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Heads Up, Teachers: Red Flags for Possible LD Teachers are the first line of defense in recognizing and helping preschool students manage learning disabilities. Here’s what you should be looking for in six critical areas of development. Most children who have ADHD are not diagnosed until the elementary school grades. With younger children, it is harder to distinguish normal rambunctious, inattentive, and uninhibited behavior from behavior that is abnormal and symptomatic of ADHD. Early identification of ADHD or any related developmental problems, and early intervention, can make a huge, positive difference in the life of a child and his family. They can significantly minimize the social, behavioral, or learning difficulties the child experiences as a result of the disorder, and prevent a lot of struggle down the road. Preschool and kindergarten teachers are in the best position to catch early signs and symptoms of a developmental delay or disability, and to identify children who are at risk for struggles in learning and school. Teachers need to be aware of symptoms — and share their observations and concerns with parents and other school specialists (such as the school’s multi-disciplinary team). A child with ADHD may have other developmental weaknesses or delays in some areas — speech-language, motor skills, or academic readiness, shown by difficulty in learning and remembering ABCs, numbers, shapes, and letter-sound associations. It is important to be aware that children with ADHD often have co-existing learning disabilities, such as dyslexia. Some warnings of LD in preschool and kindergarten include the following: - Slow development in speaking words or sentences (“late talkers”) - Pronunciation problems - Difficulty learning new words; slow vocabulary growth - Difficulty finding the right word to use when speaking - Difficulty understanding and following simple (one-step) directions - Difficulty understanding questions - Difficulty recognizing or learning rhyming words - Lack of interest in storytelling - Immature grammar (syntax) [Self-Test: Could My Child Have a Learning Disability?] Emergent Literacy Skills - Slow speed in naming objects and colors - Limited phonological awareness (rhyming and syllable blending) - Difficulty understanding that written language is composed of phonemes (individual sounds) and letters that make up syllables and words - Minimal interest in print and limited print awareness - Difficulty recognizing and learning the letters of the alphabet - Difficulty learning the connection between letters and sounds - Trouble memorizing the alphabet or days of the week - Poor memory for what should be routine (everyday procedures) - Difficulty with cause and effect, sequencing, and counting - Difficulty with basic concepts, such as size, shape, and color - Poor balance - Difficulty with fine motor skills and manipulating small objects (stringing beads, tying shoes, buttoning) - Awkwardness with running, jumping, or climbing (delayed gross motor skills) - Difficulty with or avoidance of drawing, coloring, tracing, or copying - Trouble interacting with others, plays alone - Easily frustrated - Hard to manage, temper tantrums - Has difficulty following directions [Half of All Kids with ADHD Have a Learning Disability or Related Condition] Attention and Behavior - Distractibility and inattention - Difficulty changing activities or handling disruptions to routines. Excerpted and adapted from: RIEF, SANDRA (2016) How to Reach and Teach Children and Teens with ADD/ADHD, Third Edition. San Francisco: Jossey-Bass (Wiley).

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Unprecedented wildfires have broken out across Italy, Turkey and Greece due to rising temperatures caused by climate change. Wildfires are common in southern Europe during the summer months, but extreme weather has made 2021 an especially bad year. France and Spain experienced around 200 weekly wildfires during July, compared with an respective average of 38 and 81 in the preceding 12 years. Wildfires have intensified this year driven by the high temperatures and drought that have plagued Europe since the start of the summer. In the most recently affected countries, Turkey, Italy and Greece, there have been between two and five times as many wildfires during July as there were in the period between 2008 and 2020. The devastation in Turkey over the recent weeks shows the scale of the environmental impact – over 150,000 hectares of land has been burnt at the start of August, which was more than nine times the average over the preceding 12 years. These wildfires can have devastating consequences for human and ecological health, says Professor Dann Mitchell, a professor of climate science at the University of Bristol. He said: “All the burnt material creates high levels of particles in the air, which cause significant respiratory problems, and visibility problems. On top of that, the loss of ecosystems can undo hundreds of years of nature’s work.” What has caused a surge in wildfires? Europe is experiencing the worst heatwave in a decade because of a heat dome – a high-pressure bubble trapping heat within an area. This has caused temperatures to rise above 40C (104 F) in many parts of southern Europe and created the perfect conditions for wildfires to run rampant. Professor Mitchell said: “Wildfires result from a combination of weather types, but the key ingredients are hot temperatures, dry conditions, and strong winds. “In Greece and Turkey, the combined extreme heat wave and drought conditions have created the perfect storm.” This year has also seen historically low levels of rainfall for much of southern Europe. In Hellinikon in Greece, for example, it has been below the five-year average for the entirety of 2021.” In the coming years, more extreme weather patterns could mean that wildfires become a problem for other parts of Europe as well, says Professor Mitchell. “In the winter, there is expected to be more rain, causing vegetation to boom. In the summer, there is expected to be less rain in many parts of Europe. So in the future we may have more vegetation which is drier, therefore leading to more fuel for the wildfires. “As the climate warms, we expect to see these major wildfire events occurring more and more frequently in the mid- and north of Europe.” The Data and Forensics team is a multi-skilled unit dedicated to providing transparent journalism from Sky News. We gather, analyse and visualise data to tell data-driven stories. We combine traditional reporting skills with advanced analysis of satellite images, social media and other open source information. Through multimedia storytelling we aim to better explain the world while also showing how our journalism is done. Why data journalism matters to Sky News

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Lauren Fallat, LPC LPAT ATR-BC There is a growing body of evidence that suggests that promoting emotional learning and social skills in children with autism spectrum disorder (ASD) can be beneficial. These skills can be nurtured and encouraged in a fun, creative way through the use of art therapy interventions. One way to achieve this is through the use of puppets and puppet making in a group setting or individually with an art therapist. Puppets offer a versatile and fun way for children with autism to learn about their emotions and the emotions of others. They can also be used to practice social skills, such as negotiation and problem solving. In addition, puppet making can be used as an art therapy tool to help children with autism express their emotions. According to Bani Malhotra, a researcher interested in using art as a way to promote emotional empathy, the use of puppets in a therapy session is “...a nonconfrontational tool for socioemotional and behavioral development leading toward EE [emotional empathy].” Malhotra published a journal article in which she explored the use of art therapy to promote emotional empathy while working with an adolescent with autism. Malhotra found that in working with the puppets, the individual adolescent client in session was able to brainstorm solutions to problems and challenging scenarios faced by the puppet and develop emotional understanding through the characters. It is believed that many individuals on the autism spectrum may have difficulty reading facial expressions and understanding body language, and they may find it hard to initiate or respond to social interactions. That’s where puppets come in. Puppets can help children struggling in these skill areas to learn to read and interpret facial expressions, as observed in subtle cues, such as changes of an individual’s eyebrow slant, mouth bend or nose wrinkle. Incorporating puppets as a therapeutic intervention can also help kids learn important social skills. Children have the ability to practice in real time ways of communicating and interacting with others, like how to take turns, how to make friends, how to initiate conversations, learn social cues and how to handle conflicts. In a therapy session, puppets can be used in a variety of ways, including role playing, creating social stories, and identifying and expressing feelings through character play. When using the puppets for role play, one might have a child or group of children use puppets to act out different scenarios that they might encounter on a day-to-day basis. This might include a morning routine after waking up, making breakfast, setting the table, getting onto the bus, going to school, talking to friends, telling a caregiver about their day, etc. Roleplaying can also help them learn how to react in different social situations. Social stories are another way that children can begin to understand emotional cues from others and appropriate reactions to those emotional cues in a given situation. Social stories will often include a title or clearly defined topic, an introduction stating what is happening, a body or set of details describing what is occurring (answer: who, what, where, when, why, and how) and a conclusion. When used in play, it may be helpful to have a theme for a social story prepared and then to play out the story using the puppets as the main characters. Examples of topics for social stories might include maintaining personal space, hitting, making friends, taking turns, going to the store, and using the bathroom. Depending on the child’s age, it may be engaging to encourage them to create and design their own puppets using socks or paper bags, allowing them more autonomy to develop the puppet’s appearance and personality. Children can also be involved in helping to write a script in which the puppets then act out the script through play interaction. Through this process, children learn how to regulate their emotions and communicate better with others. To Schedule an appointment, click on the Book an Appointment button. To learn more about Holistic Health Counseling Center, please visit out website at www.hhccnj.com To read our latest blog, see this page: https://holistichealthcounselingcenter.com/blog/ Bani Malhotra (2019) Art Therapy With Puppet Making to Promote Emotional Empathy for an Adolescent With Autism, Art Therapy, 36:4, 183-191, DOI: 10.1080/07421656.2019.1645500

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Stimulating Creativity in a Montessori School As many parents and teachers are coming to realize, creativity is a key part of a child’s development. Creativity promotes problem-solving and social skills and often leads to a more successful and fulfilling career. It’s no surprise, then, that many parents want to send their children to schools that cultivate creativity. Unfortunately, traditional education systems tend to promote rigidity rather than creativity. Children get into a routine–wake up, go to school, do homework, go to bed, and repeat. Worse, the traditional schooling system tends to promote stress and anxiety, which can dampen creativity and lead to lower levels of well-being later in life. The Montessori method of education seeks to change this dynamic. Instead of having children follow a strict curriculum, Montessori schools seek to develop the whole child. They promote self-directed and hands-on activities that promote self-confidence, social cohesion, a love of learning, and, of course, creativity. If you’re interested in sending your child to a Montessori school in the Washington D.C. metroplex, consider looking into Brooksfield School. Situated on five quaint acres of woodland in McLean, Virginia, Brooksfield provides world-class Montessori education to young children. Schedule a tour to learn more today. How Montessori Schools Encourage Creativity from a Young Age Though many parents would like to see their young children immediately begin painting and drawing, true creative skills stem from a child’s cognitive growth. Developing sensory and motor skills is a prerequisite to creative expression. In a safe and well-prepared environment, a young child will absorb and learn from his or her surroundings. To promote cognitive growth and introduce children to creative activities, a Montessori school will provide a range of art supplies. Children who show an interest in a particular form of art will slowly be introduced to the art form. For instance, they may be taught how to put on an apron, how to use a brush, and finally how to use an easel. The Montessori method emphasizes self-directed learning. To promote creativity, teachers will often allow children to explore an art form themselves without structured instruction. The freedom and autonomy this allows will help develop their creative skills. Of course, teachers will continually monitor a child’s progress and facilitate their success. Other students, often older children, provide children with a model when learning a new art form. A Well-Prepared Montessori Environment The success of any Montessori program begins with the learning environment. Classrooms and other learning spaces are generally open, allowing for movement and collaboration; they are thoughtfully organized to promote different activities, including arts and crafts, music, and play. Because Montessori programs promote self-directed activities, access to a range of materials is key. Teachers are careful to lay out various materials that support creative endeavors, including glue, paper, felt-tip pens, play dough, pencils, crayons, sponges, woodblocks, easels, and more. Children then work on the activities independently or in groups, supervised by the Montessori-certified instructor. A key part of the environment is outdoor space. Most Montessori schools include a large outdoor area where children are free to play and learn. There is often a playground, where children are encouraged to play imaginative games that allow them to develop their creative and social skills. Other outdoor activities may include gardening, woodworking, sculpture-building, mosaic art, and fort building. Creativity and Social Skills One of the key pillars of a Montessori education is to promote social development through collaboration, clear communication, and natural consequences. Children develop strong social bonds with their peers, including those who may be a few years older or younger. When there is disagreement, teachers encourage the children to work together to solve their differences rather than coming up with a solution for them. According to the Montessori method of education, social skills and creativity are closely linked. Creative problem solving is often a group activity–whether it involves interpersonal conflict or solving a puzzle. As children develop cognitively and exercise creative skills, teachers encourage the children to work creatively in groups. This may involve storytelling, music, games, or even dances. If you’d like to prioritize your child’s social and creative development, a Montessori school may be the right choice for your child. Consider scheduling a tour at Brooksfield School, one of the top Montessori schools in the Washington D.C. area, to learn more about how our Montessori system of education promotes creativity, social skills, and well-being in children.

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Using Drama to Teach English as a Foreign LanguageExpand This brief article will highlight what is meant by the term ‘drama’ before moving onto look at why drama is a ‘…very effective weapon ‘(Boal, 1979:ix) in the classroom. It will then add to this information a number of influential factors that will demonstrate why drama should be considered as key strategy in teaching English as a Foreign Language. Drama holds an array of interpretation and definition. For the purpose of this article I refer to drama as a process of learning and adhere to Booths description that ‘In its broadest term drama covers a wide range of techniques which incorporate interaction, movement, vocal action and mental concentration’ (Booth). In this sense ‘Drama’ is not about creating a spectacle or being an actor/performer but is rather a ‘…property which stimulates the process of learning by experience’ (Boal, 1994; 94). Drama in Education therefore employs the use of Drama Games, role play, improvisation, script writing, devising and reflecting. Having outlined the articles use of the term drama, I will now demonstrate why it plays an important role in the classroom. There is a Chinese proverb that reads; ‘I hear and I forget, I listen and I remember, I do and I understand’ (Chinese Proverb).This is in essence why drama is a powerful classroom tool. It works through our ‘experiential’ senses. It sees, hears, says and does. The student is not a passive recipient but an active meaning maker. The student engages on a much deeper and personal level then simply being given information. In drama the student demonstrates his understanding by acting out or being what Boal refers to as the ‘spect-actor’. This ‘acting out’ is not prescribed but comes through personal internalisation, context and group dynamic. Lets take for example, a history lesson looking at War; a group can be given details and statistics but to connect with and understand these teachings fully, it would be better to demonstrate and involve. I.e. A teacher arrives dressed as a commanding officer and tells his class that they must decide on the strategy needed to occupy the enemies’ terrain. Or a discussion about evacuation leads into a drama about saying goodbye to your best friend. These examples involve mental and emotional interpretation and decision and thus the learning effects remain longer. The education becomes written on us, rather than just spoken or given to us. As well as benefits to learning, the use of drama in the classroom can have very positive personal benefits. The student develops communication skills, leadership, team work, compromise, listening skills, presentation skills, self esteem, confidence, self-acceptance, acceptance of others, empowerment , pride in work, responsibility, problem solving, management, to name but a few. Drama in the classroom makes the classroom ‘….a place where teachers and students meet as fellow players, involved with one another, ready to connect, to communicate, to experience, to respond, to experiment and discover’ (Robinson). Having established the need for drama in the classroom, I will now specifically apply it to the teaching of English as a Foreign Language. In teaching English as a Foreign Language the balance of receptive and productive skills is an important area to address. Drama effectively deals with this requirements. Through drama a class will attend to, practice and integrate reading, writing, speaking and listening. At its most basic level drama can be used via drama games. Drama games introduce basic language skills and are a great way of introducing vocabulary. Games require speaking and listening skills and many words and sentences are repeated. They are a way of focusing on the externalisation of language rather than the internal study of it. In an informal and non confrontational way, the student begins to interact with the English language and in dong so can increase their confidence and reduce their inhibitions to ‘have a go’. The use of role play and real life situations similarly encourage students to organise and activate the English language in a developmental way. It is important to consider vocabulary, word order, tense, correct grammar and pronunciation yet because the communication approximates reality, the language is brought to life.. Drama efficiently units all the language skills. For example, let’s say we set the class the task of creating a missing scene. They are given a short story (reading, comprehension) about a lady who starts work as a fashion designer and falls in love with the boss. The missing scene they choose to write is the scene where the girl is interviewed for the job (imagination, group discussion, Decision making, literary contextualisation). Through a series of role play and improvisations (speaking, listening) the students come up with ideas of what may have taken place during that initial meeting. In the course of these improvisations students have had to respond to grammatical cues of tense and syntax, draw on previous vocabulary and practice being understood. They will have also created a range of characters which encourages an adaptive language approach and ‘…can offer students a dynamic encounter with language that comes closest to real communication’ (Berlinger) Additional research which will inform their missing scene can be given to the students. They may write/read job advertisements (reading, writing), speak to others about their experiences of job interviews (speaking, listening), write profiles about the characters (writing), script their dialogues (writing), rehearse their scenes (speaking, reinforces correct language use) and finally present them to the class (Speaking, listening, confidence building). One of the benefits of a drama task such as this is that the teacher is able to address all of the student’s levels of needs at one time. In an improvisation for example, the less able students could work as a group on easier roles/situations, whereas more advanced students could create more complex characters with reference to various periods of time. Whilst more able students may be required to fill in a job application form, the lower level students may be expected to write a simple CV/Resume. The teacher is able to plan ahead for each student and evaluate their progress. Drama can also be used to demonstrate how we communicate with no language at all. Our silent expression is a vital part of our communication. Miming verbs and adjectives helps students to match their body language to their words. Drama is a part of everyday life. We are surrounded by the visual image, it grabs our interest. Stories are told, heard and repeated everday, both real and imaginary. Newspaper articles, favourite films or characters from soap operas, they can all be used to prompt discussion or creative writing in an interesting and relevant way. This article is a sprint through why drama is so useful to TEFL. As Conrad Toft observes ‘Advocates of using drama to teach foreign languages say the technique brings the language to life’ (Toft). Not only are students more relaxed, interested and less afraid to speak, but they are also motivated ‘…to generate imaginative and detailed ideas, greatly expand their vocabulary, actively practice language skills and attain far greater fluency, it also provides a setting in which they can explore the social values of a different culture’ (Berlinger). In conclusion then, we have seen that drama, in the broadest sense of the term, is not only useful in the classroom but gives a tangible benefit to the students learning and personal growth. More specifically in teaching English as a foreign language these two benefits combine. By strengthening a student’s confidence in English you support their successful acquisition of the language. I therefore argue that the use of drama as a specific strategy to teach English as a Foreign Language is a highly effective experiential learning approach. Boal, Augusto. Theatre if the oppresse Londn: Pluto, 1979 Boal Agusto Games for actors and non actors London Routlegde, 1992 Boal Augusto Rainbow o Desire London Routledge 9995 Izen, Catherin Stages in Revolution London Methuen, 1980

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Also Read: Could meteorites have brought water to Earth? The Milky Way houses 8,292 recently discovered stellar streams — all named Theia. But Theia 456 is special. A stellar stream is a rare linear pattern — rather than a cluster — of stars. After combining multiple datasets captured by the Gaia space telescope, a team of astrophysicists found that all of Theia 456’s 468 stars were born at the same time and are traveling in the same direction across the sky. “Most stellar clusters are formed together,” said Jeff Andrews, a Northwestern University astrophysicist and member of the team. “What’s exciting about Theia 456 is that it’s not a small clump of stars together. It’s long and stretched out. There are relatively few streams that are nearby, young and so widely dispersed.” Andrews presented this research during a virtual press briefing at the 237th meeting of the American Astronomical Society. “Theia 456: A New Stellar Association in the Galactic Disk” took place on January 15 as a part of a session on “The Modern Milky Way.” Also Read: NASA image of majestic Himalayas goes viral; see pic here While researchers have long known that stars form in groups, most known clusters are spherical in shape. Only recently have astrophysicists started to find new patterns in the sky. They believe long strings of stars were once tight clusters, gradually ripped apart and stretched by tidal forces. “As we’ve started to become more advanced in our instrumentation, our technology and our ability to mine data, we’ve found that stars exist in more structures than clumps,” Andrews said. “They often form these streams across the sky. Although we’ve known about these for decades, we’re starting to find hidden ones.” Stretching more than 500 light-years, Theia 456 is one of those hidden streams. Because it dwells within the Milky Way’s galactic plane, it’s easily lost within the galaxy’s backdrop of 400 billion stars. Most stellar streams are found elsewhere in the universe — by telescopes pointed away from the Milky Way. “We tend to focus our telescopes in other directions because it’s easier to find things,” Andrews said. “Now we’re starting to find these streams in the galaxy itself. It’s like finding a needle in a haystack. Or, in this case, finding a ripple in an ocean.” Identifying and examining these structures is a data science challenge. Artificial intelligence algorithms combed huge datasets of stellar data in order to find these structures. Then Andrews developed algorithms to cross-reference those data with pre-existing catalogs of documented stars’ iron abundances. Andrews and his team found that the 468 stars within Theia 456 had similar iron abundances, which means that — 100 million years ago — the stars likely formed together. Adding further evidence to this finding, the researchers examined a light curves dataset, which captures how stars’ brightness changes over time. Also Read: Did you see the image of a Neutron star shared by NASA? “This can be used to measure how fast the stars are spinning,” Agüeros said. “Stars with the same age should show a distinct pattern in their spin rates.” With the help of data from NASA’s Transiting Exoplanet Survey Satellite and from the Zwicky Transient Facility — both of which produced light curves for stars in Theia 456 — Andrews and his colleagues were able to determine that the stars in the stream do share a common age. The team also found that the stars are moving together in the same direction. “If you know how the stars are moving, then you can backtrack to find where the stars came from,” Andrews said. “As we rolled the clock backwards, the stars became closer and closer together. So, we think all these stars were born together and have a common origin.” Andrews said combining datasets and data mining is essential to understanding the universe around us. “You can only get so far with one dataset,” he said. “When you combine datasets, you get a much richer sense of what’s out there in the sky.” Also Read: Earth is spinning faster than usual! Here’s what that means - Climate doomism is bad storytelling – hope is much more effective at triggering action - Trump not alone in US presidential pantheon of controversies, scandals - Assam: Submission date under Mission Basundhara 2.0 extended - Meghalaya: CRPF celebrates ‘Raising Day’ in Tura - Itanagar police seized heroin worth Rs 90 lakh, arrest 21 peddlers in March - Palm Sunday 2023: Wishes and greetings for your loved ones

