that can lead to disengagement. Medsker is interested in finding models within her large school that offer something different to students who want it. "How do we make the system fit the child instead of trying to make the kid fit the system?" she asked. Teachers at her school are exploring this question in a variety of ways, including through a pilot advisory-type program that began with a cohort of 25 tenth graders. "The idea was these students have promise, they have skills, they have things to offer, but something about our school system wasn't working for them," said Matt Kachmarik, who acted as the advisor, social studies and English teacher to this group of students. As much as possible, school staff tried to give these 25 kids schedules that would allow them to take classes together. They also focused on non-cognitive skills using reflection, team-building games and discussion to tease out what was going on outside of school, as well as barriers to learning inside its walls. "I definitely have some students who are among the deepest thinking of anyone in the entire grade," Kachmarik said. Some of them are under a lot of stress or have experienced trauma or just don't have strong executive functioning skills, but they've found a home in what they call the Focus program."

"The Write-a-Thon grew its roots in 2015, during a little conversation between my school district's (Robbinsville, New Jersey) Superintendent, Dr. Steven Mayer and myself. The crux of the conversation was, "How can we teach teenagers to see writing as an exercise in self-discovery and authenticity not just a forced activity aligned with the harbingers of school?" So we talked. We listened. We brainstormed. And 3 months later the first Write-a-Thon was held in my classroom. A 2-hour writing event that afforded students the opportunity to write, to tell their story. The event hosted 13 writers including Dr. Mayer and received donations and support from my student's parents, faculty and my own friends and family. When concluded, the Write-a-Thon raised $1,300 for the Special Olympics of New Jersey. As I was planning the second Write-a-Thon, Dr. Mayer was tragically killed. The May event was held in his honor. An event that began with me, fighting tears, recounting our little brainstorming session and how though he is physically gone, his story, his passion is alive and well. The heart of the Write-a-Thon is simple - show up and tell your story. This week, the fourth installment of the Write-a-Thon had 30 student writers, ranging from 7th to 12th grade. The event hosted a $500 college scholarship essay challenge and was filmed by the Emmy winning "Classroom Close-up NJ" and will be featured in October 2017 episode."

"In the second half of the year, my writing course shifts to a more focused study of argument. We read and analyze several mentor texts together as a class, starting with speeches and letters, including an in-depth analysis of the classic  "Letter from a Birmingham Jail" by Martin Luther King, Jr. (this year, I also paired King's text with "The Future Needs Us" by Rebecca Solnit and the introduction from Writings on the Wall by Kareem Abdul Jabbar). But the key to teaching students how to analyze argument-particularly in today's media rich world-is to make the time and space for students to take what they have learned and apply it independently. (In fact, that's true when you teach anything.) So this year, I changed up my argument unit a bit to include a two-week workshop period in which students would: Read several arguments from a variety of media (written, visual, auditory, film); Analyze the arguments for their line of reasoning; Write their own original essay which defends, challenges, or qualifies a claim made by one (or more) of the arguments they studied."