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- Max Kuehn Need to know what is folk music? It is any style that represents a community and can be sung or played by people who may or may not be trained musicians, using the instruments available to them. In this article, Fidlar will dive deeper into folk music definition, history as well as characteristics of this music genre. Definition Of Folk Music American folk music can be described as a musical genre that incorporates traditional music from various cultures and peoples. Many folk songs in the eastern United States have international roots. Appalachia‘s music was shaped by immigrants from England, Scotland, Ireland, and sometimes from the British Isles. Enslaved Africans brought their distinctive rhythms and chants to the South to sing to pass the time. This genre was incorporated into mainstream culture, creating a mixture of folk and pop music This music genre can be divided into several categories, including bluegrass, and railroad songs, protest songs, cowboy songs, sea shanties, jug songs, and other genres. Songs have been a part of American culture, often even being the popular music of their era. Where Did Folk Music Come From? Because it is difficult to pinpoint the origins of folk music, it is sometimes used to describe music from different regions. Traditional folk music also was defined as music with unknown composers In the 19th century, there was a movement to collect and document folk music. This folk culture evolved into a distinct musical form in the 20th century. It is often associated with particular regions, as well as specific folk musicians. Sheet music and tablature are freely available online. It has a flexible and democratic character that ordinary people own. It can also be shared and created through individual experiences. This political dimension continues to exist today. This political aspect has influenced a variety of folk music revival, from the right-wing nationalistic composers in the late 19th century to left-wing cultural revolutionaries in the 1960s and 1970s. A new style of folk music developed. A Short History Of Folk Music America’s folk music traditions are a result of continuous evolution over its history. Songs of work by enslaved people. Enslaved West Africans wrote songs to help them through their labor in the Southern fields. They used a call and response tradition and African rhythms. After emancipation, gospel spirituals were based on melodies taken from the fields. These same traditions were later used to inspire blues musicians in the 20th century. White folk traditions have roots in Great Britain, Ireland, and the United States. It are rooted in these traditions often include ballads, which tell stories. Traditional Appalachian music was shaped by Irish, Scottish, and English traditions. French settlers created a unique sound: French settlers helped create Louisiana’s traditional Cajun music, and zydeco. Work songs were popular: Folk music was also influenced by work songs. These songs came from railroads, mines, and the sea shanties that came with working boats. Cowboy songs emerged in the West from the stories of range workers. Many of these men were Anglo-American, while others were Mexican and Spanish. The genre was changing by the 1930s. Contemporary folk Woody Guthrie, a musician, is often credited with being the first to contribute to this genre. It was mainstreamed: The Carter Family’s recordings of “Can the Circle Be Unbroken” in the 1930s helped popularize folk music. This helped to sow the seeds of mainstream country music and launched a multidecade period for The Carter Family. The popularization of the new genre began in the 1960s. Many folk groups have brought decades of traditional music into the Pop culture to the masses through mass media. The folk music revival was closely linked to the Civil Rights Movement. This was due to their ties with Civil Rights Movement. Woody Guthrie, John Denver, Bob Dylan, Joan Baez, Arlo Guthrie, Simon & Garfunkel, Joni Mitchell, and Peter, Paul, and Mary, all popular folk singers at the time. Many of these artists were able to build on the foundation laid by the Carter Family. This genre has evolved in many ways, but the most important is the one that was created. Commercially successful Punk Folk is the most popular genre. The earliest form of this was created by the Pogues. Contemporary folk music is still famous. A vibrant folk scene continues to thrive well into the 21st century. Acts hail from all corners of the country, including Los Angeles and Chicago. Gillian Welch and David Rawlings, Old Crow Medicine Show, and Nickel Creek are just a few of the folk musicians who have kept this tradition alive. Three Characteristics Of Folk Music Acoustic instruments dominate folk music. They include acoustic guitars and banjo, mandolin, fiddle, and double bass. Dylan began to use Electric instruments in 1965. This was a significant transition to the use of an electro-acoustic instrument, which, although not fully accepted at the time is still used today. English Language Lyrics Most American folk singers sang English, except traditional Cajun music. Some lyrics, such as those by Bob Dylan, were about social justice. Some lyrics, such as those of Joni Mitchell, a progressive folk singer, were deeply personal. Some folk artists, such as the Kingston Trio, covered older songs. Emphasis On Regional Authenticity It is very different from one region to another, and many regional folk bands stick to their traditions. This is why bluegrass from southwest Virginia is so distinct from New Bedford, Massachusetts, and the South Carolina Black American spirituals. What Is The Purpose? It can be commemorative (the death of Nelson) or rural (cropping of hay). After the industrial revolution, it became more urbanized in subject matter with a political edge. Popular music includes sea shanties, lyric songs, and ballads. These all lend themselves to folk culture’s narrative storytelling element. Song structure often revolves around a repetitive chorus with changing verses. This allows multiple people to join in and helps them get through repetitive, mechanical parts of their job in the case of workers. What Instruments Are Used In A Folk Band? The typical instrumentation used in folk music traditions of Britain is voice, guitar, fiddle, whistle, pipes, and accordion. There are also many other percussion instruments, such as the spoons, bones, and bodhran, and more uncommon ones like the bazouki, hammer dulcimer, and hurdy-gurdy. Other exotic, but equally common instruments include the dulcimer (a simple instrument with a string), the zither (another instrument with a string), and other percussive instruments. Subjects Of Folk Music This genre includes instrumental music. This is especially true for dance music traditions. However, a lot of folk music is vocal music. This genre is often sung with lyrics and is usually about something. It from many cultures includes the narrative verse. This includes traditional epic poetry and other forms, which were initially intended for oral performance. Many epic poems from different cultures were assembled from short pieces of traditional narrative poetry. This explains their episodic structure, and sometimes their in media related to plot developments. The traditional narrative verse also depicts the outcome of battles, other tragedies, or natural disasters. These songs can also celebrate victory, such as the triumphant Song of Deborah in the Biblical Book of Judges. Traditional folk often include laments about lost battles and wars as well as the loss of lives. These laments help to keep alive the cause that the battle was fought. Folk heroes like Robin Hood and John Henry are often remembered in songs about folk genre narratives. Many hymns and other forms of religious music are of unknown and traditional origin. The original purpose of western musical notation was to preserve the lines and traditions of Gregorian chant. This was previously taught in monastic communities. Folk songs like Green grow the rushes O present religious knowledge in a mnemonic format. Christmas carols and other traditional songs in the West preserve religious lore through song form. There are other types of folk songs that are less well-known. Songs for work are often composed. They frequently have call and response structures. These are intended to allow the laborers who sing them to coordinate their efforts according to the songs’ rhythms. The American armed forces have a rich tradition of “Duckworth Chants” (jody calls) that are sung by soldiers while they are marching. A large number of sea shanties were used by professional sailors. Traditional folk music often includes love poetry. It is often sad or regretful. Folk song often includes nursery rhymes and nonsense verse. What Is Folk Music Example? Examples of Folk Songs: - Scarborough Fair. - One Morning Early - Swing Low Sweet Chariot. - Auld Lang Syne - Oh Danny Boy. - Waltzing Matilda. What’s The Focus Of Folk Songs? Folk songs emphasize humanity. These songs are often influenced by the environment or atmosphere. It helps preserve our culture. Folk songs are passed down from generation to generation to preserve and enhance the culture. We hope you find this helpful article. If you have any comments or suggestions, or questions, please feel free to leave a comment below.

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You probably already know that reading aloud to a child can help improve his or her language development and affect future success in school. Well, these benefits of reading are now starting to get some serious research chops behind them, and the results are fascinating. We’ve compiled some of the most up-to-date research on the benefits of picture books and reading to small children. We hope you’ll be inspired to start reading more with your own little bears! - Stories literally light up a child’s brain. Until now, we haven’t had a good understanding of what’s happening in a child’s brain when he or she hears a story. A recent study in the journal Pediatrics looked at just that. They monitored the brain activity in 3-to 5-year-old children as they were being read to. And for the children whose parents reported more reading at home and more books in the home, their brains showed significantly greater activation of areas in the left hemisphere, where multisensory integration, integrating sound, and visual stimulation occur. And even though the children in the study were just listening to the story and did not see any pictures, they also showed more brain activity in the areas that process visual association—which suggests that they were seeing the images in their imaginations. Who doesn’t want their little bear to have a more active brain and a healthy imagination? - Picture books may use a bigger vocabulary than you do. From our work editing picture books, we know that picture book creators spend countless hours choosing just the right words and images to complement and enhance their storytelling. But in case there are any doubters out there, it’s great to know that research has proven just how special picture books really are. A study from the journal Psychological Science looked at the language content of picture books. Choosing from a selection of teacher recommendations, Amazon bestsellers, and popular bedtime books, the researchers compared the language in the books to the language used by the parents when speaking to their children. It turns out that the picture books contained more “unique word types.” That means reading picture books to your little bears could expose them to a wider vocabulary. - Picture books are not just for little bears. Many educators are now using picture books to teach higher-level skills to older students. These teachers have noticed less resistance to new vocabulary when it’s presented in picture books (which ties in with our point #2 above). And of course, kids of all ages like to hear a good story. Picture books can also serve as a great introduction or a supplement to the larger topics that older kids are learning about (for example, reading a picture book biography about a black civil rights activist to tie in with Black History month). So just because your child progresses in reading skills doesn’t mean he or she should stop reading picture books altogether. That’s also why we at Book Bears advocate for reading time to be a family event. It’s our belief that family members of all ages can benefit from reading picture books together. Looking to add more books to your home bookshelf but don’t have time to do the research? Consider a subscription to Book Bears. Book Bears read! Visit us at www.bookbears.com. Want to hear more about the studies mentioned above? Check out this New York Times article. To learn more about how teachers are using picture books with older kids, check out this article from School Library Journal. We also love this list from the Nerdy Book Club.

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Biggest Climate Changes Hitting the Pacific Northwest and What You Can Do About It Where else in the U.S. but the Pacific Northwest can you visit one of most charming cities in the world, explore beautiful snowcapped mountains and spend an afternoon relaxing on the beach—all in the same day? Known for its extraordinary natural beauty and fiercely independent characters, the region is now making headlines for a different reason altogether. Namely, the many ways a warming climate is transforming the environment. With our next Climate Reality Leadership Corps activist training taking place in Washington State this June, we’re highlighting some of the biggest changes hitting the Pacific Northwest because of the climate crisis and what regular citizens can do to make a difference, wherever they call home. Threatened Water Sources If there’s one thing the Northwest is known for—even more than coffee and Twin Peaks—it’s water. Specifically, rain and in higher elevations, snow. But with the climate changing and temperatures rising, the snow on those white-capped mountains is melting quicker and sooner than ever before, with the potential to alter the water cycle throughout the region. With warmer days, snowpack in the Cascade Mountains, which range from southern British Columbia through Washington and Oregon to Northern California, has decreased by about 20 percent since around 1950. In some areas, snow-melts are now beginning up to 30 days earlier than normal, which affects the timing of when and how streams flow—and can increase competition for water downstream. The effects spill throughout the region. With less water running down mountain streams in summers, scientists expect less water will become available to power the region’s hydroelectric dams. And because the Northwest generates 40 percent of the nation’s hydropower, there could be real economic consequences in the region and beyond. The image above shows the projected changes in water runoff and streamflow for 2040, as compared to 1915–2006. Increased Sea Level Rise One of the most severe threats to the Pacific Northwest is the danger of seas rising up the Oregon and Washington coasts. Scientists predict global sea levels may rise between 1.6 and 3 feet by the end of the century, putting Seattle, and many other cities, at risk of developing new and unwanted beachfront properties. It’s not just the places right on the beach at risk either. About 140,000 acres of the coastal region are within 3.3 feet of high tide. Low-lying areas, including Puget Sound, are at especially great risk to rising sea levels and storm surge. Flooding and erosion from sea-level rise are likely to damage homes, highways, public transportation systems and threaten marine life and coastal ecosystems. The image above shows areas in Seattle that are projected to fall below sea level during high tide by 2100. The map shows three different levels based on medium and high projections, as well as a higher projection that includes storm surge. Forests, which make up nearly 50 percent of the Northwest landscape, have experienced a surge in wildfires in recent years partly due to the climate crisis. Oregon and Washington had their most severe wildfire season in 2015 when more than 3,800 fires burned more than 1,600,000 acres. Why the jump in wildfires that year? The first six months of 2015 were the warmest Oregon and Washington witnessed since record keeping began. There was also less precipitation, which led to poor snowpack and reduced streamflow throughout the winter and spring seasons. These dry changes made it more likely for forests to catch fire when lightning struck—which it did, 51,019 times between June 1 and September 15, 2015. What You Can Do If the Pacific Northwest is going to meet the challenge of the climate crisis, citizens, business leaders, communities and local and federal governments will need to work together to cut emissions and accelerate the shift to clean energy. Are you ready to do your part? This June, we’ll be holding our next Climate Reality Leadership Corps activist training in Bellevue, Washington and there’s a place for you. Whether you live in the Pacific Northwest or anywhere else, apply and you could work with former U.S. Vice President Al Gore and renowned climate scientists and communicators to learn about what’s happening to our planet and how you can use digital tools, powerful storytelling and personal outreach to build real momentum for solutions and inspire communities to act. We don’t have time to waste. With the crisis transforming our planet more and more every day, we’ve got to fight like our world depends on it. Apply now to join us in Washington and make a difference when it matters.

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The Prewriting Skill Expectations for Children In a society where we compare and contrast our child with all other children without much understanding of the common developmental stages children go through, it is important to continue to talk about Prewriting Skills, than writing exercises. We have spent the last 2 weeks explaining how to prepare the child’s hand for writing. I want to spend some time helping us understand the realistic expectations we should have for our children when it comes to writing. Knocking them on the head or their fingers with a ruler is not the way forward. Let us as teachers and parents understand the early years of a child’s life and what they can cope with. It is not right to impose our high standards based on fantasy and not on realistic facts on the children. So here are the age appropriate expectations you should see and work on with your child. Please do not force them to achieve what children 2 years older than they are cannot do. It damages their potential and makes them hate school and academics! 1 to 2-year-olds: They scribble, sometimes randomly in a vertical, horizontal or circular direction. They even combine all three directions as well. You can get them to imitate directions. This is why working with sand, garri in a plate, or hands in the air are useful tools to help the child practice these hand movements at this stage in life. 2 to 3-year-olds: By the time they are this age you can expect the child to start tracing horizontal and vertical lines as well as circles. Practice makes perfect. Use your creative juices to come up with practical ways to make this possible for the child to achieve. Repetition is key, they love repetition especially when they are doing the same thing but in new, different and exciting ways. 3 to 4-years-olds: Now the child can start copying the horizontal, vertical and circle lines. This means that they have started working free-hand, without the tracing guide. Lots of practice is needed. The child also starts working on tracing a cross, a right to left diagonal and a square. In the Montessori setting we would also be introducing the letters to the child in relation to the sounds, not the letter names at this point. We would not start off with pencil and paper writing, but with finger tracing the alphabet cut out and pasted on cardboard or wood. We call this the sandpaper letters. The reason for this is simple, we are providing a multi-sensory learning process for the child. We say the sound, and trace the letter symbol following the correct writing direction, and the child can feel the roughness of the sandpaper on his fingers, imprinting a tactile memory of the letter sound in his brain. How cool is that? There is also the visual aspect included, don’t forget, so it is multi-sensory. Repetition is very important, I cannot stop emphasizing this fact. If you work with a child this way, they will remember their letter sounds and will be able to transfer the knowledge later on onto paper. One step at a time please, let’s not rush the children. They should get a lot of practice colouring. When colouring an apple for example, the child should be encouraged to colour inside the lines, using line strokes from one end to the other, instead of just scribbling in any direction. They learn control this way. Practice, practice, practice… this is what helps prepare your child for success in the writing arena. 4 to 5-year-olds: This is an exciting time for the patient parent who follows through with these guidelines because this is the time when your child actually shows great interest in wanting to write. They are able to grasp their pencils correctly with the right grip. Children at this state can copy the diagonal right to left, the cross and the square, they can now start tracing x’s and triangles. They have also started reading simple words and may want to write what they have learned to read. This is why it is so exciting. Once children get to this stage encourage them to make little booklets of what they are interested in. It does not need to be elaborate projects, pictures of a dog, cat, hat, pig. Can be stock on a cut out piece of paper and the child can write the right word underneath the picture, put them together and staple. A booklet has been created, made by your child. He would be so proud of himself and so should you. 5 to 6-year-olds: At this point the child can copy the X’s and triangles and can distinguish between big and small lines and curves. This is when everything comes together. Please follow through, the child is at a point when creative writing starts kicking in. A child wants to communicate his thoughts and ideas and has found a new way to do so. Writing! Even if what he wants to talk about is Super Mario, Power Rangers or Minions please let him do so. Handwriting practice would be in session with no fuss. What else could you ask for as the creative juices will take over and ensure that your child stretches himself. This is how it works. I promised a resource page and I am glad to announce that your Prewriting resource worksheets are now available on the Resource Page. New items will be added regularly. Enjoy

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Individuals and communities have the knowledge and tools they need to become climate ready and communities have the knowledge and tools they need to become climate read Objectives to achieve goal: If we want individuals and communities to be empowered to take adaptation action, it’s important they understand local climate risks. Climate information that is both local and long-term will enable communities to address their key priorities and make incremental change. Climate education of children and youth will also allow future generations to be better prepared. Currently, many communities are excluded from climate conversations. Our region’s successful settlement and migration programs mean that we are more diverse than ever, yet information about climate change remains top-down and assumes a high level of English and written literacy. These waves of migration have also brought with them knowledge of sustainable practices from around the globe – an asset for our region as we look for innovative solutions to meet the challenges that we face. It is not enough to say that we are inclusive: the severity of the impacts makes collaborative engagement a priority. We need to work directly with all communities in our region to ensure that our objectives, actions, and tools resonate for all. Funding for community-led initiatives and enterprises Organise a regional climate action festival First Nations’ people have been living sustainably in our region for millennia. Their worldview and connection to Country are a rich source of knowledge and innovation. There is a real thirst in communities, especially from young people and new migrant communities, to learn how can we implement traditional knowledge into our everyday practices to adapt to the rapidly evolving climate. Aboriginal knowledge has already been critical in supporting climate adaptation actions. Traditional land management practices such as cultural burns may help us respond to the increased threat of bushfires due to climate change. Opportunities also exist to support collaboration between regenerative farming practitioners and First Nations’ farming practices and indigenous plant use. Consider traditional knowledge at all levels of decision making Consider and appropriately incorporate all climate polices developed by Traditional Owners into the Climate Ready Plan as they are developed and become available Support learning opportunities for young people and new migrant communities with First Nations’ peoples Local people are experiencing the very real effects of climate impacts in their communities and are often able to respond with innovative place-based solutions. Positive storytelling helps individuals and communities see that even small actions make a difference. Peer-to-peer learning is important because we are all figuring out what we need to do to adapt. Sharing with others what has worked, and what hasn’t, will enable faster adaptation responses and help prevent maladaptation. Story-telling also allow us to address some of the barriers to engagement; communities can lead conversations on their terms, in their languages, and with those who they trust. Create Climate Living Lab Educational Hubs partnering with local education providers, First Nations’ groups, locals and the farming community Deliver education forums or climate clinics between communities Harness social media and other platforms to share local stories The increase in emergency events posts a disproportionate risk to the most vulnerable in our communities. A lack of clarity around what to do and who should do it continues to be a barrier to planning and acting in response to emergency events. Language barriers, social isolation and digital inequities can be inhibitors to receiving and understanding emergency warnings. People in communities who are living with a disability or long-term health issues can be particularly vulnerable during bushfires due to a lack of accessible information, emergency housing and access to health services. Young people in the region want to be involved and should be empowered and resourced to make meaningful contributions to emergency preparedness, response and recovery efforts.

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Memorise this story as well as you can: Long, long ago in a village in China there lived a fool called Li. One day Li won 300 yuan in the gambling house. He was very happy so he went to find a place to store the money. He found a great place – the ground! He buried the money in the ground but he was afraid that someone would steal his money. So he thought up a plan. He found a piece of paper, wrote on it and fixed it to the ground. It said ‘300 yuan is not buried here’. Li had a neighbour called Gao. Gao knew that Li had this money and he wanted to steal it. He found the note and dug up the money. When he had finished he found a piece of paper, wrote on it and fixed it to the ground. It said ‘Gao didn’t steal 300 yuan’. - Say ‘I’m going to tell you a very short tale about a foolish neighbour called Li who got 300 yuan. Before I tell it, you have one minute to find out as much as you can about the story. Ask me, I am Li. One minute starting… now!’ As Li (you might alter your posture and voice) give spontaneous brief answers to students’ questions, without giving away the whole story. - After the one minute, ask students to tell the story they imagine based on your answers before they listen to the story. - Say ‘Now listen to me tell the story and see how similar or different it is to what you imagined’. This focuses students and they listen very closely. Tell the story in your own words as narrator (not as Li). - Say ‘Now talk about the similarities and differences’. - Say ‘Stand up facing a partner. In each pair one of you is Gao and the other is another neighbour. Find out as much as you can from Gao about what happened and how he got the 300 yuan starting… now!’ - Allow one pair to show the class their roleplay if they wish. Ask students if the story reminds them of another short story they know. The students who have a story to tell get into small groups with students who don’t. Before they tell the story, ask them to say ‘I’m going to tell you a very short tale about a… who…’ and follow the same procedure you have modelled above. If necessary preparation can be done for homework. This student storytelling procedure can become a regular classroom activity with different students telling a story each week. See article Storytelling to celebrate cultural diversity. David Heathfield is a storyteller and English teacher. Find more ideas in his teacher resource book Spontaneous Speaking: Drama Activities for Confidence and Fluency (DELTA Publishing). http://www.davidheathfield.co.uk/ I like it I really like the way of proceeding with story telling. Quite different and interesting.It will make the students talk. Thank you David for being so generous and sharing your ideas with us. I love using stories in my lesson and I started to create some myself. I have made several episodes which I call Komeen story. They are short animated stories which are accompanied by worksheets with some grammar points. You can find them at I hope you like it too. I think this activity would be very useful Interesting and very useful activity.

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Through accessible language and candid discussions, Storytelling for Social Justice explores the stories we tell ourselves and each other about race and racism in our society. Making sense of the racial constructions expressed through the language and images we encounter every day, this book provides strategies for developing a more critical understanding of how racism operates culturally and institutionally in our society. Using the arts in general, and storytelling in particular, the book examines ways to teach and learn about race by creating counter-storytelling communities that can promote more critical and thoughtful dialogue about racism and the remedies necessary to dismantle it in our institutions and interactions. Illustrated throughout with examples drawn from contemporary movements for change, high school and college classrooms, community building and professional development programs, the book provides tools for examining racism as well as other issues of social justice. For every facilitator and educator who has struggled with how to get the conversation on race going or who has suffered through silences and antagonism, the innovative model presented in this book offers a practical and critical framework for thinking about and acting on stories about racism and other forms of injustice. This new edition includes: - Social science examples, in addition to the arts, for elucidating the storytelling model; - Short essays by users that illustrate some of the ways the storytelling model has been used in teaching, training, community building and activism; - Updated examples, references and resources. Table of Contents Critical Teaching/Learning About Racism Through Story and the Arts: Introducing the Storytelling Project Model - Stock Stories: Reproducing Racism and White Advantage - Concealed Stories: Reclaiming Subjugated Memory and Knowledge - Resistance Stories: Drawing on Antiracism Legacies and Contemporary Examples to Map the Future - Emerging/Transforming Stories: Challenging Racism in Everyday Life - Cultivating a Counter-Storytelling Community: The Storytelling Model in Action Essay #1: Lauren Anderson "Resisting Stock Stories and Learning to Teach Courageously" Essay #2: Kayhan Irani "Unpacking History Through Place Based Learning: Concealed Stories of Asian American Resistance" Essay #3: Yolanda Sealey-Ruiz "Toward Love, Liberation and Abolishing the Single Story" Essay#4: Susan M. Glisson "Community Storytelling for Racial Reconciliation: Telling the Hard Stories That Can Lead to Community Change" Essay #5: Vanessa D’Egidio "Reading the World in and Beyond the Classroom" Essay# 6: Maria S. Rivera Maulucci "Critical Literacy: Imagining Other Ways of Being" Essay #7: John Madura "The Classroom is N: A Structured Approach for Cultivating a Counter-Storytelling Community" Essay #8: "Storytelling Gives the School Soul: Creating Counter-Storytelling Community" Lee Anne Bell is Professor Emerita and The Barbara Silver Horowitz Director of Education at Barnard College, Columbia University. Praise for the First Edition: "Due to its accessibility and adaptability, Storytelling for Social Justice has the potential to alter educational practice and research. In their efforts to create equitable classrooms and curricula, pre- and in-service teachers may reflect upon Bell’s discussions of counter-stories to understand how stories uphold or challenge power relations in their lives and the lives of their students. Newcomers to CRT and social justice would applaud Bell’s ability to make the theories more accessible." --Teachers College Record "Storytelling for Social Justice is a gift to educators, activists, writers and those of us caught in the muck of a profoundly racist society that preaches color-blindness. A wise and experienced storyteller, Lee Anne Bell invites us to speak, write and act with courage, offering stories of hope and a pedagogy for justice." --Michelle Fine, Distinguished Professor of Social Psychology, Women’s Studies, and Urban Education, The Graduate Center, CUNY "This important book provides a theoretical framework and a practical guide for unmasking contentious and uncomfortable discussions of race and class privilege. Using brilliant analysis of storytelling, Lee Anne Bell helps us understand the complex interactions of students’ ethnicity and culture and teachers’ beliefs and attitudes. This is a must read for teachers, teacher educators, and policy makers interested in equity and school reform." --Jacqueline Jordan Irvine, Candler Professor Emerita, Emory University

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As the earth is usually covered in a blanket of snow by this time of year, the winter months are and have always been garnered as the season ripe for storytelling. Begging older relatives for stories during the summer was usually met with “there is enough to do,” as stories told during the winter were savoured because they offered familial bonding and a certain warmth that nothing else could. But not only were stories teaching tools but many stories were also the basis for superstitions that reinforced belief systems. Thus storytelling offered more than just connection, as tales were inspired by the world and real dangers that surrounded the ancestors that told them. A great example of this would be the superstition to never to sing outside at night, and this belief is often linked to the story of the Seven Dancers: As it was first written by Tehanetorens, or Ray Fadden, the story of the Seven Dancers explains how this asterism came to be. Looking to the sky for the direction of ceremony shows an ancestral reverence for the stars, as the big dipper is one of the oldest constellations in the sky. “The year isn’t new until we’ve stirred the ashes,” is an adage that follows closely with traditional beliefs on Six Nations as well. And the most sacred of ceremonies that belong to the Haudenosaunee begin at certain points during the rotation of the Ursa Major asterism, or the big dipper constellation. It is from one of those ceremonies that the adage comes from. Wahon:nise kenha, “a long time ago,” there was a Haudenosaunee camp set alongside Lake Ontario. During the winter months a group of seven boys living at the camp formed a secret organization amongst themselves. At night they would congregate around a small fire that they deemed a council fire in the forest near the lake. Each night they would dance and sing under the guidance of their appointed leader and one evening, he suggested that their group should hold a feast during their next council fire. He then gave each boy a chosen food item to bring to the feast from corn soup and green corn to deer meat. The following day, each boy approached his mother and asked for the desired food item, but each of the seven were refused. Their mothers were suspicious and told each of them that they had enough food to eat at home and that there was no need for them to carry good food away into the woods. The seven boys returned to their mock council fire empty handed and despondent after being excited to host a feast for themselves. Their leader decided to cheer them up and teach their mothers a lesson. “Never mind my warriors, we will show our parents that it is not well to refuse us food. We will dance without our feast,” he said. He then instructed his dancers to dance hard, to look up at the sky while they danced and not to look back even if their parents might call for them to return. After giving his instructions, he took his water drum and began to sing a powerful but forbidden song — in those days the hymn he sang would be regarded as a witch song. The boys danced to the drum and as the drum beats began to hasten, they seemed to forget their worries and even their parents. As their bodies became light, they began to rise into the sky while they danced. Their parents called for them as they reached the treetops but the dancers continued on until they reached the sky. It is said that once they reached the sky they then became the flickering stars of the big dipper constellation, called the Seven Dancing Stars to the Haudenosaunee. This story is often told to children as a means of explaining the constellation and as a learning tool. When the brightest of the seven stars, Alioth, shines many older Haudenosaunee people will look at the constellation and remark “they’re dancing hard tonight aren’t they?” This story is also where that remark comes from.

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Pre School education in India plays a very crucial role in a toddler's life. It offers an enriched environment, academic simulation, and many socialization opportunities for children of the same age group. It plays an important role in preparing children emotionally, mentally, socially, and physically for further education opportunities, and a proper understanding of different subjects. Pre-primary education in India follows an easy and interesting curriculum, and teachers make the entire learning process enjoyable for the children. Pre School and Kindergarten methods lay a solid foundation for children and help them to grasp knowledge easily in the later stages of education. - Ages : 3-6 years - Duration: 3 years - Primary Languages: Hindi, English, other local languages - Terms : 2 semesters - Admission Term: throughout the year - School types: Day Care Centres, Anganwadis, Nursery Schools, Preschools, Preparatory Schools, Kindergartens, Montessori schools, Pre-Primary sections, and more. Children are taught through play in the form of various games and indulge in activities that make them cheerful and happy. These include Rhymes, storytelling, and movement activities which help them to learn basic skills. Pre-primary education guides children to learn simple skills including reading, writing, and numbers and helps to foster creative thinking, among other things. The early years are the most significant years for the growth, development, and learning of all children. Pre-primary education in India caters to children aged 3 to 6 years. Why Pre-primary Education? - It Provides strong foundations for all-round development and lifelong learning - Prepares the child for school - enables children to become effective communicators and foster both receptive and expressive language. - helps children become involved learners, think critically, be creative, collaborate, communicate and connect with their immediate environment. - enables a smooth transition of children from preschool to primary schools. Preprimary education is the time when children learn through the exploration of their environments and are involved in observation, questioning, discussion, prediction, analysis, exploration, investigation, and experimentation. Here they learn how to construct, modify, and develop a broad range of concepts and ideas. Classes may be divided into several activity areas such as the art area, block building area, doll and dramatic play area, maths area, manipulative area, science or discovery area, music and movement area, sand and water play area, book reading area, and more, which make the learning process more enjoyable for children. Several approaches to learning may be used including: - Play-Based Approach - Activity-based Approach - Projects or Inquiry-based Approach Children at this level can learn through playing, conducting various activities, and inquiry.

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Essay 1: Formalist Criticism Write a 4-5-page paper that demonstrates a formalist criticism on either the literary technique of catharsis, or irony. A formalist analysis looks at how different literary elements combine to form a whole and render an effect on the reader. Choose from the two plays, Antigone or Oedipus the King, and answer either: - How do the literary elements building up to catharsis inform your interpretation of the play? - To what extent does one or two ironic elements of the play inform your interpretation? Aristotle’s “On the Elements and General Principles of Tragedy,” our online guide to literary terms, as well as additional research on literary techniques should greatly help you at reaching your own interpretation. Here are some elements to consider. Tragic plot elements: beginning, middle, end (whole), magnitude, mimesis (action), inciting incident, climax, recognition, peripety (ironic twist), catharsis. Tragic hero characteristics: inherently good, tragic flaw, downfall. There is no “correct” answer. Support your ideas with quotes and examples from the plays. Use the objective voice (i.e. don’t say, “I think X is more important than Y,” but rather, “X is more important than Y.”) In the introduction to your essay, give an overview of what you plan to say. (You don‘t need quotes in this part of the paper.) Include the titles and authors of each piece. Define any terms you will be using in an unusual manner. In the body of your paper, use quotations and paraphrases for each example you use. Use the three-part method of organizing quotations: - Set up the quote, putting it in a context, and using a signal phrase. - Cite the quote, choosing the most important sentence or phrase and making use of ellipses, if needed. Use MLA style. - Comment on the quote analytically, explaining it and its connection to your idea(s). In the conclusion of your paper, summarize what you have said, and go further with your idea(s). You may add extra information, make a prediction about society in the future, cite a personal anecdote (if you do this, you may use the subjective voice: “I think”), etc.. What you should not do is reiterate exactly what you have already said. Keep it interesting for the reader. Include a Works Cited page, in correct MLA style.

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Noor Academy is here to tell you how to improve your kids’ Arabic handwriting online in the most fun way. What Is Handwriting in Arabic? The creative practice of Handwriting and Calligraphy based on the Arabic script is known as Arabic handwriting. It is known as khatt in Arabic, which is derived from the words ‘line,’ ‘pattern,’ or ‘construction.’ Arabic handwriting is merely the Arabic alphabet handwritten. What distinguishes the Arabic language handwriting is the variety of writing styles that have evolved throughout time. Naskh, Nasta‘liq, Diwani, Thuluth, and Reqa are the five main styles. The Nashkh and Ruq’ah are two highly common kinds. It is frequently employed in writing administrative documents and transcribing literature, including al Quran. The Naskh writing style can be seen as early as the first century of the Islamic calendar. Because of their employment by writers, round scripts were the most common in the eleventh, twelfth, and thirteenth centuries. Ruq’ah or Riqah is a more modern Arabic script variant that is mostly employed in official documents and ordinary writing. The most prevalent kind of handwriting in the Arabic alphabet is Ruq’ah. It is well-known for its clipped letters made of short, straight lines and basic curves, as well as its text lines that are straight and even. It was most likely influenced by the Thuluth and Naskh styles. How Can I Write Good Handwriting in Arabic? In order to write good handwriting in Arabic, or teach it to your children, you need practice. Here are some ways that can help you and your kids improve your handwriting in Arabic. 1- Read a lot Reading Arabic material is required for effective Arabic writing. To be able to create an output (write), you must be exposed to a sufficient volume and quality of Arabic reading (input) on a regular basis. Some claim that you may learn to write Arabic letters without even knowing how to read Arabic. However, this is a misconception. It is actually recommended to learn how to write and read Arabic while also improving your reading and writing skills. 2- Add an Arabic keyboard to your devices In addition to traditional notepad practice, it is critical to install an Arabic keyboard on your phone or your children’s electronic devices. It helps you learn Arabic letters forms and how to write them combined. While handwriting provides a kinetic experience in learning how to put the letters together, the Arabic keyboard provides a handy approach for students to practice Arabic composition. 3- Imitate your favorite style There is a severe lack of tried-and-true techniques for teaching Arabic writing systems. In the Arab world, dictation or spelling was nearly the sole writing activity taught in primary schools. Except for the conventional introduction, body, and conclusion, the composition was never trained as methodically as it is in French or English. This implies you’ll have to go out of your way to learn how to write in Arabic. You will need to choose your favorite styles of writing and strive to mimic them while honing your abilities. You get to pick your favorite style by reading a lot. If your kids can’t pick a style to stick to, they can always practice the basic Naskh handwriting. It’s easier and requires no effort to master. Get them Arabic handwriting worksheets for kids and let them practice via them. 4- Put everything you learn into practice Make a concerted effort to put what you learn into practice as you acquire new grammatical rules and absorb new vocabulary by reading and listening to Arabic material. Incorporate a new term or idiom into your writing, and remember the grammar and spelling standards you’ve been studying. 5- Write regularly Instead of intensive irregular periods, the optimal frequency of writing practice is to accomplish a little bit every day over a lengthy period of time. Three or four brief writing sessions per week are more efficient than one three-hour session each week. This is especially right for kids. Kids tend to have a shorter attention span than adults. That’s why you need to keep your sessions short and sweet. 6- Use an online calligraphy converter A writing converter is a program that instantly converts your writing from one language to another. The ease of use and speed of these automatic translation programs make them an excellent choice for students. Three useful online converters to utilize when learning Arabic are as follows:: Google Translate, Yamli, and Deepl. Although writing converter technology is improving, this does not imply that converters are always 100 percent correct. If you need to type anything or quickly check yourself when studying Arabic calligraphy, use a converter rather than relying on it most of the time to learn to write Arabic online. 7- Sign up in an online class A huge part of the program is to teach Arabic calligraphy alphabet letters and make sure the kids write properly. How Can I Make Arabic Handwriting Practice Fun for Kids? Handwriting is a skill that takes a lot of practice to master. It may also be a little, well, dull. You can make Arabic handwriting practice more enjoyable for your preschooler or kindergarten by incorporating some play! Here are some fun activities you can do with your kids that will get them excited to learn more about Arabic handwriting: - Write on the sidewalk using sidewalk chalk. - Try dirt, salt, and sand tray writing. (trace writing techniques) - Scribble shaving cream on the table with an unsharpened pencil. - Make cave paintings out of butcher paper. - Draw letters on someone’s back using your finger. - Take out your window markers and write a large rainbow on a mirror. - Write letters using paint on a cotton swab. - Write a letter to their favorite television or movie character. - In a salt or rice tray, write letters with your finger. (letters tracing) - Water paint chalk lettering outside using a paintbrush. - Make them sign their favorite alphabet song while they’re writing. - On wax paper, use glue to make Arabic alphabet letters or numerals. - Begin a doodle notebook with your preschooler to help them improve pre-writing skills. - Write on a hair gel-filled bag and watch the letters emerge. - Write on a chalkboard for practice; the vertical surface and pressure of the chalk are beneficial. How Can I Practice Arabic Handwriting at Home? You can practice Arabic handwriting at home using Arabic handwriting worksheets. There are frequently different practice sheets for handwritten Arabic letters and for linking or combining letters, although both exercises aid in alphabet recognition. It is recommended that you study Arabic for two hours every day to effectively master it. You should spend 10-20 minutes of that time working on a worksheet. Arabic Handwriting – Learn Arabic Series is a great book for this purpose. The primary goal of this book is to familiarize children and novices with basic Arabic handwriting by teaching them to write letters and words. Students can use this book to learn how to write and study verses from al Quran as well as hadith from the Prophet Muhammad (PBUH).

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- Reading, storytelling, talking and singing with your baby helps her learn about sounds, words and language. - When you read to your baby, try reading slowly. Point out words and pictures on each page and change the tone of your voice as you read. - Babies enjoy listening to books with good rhyme, rhythm and repetition. Why reading with your baby is important Sharing stories, talking and singing helps your baby’s development in lots of ways. Doing these activities every day helps your baby get familiar with sounds, words, language and, eventually, the value and joy of books. This all builds your baby’s early literacy skills and helps him go on to read successfully later in life. Reading stories also stimulates your baby’s imagination and helps her learn about the world around her. It’s a great time for you to bond with your baby and share time together too. You can start reading aloud to your baby as early as you like – the earlier the better. Sharing books with your baby Even young babies can learn from the experience of reading books with you. For example, you can: - read slowly and spend time on each page after you read the words – this lets your baby focus on the shape of words and pictures - turn the pages when you read with your baby – this shows him how to use a book - point out and name familiar and new things your baby sees on the page, instead of reading the words – the more words children hear, the more words they learn - change the tone of your voice as you read – this makes it easier for your baby to pick up on different speech sounds, which is an important step towards learning to make sounds himself. Here are some general tips to help you make the most of reading time with your little one: - Set up a special reading space at home – for example, a chair, lounge or beanbag that’s big and comfortable enough for you and baby, with a box of books or bookshelf nearby. - Make a routine, and try to share at least one book every day. For example, sharing a book can be a relaxing way to end the day. - Turn off the TV or radio, and find a quiet space so your baby can hear your voice. - Try out funny noises and sounds – play and have fun! - Hold the book fairly close to your baby so she can see. You can hold your baby close, on your knee or sit in front of her while you read, so she can see your face too. What to read with your baby There are so many books to choose from that it can be hard to know where to start. In general, babies enjoy books that have good rhymes, rhythm and repetition. This repetition and rhyming helps children learn. From when your baby is born, you might like to look for: - books with bright colours or simple, large and high-contrast pictures like black and white pictures – these are interesting and easy for babies to focus on - books with different textures so your baby can hear, see and feel the book - books with pictures of babies and faces - soft, waterproof plastic and cloth books that can go in your baby’s mouth and into the bath. Here are some books your baby might enjoy: - Baby touch colours by Ladybird Books - Baby touch words by Ladybird Books and Justine Smith - Brown bear brown bear, What do you see? by Bill Martin Junior - Polar bear polar bear, What do you hear? by Bill Martin Junior - Aussie babies can by Magabala Books - Aussie toddlers can by Magabala Books - I went walking by Sue Machin - Walking through the jungle by Julie Lacome - How many kisses do you want tonight? by Varsha Bajaj - Crocodile beat by Gail Jorgensen and Patricia Mullins - Everywhere babies by Susan Meyers. Credit Article from raisingchildren.net.au

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This is the fifth of seven parts on disciplines/elements of Humanities that can be found in the Art of Storytelling. This is also a countdown to virtual “The Big Why Panel: Historical Storytelling meets Humanities” on Saturday, June 20, 2020 from 9:00am-10:30am MDT. Storytelling meets Humanities, Elements Within: - Part 1 – Archaeology – REVEALED - Part 2 – Communication/Interpretation – REVEALED - Part 3 – Cultural Studies – REVEALED - Part 4 – Folklore/Folklife – REVEALED - Part 5 – History – TODAY - Part 6 – Languages/Linguistics - Part 7 – Philosophy/Ethics History is the study of past events, which can involve people or things, though always involves people when linked with Humanities. People argue whether or not to remember the past. Some say that if history is not acknowledged, we are doomed to repeat the mistakes and miss the successes. Others feel that history needs to be erased and remade into something more inspiring. We have people asking to defund or abolish the police. While many agree that “reform” is the more positive approach, we can also look to what has happened in history when the same cries were made. The rise of Nazis was caused by getting rid of the police and relying on self-regulation. While extreme when compared to current events, any history is possible to be repeated. Meanwhile, there are mindsets and actions of racism within policing that causes harm, abuse, and sometimes death of innocents. How does one weigh one historical account or event with another on how to choose what to do for the present that ultimately affects the future? History and what to do about that history has always been complex. We do have the repeating battle in society on the supremacy of science. No matter what you believe in regards to climate change, this exchange of words–and sometimes blows–has been about many science-related research. Receive a hint of this cycle through the article “On the Historical Relationship Between the Sciences and the Humanities: A Look at Popular Debates That Have Exemplified Cross-Disciplinary Tension” by Benjamin R. Cohen. He highlighted four moments in history: Huxley-Arnold debate of 1880s of “excommunicating” science from the humanities due to science’s coldness to emotions, science education reformation in the 1920s (Britain-based yet also America-influenced) on progressive education, the two-culture debate of the 1960s of scientists versus literary scholars, and science wars of “recent years,” which was close to the turn of the century. People on both sides had valid points as well as the people we never heard that had a mixture of ideas as compared to a set view. Storytellers who specialize in historical storytelling have what Brian “Fox” Ellis said, is a “warts and all” approach. He continued that there are many parts of history that are “white-washed.” Rarely is something all good or all bad. Sheila Arnold and Darci Tucker take care in giving voice to either silent ones–such as a maidservant–to a “villain”–such as a loyalist spy” to twist how we think of things. We are happy to have all three of these storytellers on our panel on June 20. With such focus on big historical events, people could feel that their own lives–their personal history–is not worthy of attention. From “Meaning Over Memory: Recasting the Teaching of Culture and History,” the author Peter N. Stearns said it was important to “look beneath the surface in historical analysis.” He continued, “Emphasis on ordinary people thus follows in part from a desire to provide key groups with an understanding of their own history and a valid sense of their own past identity and importance. It follows, also, however from a firm belief that ordinary people count in shaping society as a whole.” Storytellers often choose the “everyday” people to share “then one day…” when the normal changed and there was no going back to what it used to be–for good or for ill. Many storytellers recognize the need to tell personal and family stories from the stage to show that one unique experience can be universal despite the differences in details. So discover more than one side to any historical event or issue from individual and society standpoints. Choose to look beyond your instinctive view and be willing to listen to the silent or opposing voices. We will be doing this 7-part Blog Series on Storytelling and connections with the Humanities as a countdown to our next adventure--join us on Saturday, June 20, 2020 from 9:00am-10:30am MDT from your computer- The Big Why Panel: Historical Storytelling meets Humanities. Our panelists, as pictured above, are: Dr. Caroliese Frink Reed, Sheila Arnold, Darci Tucker, and Brian “Fox” Ellis. We are grateful to funding from Utah Humanities.

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For Young Kids, The Power of Play-Based Learning New research shows play-based learning can be more effective than direct instruction at improving outcomes for early learners—particularly in the development of mathematical and spatial skills. The mere presence of the word play in the teaching method known as play-based learning can alarm some parents of early childhood learners. Students, even our youngest students, should be “playing” at home. They come to school to learn, they might say. That distinction—between “learning” and “play”—is a false one, according to early childhood educator and author Erika Christakis. Although kindergarten and elementary classrooms often devalue it in favor of direct instruction or seat time, play is the “defining feature” of all mammalian development, and its “signature” is apparent in the bodies and lives of little kids who experience it: “Their life expectancies are longer and their social-emotional capabilities are more robust when they have a chance to learn through play and deep relationships, and when their developing brains are given the chance to grow in a nurturing, language-rich, and relatively unhurried environment,” Christakis told Edutopia in a 2019 interview. Children aren’t miniature adults. Nonetheless, a bias toward adult perspectives of childhood, with its attendant schedules and routines, has gradually exerted a stranglehold on our educational system, Christakis continues, trapping young kids in educational spaces that too often feel dreary, joyless, and alienating. “The notion that there is something of value in being a little kid—with little kid desires and, above all, needs—seems to have fallen out of favor.” Breaking the Cycle Despite the clear benefits of play, setting aside the time for even the youngest students can seem out of step with the academic demands of the school day. Early childhood teachers are pressured to meet strict seat-time guidelines in their classrooms, and they often feel that direct instruction is the best method to achieve the many curricular objectives that parents, principals, and other leaders expect. According to a new study, there’s a middle path. A group of researchers from the University of Cambridge analyzed decades of research on “guided play”—more commonly called play-based learning—and concluded that it can have a “greater positive effect” on the acquisition of skills like math, shape knowledge, and task switching than more traditional approaches that prioritize seat time and explicit instruction. “In redefining play as a spectrum with varying degrees of child autonomy and adult guidance, guided play has been situated as a ‘middle-ground’ between free play and direct instruction,” the researchers concluded. The learning is inherently rich and meaningful because “play naturally cultivates their enjoyment, motivation, and agency; while the inclusion of guidance by a supportive adult extends the scope for learning beyond what the child might achieve on their own.” Incorporating key elements of play—like wonder, exploration, and student agency—into loosely structured lessons that are gently supported by teachers provides an “optimal” approach for students, according to the researchers. For Christakis, this means that play-based learning experiences should provide students with a “steady diet of free, unstructured time and access to open-ended materials” that allow them to engage in “rambling” storytelling and provide plenty of time to just “mess around and make their own rules.” Play, With an Objective in Mind In a successful play-based learning class, teachers often have a clear “learning goal” behind the play they let students engage in ahead of time, according to the Cambridge study. A teacher should keep this goal in mind during the play and subtly guide the child toward the goal. Don’t pull the strings too tight: According to primary teacher Maggie Sabin, teachers shouldn’t necessarily expect students to produce specific outputs. For example, to teach students how colors can be mixed to form new colors, you might avoid giving students instructions to mix specific colors and instead model one example and then allow them to make their own combinations. “Be well prepared and intentional in planning, but allow for flexibility and inspiration,” writes Sabin. One way to make sure that students are playing with purpose is to structure your classroom with deliberate spaces or centers containing materials, games, or objects intentionally chosen for students to engage with and make sense of. An area in Sabin’s classroom, for example, contains a “tinker tray” of items that might seem random but are related to lessons or units she is using direct instruction to guide students through. During a unit on nature and natural materials, for example, the tray is stocked with items like pebbles, leaves, or sticks that students can both practice naming and manipulating. The materials can also be used to practice early math skills through the course of play by simply asking students how many pebbles they have or how many pebbles they have left after giving some to a friend. Providing Choice and Agency Effective play-based learning should be child-led when possible and give students “freedom and choice over their actions and play behavior,” the researchers assert. However, their findings suggest that the level of autonomy being given to students in play-based learning scenarios is often less than the amount needed to “cultivate children’s agency, motivation, and curiosity.” To foster that agency, New Hampshire kindergarten teacher Jessica Arrow often starts the day by allowing students 30 to 45 minutes of “choice time” to explore various spaces in the classroom—a block center, math center, science center, art center, book nook, or dramatic play corner. The items they encounter are related to previous lessons and the interests her students have expressed. For example, after reading the children’s book Miss Maple’s Seeds, Arrow said, her students became fascinated by the author’s process of creating the book from her imagination. As a result, Arrow’s art center included materials for students to create stories of their own and to practice speaking, listening, and writing standards in the process. Arrow writes that their bookmaking interests eventually carried over into other areas of learning. For example, one student created a number book. After Arrow shared it with the class, number books became popular, and her students were referencing number grids and creating their own number books that helped them count and identify large numbers in the process. “Once my students had experienced play-based learning, they were more focused, motivated, and purposeful,” writes Arrow. “Most important, they were happier. Bringing play-based learning to my classroom created balance, deepened our learning, and defined our classroom community as a place where we could learn and grow together.” When to Step In As children play, teachers should be observing closely to gather insights about the way students are learning and use open-ended questions, hints, and prompts to gently nudge students and encourage deeper thinking. You might step in “when a child appears to find an activity too difficult or too easy” so that you “can help them learn beyond what might be possible in independent play,” the researchers say. For example, when children are playing with blocks, open-ended questions can be posed to encourage problem-solving, prediction, and hypothesizing, according to veteran teacher and curriculum manager for Edmentum Winnie O’Leary. A teacher can bring awareness to math standards by asking students low-stakes questions such as “I wonder how tall this tower can get?” or “I wonder how many blocks you need to make that tower as tall as your friend’s?” Simple questions can also encourage practice recalling information and identifying shapes, objects, or colors, according to O’Leary. During a game of Go Fish, for example, you can ask, “Hey, who had the number 4 in the last round?” Or during a game of Uno you might ask, “Hmm, what color card do you need to add to the center deck?” Games involving strategy—like checkers or tic-tac-toe—are great to get students thinking critically about their objectives and how to adjust them based on what is happening during the game. Try questions like “I wonder what move you could have made to win?” Use these strategies wisely, though, the researchers caution. In the end, hints and questions should not feel like directives. Christakis agrees, telling Edutopia that she often coaches teachers to stay away from “checking questions” such as “What color is the apple?” or “What are you drawing?” Instead, she says, teachers should ask questions like “Tell me about your drawing.” “The open-ended response really opens up a huge space for spontaneous and deep learning,” Christakis says.

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Chamber Theatre with Dorothy Heathcote He stood for a moment rigid before the door of the dead room. He inserted a key ... It was the first time he had been alone in a room with death. ... What lay wrapped in that sheet? Dorothy Heathcote developed the use of Chamber Theatre, a method of using different texts as the basis for a performance. It links storytelling with showing. The words of a chosen text are spoken and, at the same time, demonstrated in action for onlookers. Dorothy said: “The process fulfils the laws of theatre, using sound, silence, movement, stillness, light and dark.” This video shows Dorothy working on Chamber Theatre with a group of teachers at a Mantle Network event in 2010. It features three different Chamber Theatre pieces, and also looks at different aspects of the system including the role of the narrator, and the use of individual and choral narration. Here are some notes by Dorothy on Chamber Theatre. Chamber Theatre. Sometimes called Story Theatre. Chamber Theatre format allow students to make literally texts “stand up” in dramatic action and “now immediate” time, as does theatre. However in Chamber Theatre students do not act as actors do in theatre plays. They demonstrate what the literary text states. This means that sometimes more than one person can demonstrate one moment in time, or more that one moment shown from different viewpoints. The literary text and the dramatic demonstration lean into each other and support each form. A very important aspect of Chamber Theatre is “Who is telling this story or account?” Deciding this causes students to study the literature very closely - to the advantage of helping them explore the text deeply. Dorothy Heathcote A Chamber Theatre Text This is a Chamber Theatre text written by Dorothy herself. It’s set in Egypt and Dorothy imagined the scene as set near an oasis, with the ruins of a colossal statue nearby. In her text (see images) she has underlined “action” phrases. She introduced the text at a teacher training event for the Mantle Network in 2008. She took delegates through planning a Mantle on Ancient Egypt; she envisaged the “scroll in the jar” referred to in the text would be found to contain the myth of Isis and Osiris, leading children to explore that story. She also intended the text to be used in conjunction with Shelley’s poem “Ozymandias.” You can see a video of the event; and below are some extracts from the text. The Scroll in the Jar under the Statue Plinth In the time of the birthing of the camels, the herders gathered beside the great legs of stone and collected fuel from the dried and withered stubble plants to build their fire. ... The time was close when the births would begin, so the men were careful to check each female to see how close to that time they were. One female gave cause for anxiety so the old herdsman was called to give advice. ... The herdsmen came around to see and listen to his opinion. “She will labor hard over this one - we must stand her up.” The men knew that within the jar there would be a written scroll so did not waste time in breaking the seal but ventured to the edge of the deep chamber. The camel is raised. The men share tales of other hard births. A boy is listening, as he leans against the stone head. As he sank down he saw that the great stone was indeed a face, so traced the carving deeply cut by the maker: great staring eyes, the cruel lips and sneer, the arrogant nose and the details of the curling beard and carved ear jewels. At this moment the camel groans and in agitation moved to lean against the stone. As he leapt backwards to avoid being crushed the head fell so that the visage was lost in a shower of sand. He moved to look to the camel, and as the men hurried from their fire to assist, the boy saw a great sealed jar had lain beneath the head within a stone chamber. One descended down the steep steps and found within, painted upon the walls of rock, flowers, birds and creatures with writings which of course they were unable to read. They told the boy to lift the great jar and carry it to safety, and at a later time when all the camels had given birth and the young were strong to walk, they departed their place leaving a great pile of stones, to warn those who would come. ... On arriving among their people, the great jar was surrendered to the elders who broke the seal and unrolled the scroll. Meanwhile the camel owners were summoned to collect their beasts and their young, little realizing that the great jar would cause much change. - Dorothy Heathcote, to use with Shelley's “Ozmandias” [sic] sonnet. June 14th 2008

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Self-management is the ability to control your actions and emotions, and being able to recognize emotions is a key building block of self-management. It is a social-emotional skill that is associated with academic success. Self-management also covers skills like impulse control, goal-setting, and perseverance. As your child develops more self-management, she will be better able to handle upsetting situations like being left out, losing a game, or being teased, which can all affect her classroom performance. Self-management will also help her handle high-pressure situations like taking a test or competing in sports. The ability to self-regulate and manage emotions and behaviors is constantly evolving, especially for children this age. You may notice that one day your child is able to calm herself easily, while on another day she may burst into tears over a similar upsetting event. Every child develops at her own pace and that pace can change daily. It is important for you to continue to support your child through her development and give her the tools to be successful even on days when she feels a bit off. The late elementary years are a time of great personal and social growth. As children grow older, they become better at making decisions, solving problems, and working in groups. Early adolescence begins around the age of 11, and this brings along its own challenges. As children’s bodies begin to change their emotions can seem to change at a moment’s notice. Developing your child’s social and emotional skills can help him manage his emotions and behavior and make responsible choices. The concepts highlighted in this section are based on the five sets of competencies developed by the Collaborative for Academic, Social, and Emotional Learning (CASEL). Your child should be able to recognize socially appropriate responses to emotions. For example, your child should know that throwing a temper tantrum at the grocery store over which type of cereal your child wants for breakfast is not an appropriate response to feeling disappointed. By fifth grade, your child should be able to reflect on possible consequences before expressing their emotions. Your child should be able to recognize ways your child can deal with upsetting emotions. For example, your child should have some ways to calm herself, whether it’s removing themselves from an upsetting situation, taking deep breaths, or counting to 10 before moving forward. Your child should be able to identify how obstacles are overcome to achieve goals. This can be from personal experience, like when your child learned to ride a bike without training wheels, or from examples in books or television shows. Your child should also be able to remember when they were successful and recall the ways your child could apply what worked in that situation to future goals. For example, if your child improved their reading ability, your child should realize that improvement happened because your child spent more time practicing outside school. Keep in mind every child develops at his own pace, both physically and emotionally. If you have concerns about your adolescent’s development, please contact your health care provider or your child’s teacher or school counselor. Learn more about how to support your child with our fifth-grade self-management tips page. Parent Toolkit resources were developed by NBC News Learn with the help of subject-matter experts, including Maurice Elias, Director, Rutgers Social-Emotional and Character Development Lab; Jennifer Miller, Author, Confident Parents, Confident Kids; and Anne Morrison, Pre-Kindergarten Teacher, Lycée Français de New York.

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I’m Mary Tillotson. And I’m Steve Ember with the VOA Special English program, PEOPLE IN AMERICA. Today, we tell about writer Langston Hughes, who has been called the poet voice of African-Americans. Langston Hughes is usually thought of as a poet. But he also wrote novels, plays, short stories, essays, autobiographies, newspaper columns, children’s books, and the words to operas. He also translated into English the works of foreign poets. Hughes was one of the first black writers who could support himself by his writings. He is praised for his ability to say what was important to millions of black people. Hughes produced a huge amount of work during his lifetime. He also has influenced the work of many other writers. He wrote for almost fifty years. Langston Hughes was famous for his descriptions of black American life. He used his work to praise his people and voice his concerns about race and social injustice. His work is known all around the world and has been translated into many languages. Hughes’s poetry had serious messages. He often wrote about racial issues, describing his people in a realistic way. Although his story was not often pleasant, he told it with understanding and with hope. Langston Hughes was born in Joplin, Missouri, in nineteen-oh-two. His parents were separated. He spent most of his childhood with his grandmother in Lawrence, Kansas. She told him stories about their family and their fight to end slavery. Her storytelling filled him with pride in himself and his race. He first began to write poetry when he was living with her. When he was fourteen, he moved to Cleveland, Ohio, to stay with his mother and her new husband. He attended Central High School in Cleveland, Ohio. Langston was named Class Poet one year. He published his first short stories while he was still in high school. Langston Hughes struggled with a feeling of loneliness caused by his parent’s divorce. He developed a love of reading books as a way to deal with the lack of time his parents spent with him. His love for reading grew into a desire to write. He wanted to reproduce the powerful effect other writers had made upon him. Among the early influences on his writing were poets Walt Whitman, Carl Sandburg and Paul Lawrence Dunbar. After graduating from high school in nineteen twenty, Langston moved to Mexico City to live with his father for one year. His father had moved there to escape racism in America. His father did not offer much warmth to his son. Yet, Langston turned the pain caused by his family problems into one of his most famous poems, “The Negro Speaks of Rivers.” In this poem, he speaks of the strength and pride of black people in ancient African civilizations and in America. (SOUND: “The Negro Speaks of Rivers”) Langston Hughes learned a lot about race, and about social and economic conditions while he was in Mexico. His ability to speak Spanish and his brown skin often made it easy for him to appear to be a native. Many of his works, including a play for children, deal with his days in Mexico. During the time he stayed with his father in Mexico, Langston wrote many poems because he was always unhappy. He once said that he usually created his best work when he was really not happy. Langston had a troubled relationship with his father from which he never recovered fully. His father did not think he could earn a living as a writer. His mother, however, recognized his need to be a poet. Langston’s father agreed to pay for his college education at Columbia University in New York City, if he studied engineering. Langston arrived in New York when he was nineteen years old. At the end of that first year at Columbia, he left school, broke with his father, and began traveling. Traveling was a lifelong love that would take him throughout the world before he died. In nineteen twenty-two, Hughes took a job on a ship and sailed to Africa. He would later sail to France, Russia, Spain and Italy. He wrote poems and short stories during his travels. His experiences while traveling greatly influenced his work. He sent a few of his writings back home. They were published, which helped establish him as a professional writer. Financial problems ended Hughes’s travels. He tried to find work on a ship so he could return to the United States. But in Italy, he had problems finding work on a ship because he was black. In the poem, “I, Too”, he noted that the American color line even reached all the way over there. (SOUND: “I, Too”) In nineteen twenty-four, Langston Hughes returned to the United States to live with his mother in Washington, D.C. The poet Vachel Lindsay ate in a hotel where Hughes was working. Hughes put some poems he had written next to Lindsay’s dinner plate. Lindsay gave a poetry reading later that night. He read some of Hughes’s poetry, too. Newspapers across the country wrote about Lindsay’s poetry reading. Hughes became known as a new black poet. A year later, Hughes returned to New York. Through the years he lived in many places, but always came back to New York’s Harlem area. Harlem was the center of black life in New York City. Hughes’s creativity was influenced by his life in Harlem. Langston Hughes returned to New York during a period called the Harlem Renaissance. It took place during the nineteen twenties and thirties. The Harlem Renaissance was a period of great artistic creativity among black people. For the first time, black artistic expression was being widely recognized. Hughes became friends with other great black writers of the time, such as Claude McKay, Countee Cullen and Zora Neal Hurston. They hoped that great art could change the racist ideas in America about African Americans. Hughes was considered one of the leading voices of the Harlem Renaissance. He was the first poet to use the rhythms of black music. He often wrote about the everyday experiences of black working people. And he helped bring the movement of jazz and the sound of black speech into poetry. Langston Hughes experimented with his writing. Other Harlem Renaissance writers wrote traditional poems like those of English classic poets, such as William Shakespeare. Hughes broke free with his writing and helped change literature forever. Hughes became firmly established as a successful writer in nineteen twenty-six with the publication of a collection of jazz poems called “The Weary Blues.” Hughes wrote the poems in a place in Harlem where blues music was played. He loved to write while sitting in clubs listening to blues and jazz. The title poem, “The Weary Blues,” was written to be played with musical instruments. The poem perfectly expressed the desire of Langston Hughes to combine black music and speech in his poetry. “I got the Weary Blues and I can’t be satisfied. Got the Weary Blues and can’t be satisfied. I ain’t happy no mo’ and I wish that I had died.” “And far into the night he crooned that tune. The stars went out and so did the moon. The singer stopped playing and went to bed – while the Weary Blues echoed through his head. He slept like a rock or a man that’s dead.” Poems in “The Weary Blues” are warm and full of color. They have a sense of freedom, like that of jazz music. Langston Hughes was excited about the new form of poetry he had discovered for himself. This Special English program was written by Cynthia Kirk. It was produced by Caty Weaver. The poetry was read by Langston Hughes and Shep O’Neal. I’m Mary Tillotson. And I’m Steve Ember. Join us again next week for another PEOPLE IN AMERICA program on VOA when we finish the story of the life of Langston Hughes.

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Filmmakers can use a number of techniques to establish and develop characters. Their choice of camera techniques, acting, mise en scene, editing, lighting and sound all contribute to the representation of a character. When you’re writing about the representation of a character in film, it is useful to watch the scene a number of times, noting how the use of these techniques have been used to develop the character. Think carefully about the director’s use of camera techniques. What does this help to tell us about the character? The use of a close up might help to accentuate an actor’s facial expression. Likewise a high angle show might make them appear weak and powerless. When writing about the use of camera techniques, think about how the following techniques have been used: Camera movement. Crane, dolly, dolly in, dolly out, handheld, pan, pedestal, point-of-view shot, snorricam, static, steadicam, tilt, tracking, whip pan, zoom. Shot size. Extreme long shot, long shot, full shot, mid shot, close up, extreme close up. Camera angle. Overshot, high angle, eye level, low angle, undershot, canting. Focus. Deep focus, depth of field, pull focus, shallow depth of field. Everything an actor does is part of a scripted performance which has been directed. Writing about acting can sometimes be difficult because it requires focusing on the small details of a performance. A simple glance or gesture actors can convey a great deal about the inner lives of their characters. How does an actor move? What sort of facial expressions do they use? What tone of voice do they employ? How do these small details contribute to the development of a character? Always remember that actors have been directed, their performances is as deliberate and purposeful as the lighting or camera movement in a scene. Mise en scene Mise en scene refers to everything that’s put in the scene. It includes colour, costume, make up and the placement of props. What does the selection of costume tell us about a character? Does the composition of the shot convey information to the audience about character? How does the use of colour in the frame contribute to the representation of character? Films are edited. Filmmakers think carefully about how the sequence of shots, pace of editing and use of editing techniques contribute to the narrative, development of characters and audience engagement. Every scene has been painstakingly constructed. There is nothing normal or natural about the way a scene unfolds. Filmmakers agonize over every cut. Watch the scene that you’re studying carefully and think about how editing contributes to character development. Consider the pace of editing and whether it changes. Do the filmmakers choose to linger on a particular shot instead of cutting away. If so, why? Are there any particular editing techniques that stand out? What do they tell the audience about character? Does the scene you’re analysing use any of the following editing techniques? Audio match cut, continuity editing, cut away, cut in, dissolve, fade in, fade out, fast motion, jump cut, match on action, montage, parallel editing, shot reverse shot, slow motion, speed ramping, superimposition, time-lapse, visual match cut, wipe, wipe by cut. It’s important to remember that in most feature films, although the lighting might look normal and natural, the filmmakers have gone to great lengths to achieve a particular lighting effect. Lighting always makes a significant and meaningful contribution to the narrative. Filmmakers think carefully about how the quality and placement of lights contributes to the narrative, character development and audience engagement. When you’re watching a scene, think carefully about the use of lighting and what it tells the audience about a character. What type of light is used? Natural, fluorescent, incandescent? Is it diffuse or hard light? Where is the key light placed in the scene? What sort of shadows are cast by the key light? What do these choices tell you about the representation of a character? Just as filmmakers think carefully about the visual editing of the film, what you hear has also been carefully constructed. In consultation with the director, sound editors and foley artists work tirelessly to construct the soundtrack. Every decision they make about the quality and placement of sound effects and music contributes to narrative, character development and audience engagement. When you’re watching a scene, think about how sound contributes to character development. What do the characters say? What type of music has been used throughout the scene and how does it contribute to the representation of characters? Are there any prolonged silences? What sort of sound effects and ambient sounds have been used? Are some sounds more prominent than others? Are they faded in and out? Writing about the representation of characters When you’re describing the representation of characters in a film, it is important to make specific and detailed reference to how production elements – including camera techniques, acting, mise en scene, editing, lighting and sound – contribute to character development. Whether you’re writing about how teenagers are represented in films like The Breakfast Club or how The Joker is established as a villain in The Dark Knight, your description of this representation will follow the same sort of structure. It’s a good idea to start off with a topic sentence which identifies how the character is represented and explains which aspects of the representation you will be discussing. Here’s an example of a paragraph describing the representation of the title character in Ruby Sparks (2012): In the film Ruby Sparks, the title character is literally dreamed up by a frustrated writer. In the film, she is constructed as a quirky and ethereal character using a combination of acting, lighting, editing and sound. As Calvin (Paul Dano) falls asleep, the audience hears a voice saying, “She’s so cute.” Director Jonathan Dayton cuts to the first shot of Ruby Sparks (Zoe Kazan). At this moment a combination of lighting and sound are used to establish this character. The key light in this shot comes from the sun which is positioned behind Ruby, casting her in warm yellow light that makes her appear angelic. In the background, a romantic choral motif by composer Nick Urata helps to create the impression that this character is angelic and, indeed, a dream girl. As the conversation continues, dialogue helps to establish Ruby as a quirky and carefree character as she suggests his dog peed “like a girl”. She reveals that she’s an artist who’s “super good” and produces a “beautiful” sketch of Calvin’s dog. In a session with his psychologist, Calvin admits that he goes to sleep at night just to get back to his typewriter “so he can be with her”. Like many Manic Pixie Dream Girls, this character is represented as a muse who inspires the male protagonist. Later in this scene, Dayton uses a montage accompanied by voice over from Calvin’s character to further establish this character: “Ruby’s first crushes were Humphrey Bogart and John Lennon. She cried the day she found out they were already dead.” The opening of this montage is accompanied by shots of Ruby rollerskating in a park. Throughout this scene, director Jonathan Dayton uses a combination of acting, lighting, editing and sound to establish the character of Ruby Sparks. Here is an example of how you might write about the establishment of The Joker as a villain in The Dark Knight: In the opening sequence of The Dark Knight, director Christopher Nolan uses a number of techniques to establish The Joker as particularly villainous. In the early part of this sequence, dialogue is used to establish The Joker before he appears onscreen. “I heard he wears make-up,” says one of the goons, hacking his way into a switchboard. “To scare people. You know…war paint.” One of the men reveals that they’re robbing a mafia bank: “I guess the Joker’s as crazy as they say.” After shooting the bank manager, The Joker kneels down and removes his latex clown mask. Christopher Nolan uses a tight close-up of Heath Ledger’s face, accentuating the scars and grotesque make-up. The key light in this scene comes from a large window over his right shoulder. While one side of his face is clearly illuminated, the rest is in shadow. Ledger’s voice is low and sinister as he delivers his response: “I believe whatever doesn’t kill you simply makes you…stranger.” Ledger shoves a grenade into the mouth of the terrified bank manager and leers at the camera, revealing a set of yellow teeth. This shot is also filmed from the perspective of the bank manager, making The Joker seem all the more sinister to the audience. James Newton Howard and Hans Zimmer collaborated on the scores for both Batman Begins and The Dark Knight. Their leitmotif for The Joker – a single note played on the violin which increases in intensity and pans rapidly from left to right, gradually joined by other discordant and distorted electronic instruments – is also used to establish the character as particularly villainous. Throughout this sequence a combination of camera techniques, acting, mise en scene, lighting and sound are all used to establish The Joker as a villain. Photograph: Vancouver Film School. Image slightly cropped.

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Authors: Benedikt Diemer, Martin Sparre, Louis E. Abramson, and Paul Torrey First Author’s Institution: Institute for Theory and Computation, Harvard-Smithsonian Center for Astrophysics Status: Published in the Astrophysical Journal, [Open access] Every galaxy has a story to tell. And every story has a few common plot devices: violent supernovae from dying young stars, bursts of activity from central supermassive black holes, mergers with other galaxies, and other dramatic astrophysical events that can change the course of a galaxies evolution. One galaxy property in particular can be severely impacted by these events, and that’s how many stars it is forming at a given time. The Star Formation Rate (SFR) throughout the lifetime of a galaxy is known as its Star Formation History (SFH), and is of interest to physicists trying to understand the lives of all galaxies. Unfortunately, we can only see the stars that are in the galaxy at any given time; to infer the past history of star formation we must look for evidence of previous star forming events. For nearby galaxies, we can see them in enough detail to see separate populations of stars, and determine their individual ages. But for galaxies further away we can only observe the combined light of all the stars mixed together, and then have to disentangle each component in order to get the underlying history of star formation. However, in simulations of galaxies we can explicitly see the SFH in high resolution (see these ‘bites for previous examples). The authors of today’s paper looked at galaxies in the state-of-the-art Illustris simulation. They found that, whilst SFHs tend to be noisy, on average they show similar shapes over time. This shape is known as the log-normal distribution, and it typically exhibits a sharp rise to a peak, then a gradual fall. Figure 2 shows another two galaxies that are also very different. Both are still forming stars today, and galaxy (d) actually has an increasing SFR. Despite having very different forms for there SFH, the log-normal still provides a good fit. The authors find a correlation between the time of the peak, and the width of the distribution: earlier peaks tend to be narrower, whilst later peaks tend to be much wider. In other words, galaxies that form early assemble quickly, whereas galaxies that form later take their time, leisurely building up mass over a longer period. You can see this in the examples in figures 1 and 2; the galaxies that form most of their stars early have narrow distributions, whereas those that are still forming stars have much wider distributions. Log-normals are not without their limitations. Interactions between galaxies, such as mergers, can lead to bursts then sudden shut downs of star formation that log-normals struggle to fit. But for most massive galaxies, log-normals describe their story arc in terms of star formation very, very well, helping physicists to understand every galaxies story, from start to finish.

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Mathematics is a subject that requires diligent practice. And it’s a subject that students tend to regress in quickly when lockdowns and holidays keep students out of the classroom. And often, our focus is on the fundamental steps of problem-solving. But the skillset of a mathematician requires logical reasoning, perseverance, academic rigor, and intellectual flexibility. These are the skills that transfer easily into successful careers inside and outside of mathematics. While students may not be able to see direct value in practicing mathematics while school is out, the benefits are hidden in the character development that occurs while simultaneously promoting academic achievement. Practice Mental Arithmetic Have you ever wondered why some people are really good at figuring out how much to tip or how much change they’ll get back when paying in cash? The mental ability to solve simple math problems like multiplication tables without a pencil and paper is a trick that can be practiced and developed. But many students struggle with the ‘why.’ Why should we take the time to practice mental math tricks when we all have a smartphone in our pockets? While you’re unlikely to encounter a real-life scenario where you need to multiply two double-digit numbers on the spot, this practice builds mental agility that is worth having. You’ll become better at juggling and sorting multiple pieces of information, which will make you better able to process information and make lightning-fast decisions in your chosen career path. For an EMT or a business leader, this is a valuable skill that can’t be taught. Get Good at Dice Games The thing about dice and card games is that they’re all about probabilities. If you get good at understanding your probabilities, you will also master these games. At the very least, it will make for an interesting parlor trick at parties. Even a board game like Monopoly is largely based on probabilities. For example, consider this over-simplified scenario. If you have two dice, are your chances equal between rolling a pair of 2’s compared to a 1 and a 3? Many mathematics students will argue until they are blue in the face that their chances are equal. In reality, they are twice as likely to roll and 1 and a 3 than a pair of 2’s. Become a Fanatic About Following Instructions This suggestion is oddly not mathematical at all—or is it? Precise communication is a foundational mathematics skill. Think about applied mathematics and the intricate details of every story problem. Students who can read and digest precise instructions with efficiency will have a leg up on their peers. This exercise works well with IB Maths past papers, but can also be done with baking recipes or lego sets if you prefer. You should not only focus on understanding the instructions, but also begin to question efficiency. Are the instructions clear? Do they produce the desired result? Or could they be condensed to a shorter format? Practice rewriting instructions with a focus on clear and precise communication. The Bottom Line on Keeping Math Skills Sharp Learner regression is something that we all face. It’s why every school year is frontloaded with reviews. And it has been especially tough to overcome as schools go back and forth between remote learning and in-person attendance. Don’t let your Math skills take a nosedive during your next break from school. Keep these tips in mind.

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Teachers in Southampton have been looking at the research behind some of their practice and have been exploring it in their classrooms. For example, research tells us that giving learners a sense of progression will support language learning motivation. We also know that encouraging teachers to experiment in their classrooms with teaching and learning activities fosters a sense of teacher pedagogic confidence. SUPL teachers have been exploring both through engaging with FL literacy: - We’ve explored how teachers can work with familiar stories and exploit these known sentence patterns to understand the text in a different language and to engage in structured writing opportunities. - We shared the book “L’ours brun” (Brown Bear) and used children’s knowledge of the English version to elicit the meaning of “dis-moi ce que tu vois” (what do you see) and “je vois….qui regarde par ici” (I see…looking at me). SUPL teachers have also exploited simple sentence patterns in texts to support independent, creative writing: - We also contrast between the English and French literal translations! Practical work from SUPL teachers in the classroom Here Sarah (Blackfield Primary) presents her scaffolding patterns which involved identifying sentence patterns, working with existing knowledge of structures (voici + noun; il est + adjective; il aime + verb, brainstorming and research for novel vocabulary and WAGOLL. Each learner designed and produced their own ‘predators’ text.s Here the children are brainstorming other adjectives they know (or would like to know) to describe predators. They are using their KS2 knowledge; the example sentences remind them about the language patterns. And finally children used their completed brainstorming sheets plus a WAGOLL example to write their own descriptions using these sentence patterns. An example is shown below. These could then be turned into a class book or scanned and uploaded to a storybook website such as www.storyjumper.com. Alongside creative language use, we’ve also been looking at learning to recognise words and have explored how phonics might support this. We know from research that learning FL sound/spelling links is a slow process, that children will need plenty of practice and opportunities to try reading aloud in order to apply their new knowledge! Becca (Liphook Junior School) created a memorable learning device to develop conscious knowledge about sound/spelling. She talked about ‘Franceformers’ and how the same letters transform to make different sounds depending on whether they’re being used in English or French! Becca finds that the children really enjoy this activity and they use the idea of ‘Franceformers’ as a tool to remind themselves of the differences between languages when decoding words. Michael (Highfield Primary) talked about his work with French story books which he uses to develop knowledge about language and reading strategies. Here he explains how you can work with familiar stories to introduce children to reading strategies, e.g. looking for cognates and knowledge of genre. In this kind of activity, English literacy is playing an important role for children to access the foreign language. Michael carefully introduces the children to far more complex, authentic text. He finds the children really enjoy these scaffolded attempts to read for meaning in a foreign language. Even though they’re beginner learners! What do you do? How do you experiment with literacy in your classroom? Do you teach phonics and does it help with reading aloud unfamiliar words? Have you used texts to support reading for meaning? Do you find that learners automatically use first language reading strategies or do they need support? Can writing be linked to other skills development such as oracy? How have you combined skills in a particular lesson or activity? We’d love to hear from you!

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I will identify a number of learning theories, together with a list of considerations and cautions with some insights that I have gained from trying to make listening in my classroom more comprehensible. - The nature of listening - Why we need to develop listening skills - Theories I consider when I develop listening skills - Some considerations for classroom listening - What I do to be more comprehensible The nature of listening 'Listening is an active not a passive operation.' Garvie. With this in mind I would like to emphasise three things: - The importance of understanding this concept of listening being an active engagement. That is, as a listener, the mind is actively searching for meaning. - The importance of what Krashen calls 'comprehensible input' (CI) or that 'we acquire when we understand what people tell us or what we read, when we are absorbed in the message.' Individual progress is dependent on the input containing aspects of the target language that 'the acquirer has not yet acquired, but is developmentally ready to acquire.' - This seems to imply the importance of ensuring that the language level is matched to the learners, which means teachers must understand their learners' abilities. - Krashen advises that acquisition proceeds best when 'the acquirer's level of anxiety is low and self-confidence is high.' - This seems to enforce the importance of making the learning environment in our classrooms non-threatening. Why we need to develop listening skills 'If someone is giving you a message or opinion, then of course you have to be able to understand it in order to respond.' (Brewster, Ellis, Girard). - Listening skills need to have a 'real-life' meaning, Donaldson says that children need 'purposes and intentions' which they can recognise and respond to in others 'these human intentions are the matrix in which the child's thinking is embedded.' - This implies that we need to carefully select materials and purposes for practising listening skills and that they need to have an authentic meaning to young learners. Theories I consider when I develop listening skills Keeping in mind that listening is an active process, Brewster, Ellis and Girard caution that asking children to 'listen and remember' can make them 'anxious, places a great strain on their memory and tends not to develop listening skills.' The teacher would support children's understanding more effectively, if they direct their pupils' attention to specific points that have to be listened for 'using activities that actively support learners' understanding and guide their attention to specific parts of the spoken text.' Wells says a lot of children's learning 'is dependent on making connections between that they know and what they are able to understand in the speech they hear' but they don't learn only listening, motivation for learning language is to be able to communicate 'using all the resources they have already acquired to interact with other people about their needs and interests.' This seems to be in line with social constructivist theories. - Piaget believed that a young learner 'constructs' or builds understanding over time. - Vygotsky believed that learning was ahead of development and for development to occur, interaction with adults or peers who are more knowledgeable is needed. This has been termed the 'zone of proximal development'. - Bruner extended Vygotsky's ZPD theory by defining the role of the more knowledgeable 'other' as someone who is actively involved in the learning processes by closing the gap between what has been partially and fully understood. This has been termed 'scaffolding'. Some considerations for classroom listening These are some of the things I consider when I try to develop my students' listening. (Brewster, Ellis & Girard) - Give the children confidence. We should not expect them to always understand every word and they should know this. - Explain why the children have to listen. Make sure the learners are clear about why they are listening, what the main point or purpose of the activity is. - Help children develop specific strategies for listening. An important strategy that the teacher should teach is 'intelligent guesswork'. Pupils are used to drawing on their background knowledge to work out something they are not sure of. - Set specific listening tasks. I try to think of listening in three stages, pre-listening, while-listening, post listening and have activities for each stage. - Listening does not have to rely on the availability of a cassette or pre-recorded material. Most listening is teacher talk. What I do to be more comprehensible There are a number of ways that I try to make myself easier to understand. - Keep sentences short and grammatically simple - Use exaggerated intonation to hold the child's attention - Emphasise key words - Limiting the topics talked about to what is familiar to the child - Frequently repeating and paraphrasing Listening is an active process, as the mind actively engages in making meaning. It is therefore our duty as teachers to ensure that the materials we use are comprehensible to our young learners, as well as within the range of what they are developmentally ready for. Listening is also hard work! And can be stressful! So in order to maximise the potential for acquisition of language, we need to ensure that our young learners are not stressed about this process. Brewster, J, Ellis, G & Girard D (2002) The Primary English Teacher's Guide. New Edition. England: Pearson Education Limited Donaldson, M (1978) Children's Minds. London:Fontana Press Ellis, G & Brewster, J (2002) Tell it again! The New Storytelling Handbook for Primary Teachers. England:Pearson Education Limited Garvie, E (1990) Story as Vehicle. England:Multilingual Matters Ltd Krashen, S.D. (1997) Foreign Language Education. The Easy Way. California:Language Education Associates Maybin, J, Mercer, N and Stierer B (1992) Scaffolding Learning in the Classroom. In K. Norman (ed) Thinking Voices. The Work of the National Oracy Project. London:Hodder & Stoughton Vygotsky, L.S. (1978) Mind in Society:The Development of Higher Psychological Processes. Great Britain:Harvard University Press Wells, G (1987) The Meaning Makers. Children Learning Language and Using Language to Learn. London:Hodder & Stoughton Educational Thanks for useful article. I want to share with my experience. It was when I used listening to simple songs for the first time. I gave worksheets for every student with 3 tasks: complete the gaps, match the words and definition, and write true of false. It was all for the song "You're beautiful" by James Blunt. I explained them everything in detail, discussed unknown words in game. And I still felt a little fear in their eyes. So just before listening I explained that I don't expect them to always understand every single word and that it's OK if they make mistake. As a conclusion I'd like to say, whether your students are 5 or 15 years old, give the children confidence. They shouldn't be afraid of getting bad mark. I do agree with you point of view. The students should never felt fear of bad marks. We always should keep them enthusiastic and active by letting them know that it has nothing to do with your marks, and you will develop your skills little by little. My friends have kids, He speak English and she speak Swedish to kid. Is it OK? or they both should talk to kid in same language? This article on bilingual kids talks about the huge benefits of learning more than one language: http://www.teachingenglish.org.uk/top-stories/university-study-shows-advantages-bilingualism i am so happy to read these articles, i am a new English student, and i am learning more and more each day with you. from ECUADOR (South America) a big hug for U ...♥ I am so happy and glad because I have found what I want really to find. Listening is not an easy skill especially when we teach it to kids and beginers, so you give us useful ways and techniques 4 this sake. Thanks a lot.

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Wimbledon, the most prestigious of events in the tennis calendar, is almost upon us. This annual championship has been held in June ever since 1877. The origins of the game of tennis itself is much older. Although some historians claim that tennis dates back to the ancient Egyptian civilisation, there is little evidence that links the sport to the ancient world. It isn’t until the eleventh and twelfth centuries that clear evidence of the game emerges. It was within the confines of the French cloister that the first signs of the game emerged. A crude handball called jeu de paume (depicted above), which means game of the hand, was played by French monks against a wall or over a rope strung across a courtyard. The game grew in popularity amongst the religious orders, and soon spread to the richer nobles. At this stage, bare hands were still used to hit the ball rather than a racquet or bat, so leather gloves were developed to protect the player’s palms. In time, these gloves had webbing woven between the fingers to provider a wider base for the wool, cloth or cork ball to hit against. These gloves were later replaced with solid paddles with a short handle. When it came to the tennis court itself, the Tennis and Racquet Association said that, “The shape of the court, as we know it today, evolved slowly over the Middle Ages, but by the end of the 15th Century, approximate dimensions had been agreed, an overall length of 90 ft and a breadth of the 30 ft.” By the thirteenth century, France’s manor houses and monasteries held over 1,800 courts in France. Such was tennis’s popularity diversion that the pope and King Louis IV tried to ban it, as it was diverting people from religion. However, their ban was unsuccessful. In England, both King Henry VII and Henry VIII are known to have loved tennis. Their keenness for the game led to the sport becoming known as the Game of Kings. In order to keep the general population from playing tennis, repressive measures were taken in both England and France to restrict the game to the noble class only. The traditionally shaped wooden frame racquet strung with sheep gut was in common use by 1500, as was a cork-cored ball. It was in 1625, when a new court was built at Hampton Court in London, that “real tennis,” was born; and a net was placed across a narrow indoor court. The popularity of tennis within royal circles was illustrated again and again. English royalty often played in courts at Windsor, Whitehall, Westminster, Wycombe and Woodstock, and in Shakespeare’s Henry V, the hero, having been insulted by the Dauphin with a gift of tennis-balls, threatens to, “Strike his father’s crown into the hazard” and warns him that, “He hath made a match with such a wrangler that all the courts of France will be disturbed with chases.” Both King Charles I and Charles II loved the game, and surviving documents from their respective reigns claim that they used to get up at five or six in the morning to play. After a visit to the tennis court at Whitehall, Samuel Pepys wrote of Charles II, “…but to see how the king’s play was extolled, without any cause was a loathsome sight, though sometimes he did play very well and deserved to be commended, but such open flattery is beastly”. Tennis’ popularity fell away during the 1700s, but in 1850, with the invention of vulcanised rubber, bouncier balls took the game outdoors onto grass courts. However, it wasn’t until 1874 that Major Walter C. Wingfield patented the equipment and rules for modern tennis. The Wimbledon championships were first held in 1877 on a croquet lawn belonging to the All England Croquet and Lawn Tennis Club. At first only men were allowed to play, but then, in 1884, women were allowed to join in as well. From its early beginnings in a French monastery through the years when it was reserved for kings, to today, the game is as popular as ever and played all over the world. Dr Kathryn Bates is a graduate of archaeology and history. She has excavated across the world as an archaeologist, and tutored medieval history at Leicester University. She joined the administrative team at Oxford Open Learning twelve years ago. Alongside her distance learning work, Dr Bates is a bestselling novelist, and an itinerant creative writing tutor for primary school children.

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An important part of early life for children is the discovery of books they love. The power to read a story and be transported into a new world, to explore characters, motives, emotions, and situations other than their own is a critical element in a child’s development. As adults, we fondly remember the Roald Dahl stories we read as children ourselves. The way any story could go from hilarious to terrifying in a page turn. The complex fantastical characters that still somehow reminded you of a person in real life, a next-door neighbour, or even a teacher. Teaching children with Roald Dahl books encourages them to think of the world in different ways, consider the lives of others, and try out new ways to have fun and explore their environments. Here are six resources to help teachers teaching Roald Dahl in primary school. What better place to find Roald Dahl teaching resources than the Roald Dahl website itself. The lesson plans on this website are split up by book so it’s easy to navigate to the plan you need based on what you’re reading in class. The lesson plans combine curriculum-based activities such as PSHE tasks and literacy tasks with lessons on ideas and feelings associated with the stories children are reading like friendship, dreams, and aspirations. Topics covered in all activities draw parallels with ideas children can relate to such as celebrating the differences of others. Each lesson plan refers to a specific chapter or part of the book to use as a basis for learning. Ensure your classroom is fully stocked with exercise books, pens and pencils, colouring pencils, and anything else required to make the most of these activities. The Puffin website offers some engaging ‘The Witches’ Roald Dahl teaching resources to be used as you read the book as a class, or as individual lessons within your own lesson planning. Geared at KS2, this pack contains six lesson plans. Each lesson leads with an objective and draws on concepts the children are learning in one or two other subjects, such as maths, IT, or PSHE. These lesson plans encourage the children to think about events in the story and apply them to real-life situations. Help children learn about the dangers of strangers, the good qualities in people, creative writing, and observation. Getting the children to act out scenarios can help them to put themselves in the position of a certain character and think about what they would and wouldn’t do. Make role-playing extra fun by offering the children costumes to really get into character. The activities listed on the 5 Minute Fun website offer a great way to get children engaged in physical activities and apply what they’ve learned from a Dahl book to real life. Multisensory learning is one of the best ways to help children understand a concept and get used to a new way of working or learning. These activities use touch, smell, taste, hearing and sight to help children put ideas from their book into use. Activities include making up a new language, finding items for a medicine, following recipes, and craft characters from the stories. Make sure your classroom is fully protected from Roald Dahl experiments! Stock up on aprons and table coverings to make clean up afterwards a breeze. In primary school children are beginning to understand scientific concepts to ready them for more complex biology, chemistry, and physics topics in secondary school. Learning about changing states of matter, patterns and sequences, and simple cause and effect are some of the first scientific concepts that children will learn about in KS1 and KS2. The science activities on Science Sparks offer some simple experiments using everyday items (and sweet ones the children will no doubt be excited about!). Some activities on this page include making sweets bigger with water; creating colour patterns with Skittles and water; making potions; building a wormery; creating BFG-inspired dream jars with water, oil and paint; and testing the strength of eggshells. Hands-on science experiments can be more exciting conducted outside where children can explore the environment around them and use materials from nature in their experiments. Consider setting up a mud kitchen in the school playground that can be used as a workstation for science lessons, and also a fun playtime space. Teachers in search of Matilda teaching resources will find this lesson pack helpful. Free to download the pack contains six lessons that touch on multiple subjects the children are learning in their current curriculum including maths, science, literacy, design, PSHE, and geography. The overarching theme of the lesson pack is bravery, resilience, and inquisitiveness that are prevalent in Matilda’s character. Each lesson has two learning objectives with instructions and resources required to carry out activities. Objectives should be clearly communicated to children and they should be given the space and support to express themselves and the way they feel about what they are learning. Make sure your students get lots of positive feedback when they approach and overcome the challenges in these lessons. Rewarding them with stickers on their work is a great way to help them feel proud about what they’ve done. If you’re looking for recommendations for ‘The Landlady’ teaching sources, this page on the Varsity Tutors website offers a nice collection of activities for children to complete. Here, teachers can find activities like crosswords, letter writing, and even a detective game to be played in groups. There are also prompts to help children in expanding their vocabulary and writing evidence-based answers. A BBC BritLit Kit offers contextual reading to get students familiar with the time period of the book and helps children to understand what normal life was like in the time the book is set.

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1. Defoe has his hero practice two different types of writing in the novel. One type is the journal that Crusoe keeps for a few chapters until his ink runs out. The other is the fuller type of storytelling that makes up the bulk of the novel. Both are in the first-person voice, but they produce different effects. Why does Defoe include both types? What does a comparison between them tell us about the overall purpose of the novel? With his interest in practical details, Crusoe naturally gravitates toward the journal as a form of writing. His idea of journal keeping follows the example of a captain’s logbook rather than a personal diary: it is objective and factual, sometimes tediously so, rather than emotional or self-reflective. But Defoe could not sustain the whole novel as a journal, since much of the moral meaning of the story emerges only retrospectively. Having survived his ordeal, Crusoe can now write his story from the perspective of one remembering past mistakes and judging past behavior. The day-by-day format of the journal is focused on the present rather than the past, and it makes this kind of retrospection difficult. The moral dimension of the novel can best be emphasized through a full autobiographical narrative, with Crusoe looking back upon earlier stages of life and evaluating them. Crusoe expresses very little appreciation of beauty in the novel. He describes the valley where he builds his bower as pleasant, recognizes that some of his early attempts at pottery making are unattractive, and acknowledges that Friday is good-looking. But overall, he shows little interest in aesthetics. Is this lack of interest in beauty an important aspect of the character of Crusoe, or of the novel? A marked indifference to beauty is indeed an important feature both of Crusoe and of the novel. Not only does Crusoe devote little attention to the visual attractions of his Caribbean landscape, but he also has hardly any interest in more abstract forms of beauty, such as beauty of character or of experience. Beautiful ideas like heroism or moral excellence, for example, rarely enter his head. Moreover, since Crusoe is in many ways a stand-in for the author, we can say that Defoe too seems resistant to aesthetics. This lack of attention to aesthetics is in large part his revolutionary contribution to English literature. Rejecting earlier views that the purpose of art is to embellish and make charming what is ordinary, Crusoe and Defoe show that novels can be profound by focusing on the humdrum, unattractive facts of everyday life that nevertheless are deeply meaningful to us. Crusoe spends much time on the island devising ways to escape it. But when he finally does escape, his return to Europe is anticlimactic. Nothing he finds there, not even friends or family, is described with the same interest evoked earlier by his fortress or farm. Indeed, at the end of the novel Crusoe returns to the island. Why does Defoe portray the island originally as a place of captivity and then later as a desired destination? Crusoe’s ordeal is not merely the adventure tale it seems at first, but a moral and religious illustration of the virtues of solitude and self-reliance. At the beginning, Crusoe can only perceive his isolation as a punishment. But after his religious illumination, and after he has turned an uninhabited island into a satisfying piece of real estate, he learns to relish his solitude. His panic at the sight of a footprint shows how he has come to view other humans as threatening invaders of his private realm. His fellow humans in Europe undoubtedly also represent not the advantages of society, but the loss of empowered solitude, and so he dreams of returning to the island where he was king alone.

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The A to Z of Theatre the means of enacting a story by adopting a character. or offstage. The areas of a theatre that are not part of the house or stage are considered backstage. Building a Set: set construction is the process of building full-scale scenery, as specified by the scenic designer and/or director of a production. the process for selecting a particular actor for a role in a script. the sequence of steps and movements in dance. the complimentary theatrical elements with various functions, which deals with the personification of characters on stage. Costumes are worn by actors on stage in order to aid dramatic actions and interpretations. the art of leading all creative aspects of a theatrical vision and production. the exploration of the world of the play. the full-scale rehearsal, typically within the last week before a show opens, where actors wear their costumes during the run of a show as if it were being performed in front of a full audience. an essential component of a well-rounded education, theatre teaches life skills through stage skills - collaboration, communication, creativity, and critical thinking. Equity, Diversity, and Inclusion in Theatre: An art form founded on the human story cannot ignore human injustice. As a cultural organization, we believe that acknowledging, embracing, and celebrating the richness of our differences is essential nutrition for our art-form and world. a theatrical rigging system of rope lines, pulleys, counterweights, and related devices backstage of a production. This system allows a stage crew to hoist curtains, scenery, and even sometimes people, quickly and quietly. a single bulb left lit whenever a theatre is dark. a term used in some theaters to describe a backstage waiting area or dressing room. concerns the selling of tickets, the ushering of patrons in front of house areas, and the maintenance and management of the theatre building. a stock character role - generally a girl or young woman who is endearingly innocent. The ingénue may also refer to a new young actress typecast in such roles. a brief recess between acts of a performance. commonly associated with exuberant types of performance. the use of light to shape the mood on stage. ...The Scottish Play: A euphemism for Shakespeare's Macbeth. According to superstition, speaking the name Macbeth inside a theatre, other than as called for in the script while rehearsing or performing, is cause for disaster. a production combining acting, singing, and dancing to tell a story. as our understandings of the human experience evolve, so do our stories. New works are a fundamental part of empathetic and artistic expression. usually the first of public performances, sometimes celebrated with special invitees, outfits, and a party. a small booklet of information about the play. an object used on stage by actors during a performance. a "window" that frames the play taking place on stage. a costume change that takes place in a short amount of time backstage. opportunities for theatre artists to collaborate and develop new plays, musicals, performance pieces, and hybrid works. a rehearsal where singers sing with the orchestra, focusing attention on integrating the two groups. anything that is heard by an audience during a production. a raised floor or platform on which actors perform. typically provide practical and organizational support to the director, actors, designers, stage crew, and technicians throughout the production process. the week prior to the opening night of a play, musical, or similar production. The purpose of tech week is to rehearse the show with all technical elements in place. a genre of arts criticism - the act of writing or speaking about a theatrical performance. recognizes excellence in live Broadway theatre. a person who learns another role in order to be able to act as a replacement in short notice. Theatre for the Very Young: an inventive, participatory, multi-sensory professional theatre performance for children ages 0-5 years old and their caregivers. What to Wear: the dress code for attending a play does not exist. Therefore, anything is game. a covering for the head made of real or artificial hair. An important aspect of transforming the appearance of an actor. Writing in Theatre: typically called playwriting. Responsible for conceiving and transforming an idea into a written piece of work, ultimately to be performed. X means cross in Stage Directions: an instruction in the text of a play, especially one indicating the movement, position, or tone of an actor, or the sound effects and lighting. a pillar of improvisational theatre - the acceptance principle. When someone in a scene states something, accept it as truth, then build on the reality that has been set. Youth Education Classes: designed to help students become entranced in storytelling, build self-confidence, and grow as critical and creative thinkers. Drama classes also help youth improve academic performance, teamwork and communication skills, and social-emotional learning. Give it some ZAZZ: from the Alliance's production of The Prom that went on to be produced on Broadway. "When a challenge lies ahead, and you are filled with dread and worry, give it some zazz." Zip, Zap, Zop: one of the most famous theater warm-up games designed to teach focus and discipline, connect the group, and get positive energy flowing.

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character. • Words and phrases describe the character's appearance, actions, speech, and personality. • The writing has an : acceptable tone and usually reflects engagement with . the character. • Words and phrases sometimes describe the character's appearance, actions, speech, and personality. • The tone is sometimes : inappropriate, and the writing Total Points Comments - ReadWriteThink Student infers character traits. Student supports inferences with evidence from the text. Student can explain how a character changed in a text. Student explains why a character may have changed in a text. Total Points Comments: Character Analysis Rubric - Rock Academy Rubrics for Assessing | Cell Phones Change the World argumentative thesis statement examples… In the visual arts, an essay is a preliminary drawing or sketch that forms a basis for a final painting or sculpture, made as a test of the work's composition (this meaning of the term, like several of those following, comes from the word… Character Analysis Essay Rubric | Study.com A character analysis essay is a great way for students to really get to know the characters in a piece of literature. Why Use A Rubric? A rubric is a way to formalize grading criteria for an ... An Analysis of the Characters in Hamlet Essay - Bartleby.com Create Your Rubric - Customize Your Rubric Next, supply the content in each of the text area boxes for that particular rubric row. You can edit the rubric by making changes (add text, change text, delete text) in the text area boxes in any row. Note that if you change one box, you will probably want to make similar changes in the other boxes in that same row. PDF 7th Grade Point of View/Character Perspective Personal Letter ... the character. Writing effectively shows their personality while adding interest and charm. Voice sounds like a real person. Writing is engaging but personality may fade in and out. Any character could have written the letter. Observations are accurate but do not capture the specific personality. Voice is inappropriate or not a good fit for the PDF Performance/Acting Rubric - Chapman University for character development Exemplary evidence of appropriate acting technique* for character development Vocal Quality Inarticulate and no clear vocal choices Articulation is a problem and some vocal choices are apparent Demonstrates consistent vocal choices that reflects character Clear and nuanced vocal interpretation that reflects character Example 1 - Research Paper Rubric - Cornell College Quick Rubric – FREE, fast and simple rubric creator Designing Scoring Rubrics for Your Classroom converting rubric scores to grades or categories is more a process of logic than it is a mathematical one. Trice (2000) suggests that in a rubric scoring system, there are typically more scores at the average and above average categories (i.e., equating to grades of "C" or better) than there are below average categories. Below is a list of the VALUE Rubrics, organized by learning outcome. Click on an outcome to preview, download, and learn more about a particular rubric. For information on acceptable use of the VALUE rubrics, as well as how to reference and cite the rubrics, visit: How to Cite the VALUE Rubrics. Character analysis rubric college - greenbloomaccounting.com Free Essay: How Does Macbeth’s Character Change over the Play? At the beginning of the play, Macbeth’s character starts off as a loyal and brave Rubrics for Assessing | Cell Phones Change the World Rubrics for Assessing Student Writing, Listening, and Speaking. GED Essay Scoring Rubric GED Essay Scoring Rubric. This tool is designed to help readers score an essay. Two readers read the GED essay, each giving a score between 1 and 4. The average of the two is the final score for the essay portion of the test.

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What is the Difference Between Metaphor and Simile? The terms metaphor and simile are slung around as if they meant exactly the same thing. A simile is a metaphor, but not all metaphors are similes. Metaphor is the broader term. In a literary sense metaphor is a rhetorical device that transfers the sense or aspects of one word to another. For example: The moon was a ghostly galleon tossed upon cloudy seas. — “The Highwayman,” Alfred Noyes Here the moon is being compared to a sailing ship. The clouds are being compared to ocean waves. This is an apt comparison because sometimes banks of clouds shuttling past the moon cause the moon to appear to be moving and roiling clouds resemble churning water. A simile is a type of metaphor in which the comparison is made with the use of the word like or its equivalent: My love is like a red, red rose. — Robert Burns This simile conveys some of the attributes of a rose to a woman: ruddy complexion, velvety skin, and fragrant scent. She sat like Patience on a Monument, smiling at Grief. — Twelfth Night William Shakespeare Here a woman is being compared to the allegorical statue on a tomb. The comparison evokes unhappiness, immobility, and gracefulness of posture and dress. Some metaphors are apt. Some are not. The conscientious writer strives to come up with fresh metaphors. A common fault of writing is to mix metaphors. Before Uncle Jesse (Dukes of Hazzard) did it, some WWII general is reputed to have mixed the metaphor Don’t burn your bridges, meaning “Don’t alienate people who have been useful to you,” with Don’t cross that bridge before you come to it, meaning “Don’t worry about what might happen until it happens” to create the mixed metaphor: Don’t burn your bridges before you come to them. Many metaphors are used so often that they have become cliché. We use them in speech, but the careful writer avoids them: hungry as a horse, as big as a house, hard as nails, as good as gold. Some metaphors have been used so frequently as to lose their metaphorical qualities altogether. These are “dead metaphors.” In our own time we have seen the word war slip into the state of a dead metaphor: the war on drugs, the war on poverty, the war on AIDS. In these uses the word means little more than “efforts to get rid of” and not, as the OED has it: Hostile contention by means of armed forces, carried on between nations, states, or rulers, or between parties in the same nation or state; the employment of armed forces against a foreign power, or against an opposing party in the state. In a sense, all language is metaphor because words are simply labels for things that exist in the world. We call something “a table” because we have to call it something, but the word is not the thing it names. A simile is only one of dozens of specific types of metaphor. For a long and entertaining list of them, see the Wikipedia article on “Figure of Speech.” Are All Cliches Metaphors? No. Many metaphors (some of which are similes) have become clichés through overuse – think of things like “dead as a doornail”, “blue sky thinking”, “plenty more fish in the sea”, and “he has his tail between his legs”. So many clichés are metaphors. But there are also some clichéd phrases that aren’t metaphors at all, such as: - To be honest… - Let’s face it… - It goes without saying… - Been there, done that. (For a long list of clichés, many of them metaphors, check out 681 Clichés to Avoid in Your Creative Writing). Should You Use Similes and Metaphors in Your Writing? All types of metaphor, including similes, can be appropriate in writing. Even clichés can be used in some circumstances – for instance, you might use them in dialog when writing fiction, either to help give the impression of realistic speech, or to assist in characterisation (perhaps one of your characters has a tendency to speak in clichés). When you’re using similes and metaphors, you should: - Pay careful attention to any worn or tired phrasings you use. Phrases like “fishing for compliments” or “bubbly personality” are metaphors that you might barely notice. They’re fine if you’re chatting to a friend, but not necessarily appropriate in formal writing. - Be careful with extended metaphors. While these can be used to great literary effect, they may come across as overdone or forced in modern writing. (An extended metaphor is one that runs with the comparison over several sentences, e.g. Shakespeare’s “All the world’s a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages.” From As You Like It, Act II, Scene VII. - Check you haven’t mixed two different metaphors. Again, this is easy to do with metaphors that have become part of everyday language. However, you’ll want to avoid writing sentences like “We need to think outside the box and sow the seeds to drive us forward” or “It might feel like we’re out of the frying pan and into the fire, but once we’ve crossed the next bridge, we’ll be able to get a bird’s eye view of the situation.” - “Metaphor” and “simile” don’t mean quite the same thing. A “metaphor” is a rhetorical device that transfers the sense or aspects of one word to another. A “simile” is a type of metaphor that uses “like” or an equivalent word. - You should avoid mixing metaphors (unless you’re intentionally striving for a humorous effect). - You should also avoid using clichés, except in dialog. In some cases, dead metaphors (such as “war on…”) will be appropriate shorthand – particularly in journalism or in informal writing. Metaphors and Similes Quiz Each of these sentences contains either a metaphor or a simile (which is a type of metaphor). Select the correct one for each. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below: - Apply to, Apply for, and Apply with - 3 Cases of Complicated Hyphenation - 50+ Words That Describe Animals (Including Humans) Stop making those embarrassing mistakes! Subscribe to Daily Writing Tips today! - You will improve your English in only 5 minutes per day, guaranteed! - Subscribers get access to our archives with 800+ interactive exercises! - You'll also get three bonus ebooks completely free!

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Saturday, December 26, 2015 The next two 365 Stories highlight Kwanzaa, a more recent holiday in America that is a celebration of African American heritage. The stories were contributed by student intern Michael Niemiec. When people think of holidays, they typically consider celebrations like Christmas, Hanukkah, Easter, and St. Patrick’s Day, which been around for centuries. However, there are some relatively new holidays that are less understood, but still celebrated every year. Kwanzaa has been celebrated for only 49 years and was created in America. The 1960s was a period of social unrest in our country, dominated by many protests against racial inequality and the beginning of Civil Rights Movement. During that decade, race riots occurred across the country. In 1966, after the Watts riots in Los Angeles, Dr. Maulana Karenga, a professor at California State University Long Beach and the chairman of a Black Studies course, tried to find a way to unite African-Americans as a community. He created Kwanzaa, a holiday that would bring African Americans closer to their African roots. The name Kwanza comes from the old Swahili phrase “matunda ya kwanza” which means “first fruits” and the celebration is based on the year-end harvest festivals of the Ashanti and Zulu tribes in Africa. Karenga used the Swahili phrase because Swahili is a common language in several African tribes. Kwanzaa is celebrated differently from family to family. While some believe that Kwanzaa is a religious holiday like Christmas or Hanukkah, it was envisioned as a cultural holiday. Traditionally the Kwanzaa celebration includes candle lighting, songs and dance, African Drums, storytelling, poetry reading, and a very large traditional meal. Both Kwanzaa and Hanukkah share the ritual of lighting candles each night during the celebration. Kwanzaa has seven candles that are lit for 7 nights, while Hanukkah has eight candles that last for 8 nights. During the seven nights of Kwanzaa, a child lights a candle on the Kinara or candleholder. The Kinara candles are red, green, and black and symbolize the seven principles or Nguzo Saba that are honored on Kwanzaa. These principles are values of African Culture that help to build and reinforce community among African-Americans. Each day represents a specific principle: Umoja, Kujichagulia, Ujima, Ujamaa, Nia, Kuumba, and Imani. Umoja means unity: to strive and maintain unity in the family, community, nation and race. Kujichagulia means self-determination: to define ourselves, name ourselves, create for ourselves, and speak for ourselves. Ujima means collective work and responsibility: to build and maintain our community together, to make our brother’s and sister’s problems our problems, and to solve them together. Ujamaa means cooperative economics: to build and maintain our own stores, shops, and other businesses and to profit from them together. Nia means purpose: to make our collective vocation the building and development of our community in order to restore our people to their traditional greatness. Kuumba means creativity: to do always as much as we can, in the way we can, to leave our community more beautiful and beneficial than we inherited it. Imani means faith: To believe with all our heart in our people, our parents, our teachers, and our leaders and the righteousness and victory of our struggle. Photo: African Kinara To commemorate the City of Troy’s 60th Anniversary in 2015, we will publish a different story each day that highlights a person, discovery, or event that occurred locally, regionally, nationally, or even globally between 1955 and 2015 and that helped shape our lives and our community. We will try to post stories on important anniversary dates, but we also realize that dates are less critical than content and context. We will include the facts related to controversial stories, allowing our readers to form their own opinions. We invite you to read and comment on the stories. Your suggestions for topics are also welcome and can be posted on our Facebook page, www.facebook.com/TroyHistoricVillage. You can also email stories or ideas to the 365 Story Editor at [email protected]

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Dan Haber Mini Course: Social Emotional Learning in Real Academic Context Welcome to the start of your adventure through Social Emotional Learning in real academic contexts! Our focus in this course will be how to make SEL more engaging and meaningful for our elementary aged students. Throughout this mini-course, you will gain insight into how to adapt your classroom into an environment filled with open discussions about emotions and real life applications to help our students learn. Overview and Purpose This section provides the learner with an inviting and engaging introduction to the topic of your mini-course, specifies the target learner, and gives an overview of how this course works. The importance of the topic may be demonstrated through problem scenarios, storytelling, case analysis, statistics, etc. Feel free to name and organize this section (and other sections) in a way that is most effective for your mini-course. For example, designers from the past sometimes set this section into two parts: Introduction, Course Overview (How This Course Works). Instructional Problem: Typically, in an elementary school classroom, Social Emotional Learning is taught by itself. In past years other educators and I have dedicated about ten minutes of our days to read a story with a social emotional theme to our students, have a quick discussion, and move on. We always aim to make our lessons reach students’ prior knowledge and have real meaning in their life. Is the extent to our students’ social emotional learning a ten-minute read aloud? This is a good way to incorporate SEL into ELA, but what about our other subjects? I believe we should be developing these skills and having these conversations throughout the school day and in all of our lessons. What is to be learned: Educators who take this mini course will learn the importance of extending the time of social emotional development past a discussion and into all aspects of our students’ educational day. The Learners: The learners for my mini course are educators looking to further their knowledge and look at social emotional learning from a different point of view. Leaners should have basic technology skills and prior knowledge of teaching elementary aged children social emotional learning. By the end of this mini lesson, learners will be able to identify and utilize at least one strategy to teach social emotional learning in each academic subject (math, social studies, science, and literacy). This mini-course includes the following units. Click the title of a unit to go to its page. In this unit we will discuss into the importance of social emotional learning in our students' lives through literature. You will be asked to watch videos, read an article, and participate in a check for understanding assessment. In this unit we will learn the importance of taking our students' SEL into account when writing word problems and teaching to a class of struggling students. In this unit we will learn how to address and incorporate SEL into the Social Studies classroom. You will be asked to self reflect upon your own teaching practices. In this unit we will learn how to be advocates for our students and address their social emotional needs in the science classroom.

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- 1 What is an example of a trope? - 2 What is a trope in medieval Theatre? - 3 What is a trope? - 4 What is a film trope? - 5 What is the difference between a theme and a trope? - 6 What is another word for trope? - 7 What is the purpose of a trope? - 8 What is the name of the oldest known trope? - 9 What is a liturgical trope? - 10 How do you use the word trope? - 11 How do you identify a trope? - 12 What is a relationship trope? - 13 What is a cultural trope? - 14 What is your character trope? - 15 Are enemies to lovers a trope? What is an example of a trope? Definition of Tropes The phrase, ‘stop and smell the roses,’ and the meaning we take from it, is an example of a trope. Derived from the Greek word tropos, which means, ‘turn, direction, way,’ tropes are figures of speech that move the meaning of the text from literal to figurative. What is a trope in medieval Theatre? Tropes are the product of a medieval practice of poetic and musical expansion; and in a music-historical context, the term “trope” refers to any textual or melodic figure that is added to an existing chant without altering the textual or melodic structure of the said chant. What is a trope? Full Definition of trope (Entry 1 of 2) 1a: a word or expression used in a figurative sense: figure of speech. b: a common or overused theme or device: cliché the usual horror movie tropes. 2: a phrase or verse added as an embellishment or interpolation to the sung parts of the Mass in the Middle Ages. -trope. What is a film trope? Movie tropes are devices for telling a story that communicate something figurative. Tropes can be very simple, like a common object that has a symbolic meaning. Tropes are just the thematic storytelling devices that allude to something beyond the literal meaning that an object, a person, or an action has. What is the difference between a theme and a trope? is that trope is (literature) something recurring across a genre or type of literature, such as the ‘mad scientist’ of horror movies or ‘once upon a time’ as an introduction to fairy tales similar to archetype and but not necessarily pejorative while theme is a subject of a talk or an artistic piece; a topic. What is another word for trope? Synonyms & Antonyms of trope - (also cliche), What is the purpose of a trope? Function of Trope Since trope is a figurative expression, its major function is to give additional meaning to the texts, and allow readers to think profoundly, to understand the idea or a character. Also, it creates images that produce artistic effects on the audience’s senses. What is the name of the oldest known trope? The Ur-Example is the oldest known example of any given trope. “Ur-” is a German prefix meaning “proto-, primitive, or original”. What is a liturgical trope? Trope, in medieval church music, melody, explicatory text, or both added to a plainchant melody. Two important medieval musical-literary forms developed from the trope: the liturgical drama and the sequence (qq. v.). A troped chant is sometimes called a farced (i.e., interpolated) chant. How do you use the word trope? Trope in a Sentence - Love at first sight is an overused romance trope. - A common horror movie trope is that the promiscuous girl always dies first. - The jaded girl thought typical romance tropes were unrealistic because not every romance had a happy ending. How do you identify a trope? When you see a kid running around with a cape and know they’re pretending to be a superhero, you’ve recognized the trope that superheroes wear capes. That’s all a trope is: a commonplace, recognizable plot element, theme, or visual cue that conveys something in the arts. What is a relationship trope? Trope: (in a romantic novel) a plot, theme, device or character used so often that it has become a convention within the genre. In other words: a romantic trope is the thing readers buy the romance for! Tropes aren’t cliches, really, and they aren’t formulas. What is a cultural trope? A trope is something that floats around in the culture and is so common that no one person can take credit for it. What is your character trope? In the context of fiction, character tropes refer to common attributes or even entire stock characters. The word trope comes from the Greek word tropos meaning “to turn.” Originally it referred to rhetorical devices that a writer uses to develop an argument. Are enemies to lovers a trope? Enemies to Lovers is a common trope in erotic and romantic literature which regularly appears in fan fiction. Works using this trope differ from Enemyslash and Hatesex fics, in that these characters don’t actively hate each other or want to harm one another. These relationships are rarely violent or non-con.

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C.1.G develop and practice memorization skills. by Jenny Goodfellow This unit on Puppetry is designed for middle school and up, to introduce students to the material and get them comfortable with performing in a safe and low exposure environment. This is a unit that builds to a culminating experience for your students. Each lesson is designed to explore techniques, provide opportunities for creative collaboration among your students, and give them opportunities to perform. Some of the lessons require materials to build or create puppets. Puppetry can be as easy as drawing a face on your finger for finger puppets, to actually purchasing your own finger puppets for students to use. While the focus of this unit is puppetry, your students will explore other skills as well. There’s the obvious ones of creative thinking, teamwork, and problem solving. They are also going to explore storytelling, performing skills, and playwriting. by Angel Borths Help…It’s all Greek to me! Join Angel Borths in this unit that uses a modern adaptation of the Ancient Greek play Antigone to introduce Middle School students to Ancient Greek Theatre. Have your students read Percy Jackson and want to find out more about Ancient Greece? Then, this unit is for you. This unit is designed for middle and high school students and will take you through the basics of classical Greek theatre and pairs it with a modern adaptation of the story of Antigone called Agatha Rex by Lindsay Price. Students will learn vocabulary, design, and basic theory surrounding classical Greek theatre. Students will also enjoy the mask building component of this unit, as they learn to disappear into the character of a mask, like the first actors did on a Greek stage thousands of years ago. The unit culminates in a scene performance with masks. by Allison Williams Allison Williams leads the course: 21st Century Skills Through Devising. This course covers what devising is, why to do it, how to do it, and how your students can master the 21st Century Skills of collaborations and cooperation, critical thinking, creative thinking through devising. High school is a great place to try devising with your students. But it’s not something you want to throw at your students without any preparation. Framework is important and this course takes you through a number of exercises you can take into the classroom tomorrow to help build a place of physical safety, a place where students work at making a lot of choices instead of waiting for the perfect choice, and a place where students feel comfortable making creative choices. The material also reviews the process of putting together a show from the idea/research stage to editing, to giving feedback. Your students have what it takes to create their own material, collaborate with each other, and have a unique theatrical experience! by Julie Hartley The focus of the teacher-director should be not only on the quality of the show, but on the value of the experience offered to student actors. This course takes you on this journey through practical rehearsal strategies that apply an ensemble approach. This course starts with those all important first rehearsals, explores warm ups, and looks at character development. We examine specific types of plays, like classical texts and comedy, and conclude with strategies to solve common rehearsal problems. Go beyond the basics!

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The internet, often referred to as mans greatest invention, describes a computer network that connects people from different places across the globe and facilitates the transfer of information from one point to another via set protocols. The internet has primarily enabled communication and information dissemination resulting into significant Knowledge and developments not only at individual levels but also internationally. The internet is a source of knowledge and learning. The connectivity enabled by the internet has greatly facilitated the transfer and sharing of knowledge from various sources such as learning institutions and research center to the learners across the globe in need of the information, thereby making essential information and knowledge accessible to everyone accessing the internet. Similarly, the internet has been a medium of communication. Relying on the connectivity offered by the global network of computers people from different places across the globe can communicate to social groups, friends, and family from great distances without any significant effort of getting to their locations. Additionally, through the internet communication has bee fasten substantially unlike the ancient or older time whereby communication was based on written texts and took a lot of time to get from the sender to the receiver on the other side f the work. With the concept of communication, the global network of computers has enabled socialization between people across a broad race of differences such as tribes, races, and backgrounds following the fact that by a simple click of a mouse button people have the ability access share and connect to important information. The internet is the backbone of modern communication, and through it, many daily operations stand significantly. Modern business operations, development projects and information exchange greatly rely on the internet based on the inevitable fact that the global network is fast and reliable about time. Through the internet, occasional activities such as shopping, banking operation, and billing activities have been made easier thereby making daily business operations faster and reliable. The Internet has the purchase of goods and services from one side of the globe possible in the other side without the effort of getting to the actual location of purchase. The internet has also facilitated the concept of commerce by incorporating an electronic medium to make the entire process faster, secure and reliable. E-Commerce, therefore, relies on the internet in the activities of buying and selling of services and goods across the globe. Cooperation in many cases has been the bonding factor between two or more people who have made up to work together towards a common goal. However, without the internet goals and results of cooperation might not have been realised on a global scale since different people and associations based on different places on the globe need to agree and work together to archive great results. The internet has therefore aided cooperation and unity of not only individual people but also nations and continents on activities of trade and information sharing. Generally, the internet has changed the course of the world in terms of development, entertainment and communication. Information dissemination has also been made possible by the aid of computer networks across the globe. Cite this page What Is the Advantage of the Internet Essay Sample. (2018, Mar 21). Retrieved from https://speedypaper.com/essays/103-what-is-the-advantage-of-internet-essay-sample If you are the original author of this essay and no longer wish to have it published on the SpeedyPaper website, please click below to request its removal: - Female Sexuality in the Early Modern Era - Creative Writing Essay on Slavery in United States - Essay Sample on Rape Victimization - Essay Sample for Free: Political Reasoning Behind the Public Policy - Free Essay for You on Gender Roles in Sherlock Holmes Stories - Aviation Security Essay Sample from Our Database - Essay Sample on the Theme of Oppression in Marriage in The Story Of An Hour

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At St Osburg’s Primary school we recognise that the teaching of the writing process is inextricably linked to the teaching of Reading and Speaking and Listening. Consequently, teachers use a variety of teaching methods and emphasis in the teaching of writing which reflects this. Furthermore, we recognise children as individualised learners, and as such, plan lessons to include visual, auditory and kinaesthetic approaches where appropriate which best suit the needs of the children. At St Osburg’s, English is at the heart of our curriculum. Our principal aim is to develop children’s knowledge, skills, and understanding and in order to do this we have adapted the way we teach English. Every child within the school takes part in daily English lessons which develops the key skills of reading and the technical aspects of writing. Our curriculum is based on a text based curriculum which develops children’s comprehension, vocabulary, writing, grammar, critical thinking and discussion skills– in a fun and meaningful way. The children write for different purposes: to imagine and explore feelings and ideas, to inform and explain, to persuade and to review and comment. They also see how writing is concerned with process as well as product, being an aid to thinking, organisation and learning. They are taught to plan, draft, revise, proof read and present their writing on paper and on screen, and to discuss and evaluate their own writing and that of others.There is an emphasis on using real models for writing newspaper reports, advertisements and websites. The links between reading and writing in fiction and non-fiction continue to be made explicit. Pupils use their knowledge of texts they have studied to construct their own writing and have greater control over organisation, language features, vocabulary and spelling. Children are given opportunities to develop knowledge of different authors and styles of writing in order to foster a love of reading. Reading in School In the Foundation Stage and through Key Stage One, children are taught to read through the Read Write Inc Phonic Programme to get their reading off to a flying start. We believe that being able to read will unlock the door to every child's learning giving them the thirst for knowledge. Using Read Write Inc, the children learn to read effortlessly in a fun and stimulating way. This takes place 3x per week each session lasting 45minutes. The children learn the 44 sounds and the corrosponding letter/letter groups using picture prompts. The children learn to spell using Fred Fingers, counting out and saying the sounds. They read exciting books and answer questions showing their comprehension skills. Below is a link to parent advice and Top Tips to support your child with RWI. The ‘Fresh Start’ programme and ‘ReadWrite Inc Comprehension’ are also used as an intervention for specific groups of children in Key Stage 2. In Key Stage Two, children take part in weekly ‘guided reading’ sessions which comprise of a one hour 'Big Read' lesson and two further 25 minute follow up sessions. All lessons are planned using the Big Read criteria ensuring that all skills are taught and are progressive. In addition to this, all classes have a class reader which they read purely for enjoyment. Other opportunities for Reading enrichment include taking part in events such as ‘World Book Day’, ‘National Poetry Day’, ‘National Storytelling Week’ or the ‘Summer Reading Challenge’. Children visit the central library and have also taken part in the St Osburg's 'Extreme Reading' Challenge. Reading at Home Children are encouraged to read a range of fiction and non-fiction books to support reading at home and these are organised using the Book Bands System. Home Reading books are chosen from a range of different schemes including Oxford Reading Tree, Jelly and Bean and Rigby Rocket. Speaking and Listening We give children a range of purposes for speaking and listening. Speaking and listening will sometimes be taught discretely, but more often it will be taught within other areas of the curriculum. Examples of where speaking and listening might occur within the classroom: Hot seating, freeze frames, reading aloud, presentations, role play and explaining ideas. Spiritual, Moral, Social and Cultural Development The teaching of English develops skills through which our children can give critical responses to the moral questions they meet in their environment and also in the wider world. Their understanding and appreciation of a range of texts brings them into contact with their own literary heritage and texts from other cultures.

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LGBT and Black History Month It is February – LGBT and Black History Month. Lucie Wirz invites us to think about the neglected and untold stories of LGBTQI+ and Black people. Black History Month was celebrated for the first time in 1969 by the Black United Students at Kent University in the United States. However, its origins go back to 1926 and the Negro History Week, which Carter G. Woodsen introduced, one of the first historians to study African American History. The month of February was chosen to commemorate the birthdays of two important figures of Black History: Abraham Lincoln and Frederick Douglass. In June, the Pride Month celebrated to honor the 1969 Stonewall Uprising in Manhattan is often more well known as the month during which the LGBTQI+ community is being celebrated. However, less known by the public, LGBT History Month happens in February. Those two celebrations aim to give more visibility and insights into those communities’ struggles and achievements throughout history. This year, it seems that they happen at a time when the topics of race, gender, and discrimination have never been so much at the center of attention. The recent events in the United States shed light on the everyday obstacles, violence, and structural racism that many black people face and made this reality hard to ignore. It also led to a world-wild conversation on race. In Germany, the conversation came with an underlying assumption that racism and police violence were not such an issue in the US. However, very soon, more and more people started speaking up about the everyday racism they were facing in Germany. The commemoration of the racist attack which took place a year ago in Hanau is a reminder of it. The Black Queer community played an essential role in the Black Lives Matter movement, bringing more insights and awareness on the specific types of discrimination that Black LGBTQI+ people face and the need to unite and include different people in the fights for social justice. LGBT and Black History Month should be an opportunity to think about the people who have been part of those different fights and are often not mentioned in our history books and classes. How many of us learned about figures such as Audre Lord or Georges Washington Carver? LGBTQI+ and Black people’s existence and contributions are still often ignored or deliberately erased from our narratives. The events taking place in the United States have forced us to look at how our societies are shaped, how and by whom the rules are established, which norms and representations are normalized and valued, and which ones are marginalized. We believe that it should also be a time to think about how and by whom our histories are written and which stories are told. Other people have too often told the stories of Black and LGBTQI+ people. As important as talking about those societal issues can be creating spaces where people can tell their stories on their own, where people can be true to themselves, where they can feel whole and valuable to shape the world around them. Because rethinking the way we want to shape our world means breaking free from the idea that there is a separation between the self and societal issues. As Emilia Roig expressed it when publishing her book Why We Matter, “we are societal issues, we live through them”.* Storytelling can be a way to regain power over one’s narratives when this narrative has too often been taken away from you and sometimes even used against you. It is time to bring in new stories and new topics to the table, and we believe that the people concerned by the issues should be the ones doing it. This is why we would like to present to you stories from our community, told by people themselves. Would you like to publish your article on our Magazine? Get in touch with us at [email protected]!

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written by Faria Education Group You have the basics down: Skills are the verbs. Content is the noun. Now you are ready punch up these unit sections so that you and your students get the most out of your curriculum mapping process. Here are five great ways to take your Content and Skills to the next level: 1. Get Friendly with Formatting In addition to amping up the aesthetic appeal of your Content and Skills, formatting tools will help you better organize your thoughts while writing these sections. Take advantage of rich text editors to bold, underline, italicize, add color, and change the size of your font. We suggest using these tools to sub-divide your Content and Skills into smaller sections like “Key Ideas,” “Concepts,” and “Vocabulary.” Nesting curricular content under sub-headers and color-coding similar topics will transform your Content and Skills sections into easy-to-read resources for you to use as you complete your unit planner. If you’re an Atlas user, these rich text editing tools are available in each free text box in your unit planner. Additionally, the Atlas team can add a hover-over icon to any unit planner section with prompts and helpful hints for teachers as they write their curricula. If your school is taking a streamlined approach to writing Content and Skills, the Atlas team can add hard-coded text into the Content and Skills sections so that teachers have a format ready to use when they begin to edit. Finally, consider adding links to helpful resources for your teachers to use while editing. The Atlas Style Guide and Bloom’s Taxonomy are some of our favorites. Here is an example of a subdivided Content Section that includes a mouse-over information bubble to help teachers brainstorm: 2. Look for Hints in Standards and Assessments Standards have great language for you to borrow when you write your Content and Skills. Look through those standards to pick out nouns (for content) and verbs (for skills). Doing so will make your curriculum drafting process run smoothly and ensure that your Content and Skills reinforce the standards you target. Conversely, assessments are a great way to give your Content and Skills section a check. Are you testing students on the content you want them to know? Do your assessments challenge students to use the skills you want them to learn? Just like you borrowed words from standards to write your Content and Skills, you can borrow words from your Content and Skills to write your assessments. Similarly, if you are working from a common assessment, you can borrow nouns and verbs from that assessment to shape your Content and Skills. In either case, you might notice that the way you assess your students is disconnected from the skills you want them to learn. In this instance, take time to reevaluate your unit priorities and adjust one or more sections. Consider the following example from an 8th grade English unit:This teacher used language from his Content and Skills (highlighted in yellow and purple, respectively) to inform his assessment on character development and theme. However, he made an interesting decision when he picked an oral presentation as his assessment method. This assessment tests public speaking skills, presentation skills, organizational skills, and graphic ability. These skills, highlighted in red, are skills in addition to those listed in his Skills section (analytical ability, reading comprehension, literary interpretation, proper use of literary terms, etc.). Remember, assessments should reinforce the Content and Skills we teach. After cross-referencing his assessment with his Content and Skills section, this teacher might decide to change his assessment method to one that better demonstrates his students’ analytical abilities. Perhaps he moves the oral presentation to another unit. If not, he might like to revise his Skills category to reflect his goal of teaching students to become proficient oral presenters. 3. Eliminate Non-Essentials Remember, content is what we want our students to know, and skills are what we want our students to be able to do. With laundry lists of each, students often leave a unit with, at best, a shallow understanding of the topics covered. There are a few ways to avoid this trap. First, take a look at your unit title. If you find yourself with too much content, chances are you might have a unit title that lacks focus. Instead of teaching a unit on “Philosophy of Race,” teach it on “Philosophy of Race: The Case Against Biological Realism.” By qualifying the scope of your unit, you give yourself parameters in which to stay when writing your Content and Skills. Second, solidify your unit goals. Make sure that each skill and piece of content is directly linked to an Enduring Understanding or Essential Question. This might mean moving away from specifics (what you’ll focus on in your day-to-day lesson planning) and focusing on general concepts that you want your students to remember for years to come. Finally, recall that your unit is part of a larger, connected course. Before you delete material from a unit, think about fitting it into a Content or Skills section in a more applicable unit. Remember, the end goal is to plan curricula that works well for your students. 4. Dig Deeper If you are confident in your Content and Skills material, think about how you can make these sections more robust. Is your Content directly or implicitly covered in the unit? Are your Skills new abilities that your students will learn in this unit, or do you plan to reinforce skills that your students should already know? Working at this level of Content and Skills creation presents an opportunity to look at some of the standards other teachers are targeting to see how you might be able to shore up the skills your students are learning elsewhere. Collaborate with other teachers to see what interdisciplinary connections you can make. The more your students can practice skills and explore content through various lenses, the more masterful they will become. Below is a comparative unit report that highlights the Skills sections of two high school units–a “Layout and Design Structure” art unit, and a “Right Triangles” geometry unit. Take a moment to look at the Skills taught in each course. Is there any overlap? Opportunity for collaboration? Need for reinforcement?It looks like Susie’s design unit relies on her students’ ability to use skills taught in Chris’ unit on right triangles. In her Skills section, Susie might like to note which mathematical skills she plans to reinforce. She could also take a look at when Chris is teaching his unit, and shift her unit so that it occurs simultaneously or shortly after. Susie might decide to leave a note on Chris’ unit, suggesting that the two of them get together to plan a collaborative assignment. Here is an example of a unit from a teacher that has incorporated interdisciplinary connections in content and skills. (Check out how she uses those text editing tools to organize the material and make the connections pop even more!) By taking a closer look at your Content and Skills section, you can create opportunities for collaboration across grades and disciplines in order to strengthen student learning. 5. Question for Quality Assurance At the end of your unit planning process, ask yourself these questions to give your Content and Skills one final test: - Do my Content and Skills act as a link between my targeted standards and assessments? - Are the nouns and verbs I used grade-level appropriate? - Are my Content and Skills clear and concise? - If another teacher read these Content and Skills, would they have a clear idea of what I plan to cover in this unit? - Do my Content and Skills cover the key ideas and experiences necessary for my students to engage with the Essential Questions and Essential Understandings? - Does the material in my Content and Skills fall within the scope of my unit?

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Decolonizing Math: Creating Culturally-Relevant Resources Although learners can have trouble with any subject, math is the one learners complain about most. Often this is because learners don’t see the connection or relevance of math to their daily lives. Too often, math problems don’t reflect realistic situations or connect to learners’ realities. That makes it hard for learners to engage with the content. It is especially true for Indigenous learners. Many elements of western math instruction don’t necessarily align with the principles of Indigenous learning. This post will explore ideas for decolonizing math in ways that feel natural and authentic. Integrating Indigenous Examples A simple first step in integrating Indigenous perspectives into math content is consistently integrating terminology and examples into math problems. While this is a small change, relevant examples can better help learners understand a topic. For example, introduce probability by showcasing a common Indigenous hand game played in the community. That may help hold the learners’ interest and help them better relate to the topic. A relevant and familiar example enables learners to focus on the new terminology related to the topic rather than struggling to understand other example elements. Probability in Lahal: An Example of Decolonizing Math The examples used in instruction must be pertinent, meaningful, and consistent. Ideally, examples come naturally to the explanation. They should also add value to the instruction, not just token names or integrated places to provide loose connections. Connecting Math & Indigenous Knowledge Another way to decolonize math content is to focus on the six areas of human activity that are common across all cultures: You will make problems more approachable if you center math problems around these activities and work in relevant cultural terminology and examples. A great example is using cooking to teach fractions. Food is an important part of family culture in Indigenous communities. Suppose you base a math problem around scaling a recipe to make a common dish, such as Fry Bread or Bannock for a large group. In that case, you use a real-world example that may resonate well with learners and translate to the knowledge they will need. When learning cooking from family members and elders, it is typical to hear terms like “a handful” or “a pinch.” An activity could start by measuring and quantifying local values and aligning them with universal measures, like a ½ cup or ¼ teaspoon. Learners can then learn how to scale the recipe by using proportional reasoning. They can also look at downscaling recipes to feed smaller groups and preserve resources, therefore applying division of fractions. Decolonizing Math Through Indigenous Themes To take this concept further, you can also look for ways to connect broader Indigenous themes to math instruction. Say you are teaching the topic of number percentages as part of your grade 8 math program. Instead of jumping into a question, start talking about a theme that resonates with learners, like family and ancestry. Ask your learners to map out their family tree and calculate percentages of different scenarios. For example, learners can calculate the number of females vs. males, the average ages, or other variables. They will see real-world, contextual learning. You can also teach number percentages by looking at resource management, predicted yields, or community profiles. It makes percentages more relevant and enhances numeracy as it includes some data analysis. Using Stories in Math Instruction Word problems are a big part of teaching logic and reasoning. However, they do not often align with Indigenous oral traditions. Word problems frame the question and provide more details, but they are not truly story-based learning. The use of storytelling can help frame a topic and provide history and context to learning. Consider how multiple topics can align to a theme. Weave together a lesson or a series of lessons, and build out learning through stories. We recently worked with a school where learners had trouble with even and odd numbers and skip counting. We decided to build a story-driven set of videos that showcased the tale of three friends playing a game of Willow Sticks. It allowed us to weave in many math concepts to a game that most of the learners in the community play. That made it more relevant and provided a new perspective on how educators could teach the content. Instead of addressing the content by topic, we wove themes into a story related to a familiar situation. Approaching Math from a Holistic Perspective Weaving storytelling and providing relevant examples often leads to more holistic math learning. Relating to broader topics and themes provides learning opportunities that bridge home, school, and community. It’s easy to work with math concepts like trajectories, angles, and distance calculations while talking about outdoor activities like ice fishing and trapping. You can also work on math skills when looking at science topics. While teaching learners about trees, it’s easy to work in lessons. Learners can count rings, determine a trunk’s radius or diameter, or predict the volume of sap a tree can generate per year, estimating its syrup yield. There is a natural progression toward math integration into other projects and subjects and a more holistic approach for inclusion. Decolonizing Math: Steps for Success Decolonizing math resources does require some planning and structure and support and participation by others. Educators may also need some preparation and education to feel supported and comfortable, including Indigenous examples. An educator may need to do essential research to support a math concept with a relevant example. Let’s say an educator wants to use an Indigenous game to explain a math concept. First, they will need to learn its rules, history, and cultural significance. It may also require the collaboration of other educators to build projects that span subjects or topics to integrate math into overall learning better. If you would like to explore how Learning Bird can assist you in building decolonized math content, we’d be happy to chat. We can also share some other examples of content with you. Contact us at 1-888-844-9022 or email [email protected].

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Musical Theater Scripts Featuring Historical Role Models from What better way to reinforce positive character development while strengthening a child’s understanding of historical events all at the same time than through music and drama! We’ve combined numerous skill-building activities into productions that should take about 20 hours to practice and 20-30 minutes to perform. These scripts are royalty-free and can be copied for all students in one performance. All we ask is to not share the scripts with other performing groups. Tell them how to contact us: www.homelinkyakima.org 509-248-6388 [email protected] The play about Pocahontas features her first as a child welcoming the European settlers and encouraging a trade partnership between two people-groups. As time passes and disappointments mount, Pocahontas never loses her hope that her two beloved cultures can finally see eye-to-eye. When Pocahontas’s aspirations are fulfilled, she emerges to be the glue that cements the relationship between the Europeans and the Native Benjamin Franklin’s life’s story displays a huge variety of skills possessed by this one man who led our nation out of the colonial period into a unified country. He is first a printer, then statesman abroad, an inventor, an author and finally a Founding Father of our great nation. The script is full of witty and wise sayings that Ben Franklin included in his first book, Poor Richard’s Almanac. How did Franklin become so wise? Through all the twists and turns of his life, he made the most of every moment. For a woman who has so little going for her initially, Harriet Tubman draws upon her courage to make the impossible happen. Not only is she able to find freedom for herself but also for more than 300 others, never losing a passenger on the Underground Railroad. Once that freedom is found, she encourages people to develop a good work ethic and strong community in their new life. The Spirituals throughout the play support the story and add depth to the performance. At a time in American history when inventors were busy and abundant, two brothers from Dayton, Ohio were endowed with a perfect combination of skills: creative genius, mechanical abilities, and teamwork. The saga begins with the brothers working in their bike shop in Dayton around the year 1900, when their first interest in flight began. Eventually, they develop a glider and then move onto the famous Flyer. Episodes of the effective partnership are displayed as the story unfolds underscoring the message that “together we can accomplish so

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This article focuses on the appropriation of Black American linguistics as a result of participation in hip hop culture. Cutler specifically focuses on the adoption of African American Vernacular English by white middle class urban youth who have come to participate and developed a sense of belonging to Black American culture. She follows the development of Mike, a white middle-class boy that she knew from when he was young, from his inclusion of and growth into the subculture through his actions and words. Through the changes from his adolescent years to late teenage years, it becomes apparent that he has developed a sense of belonging towards hip hop culture and has adopted it as part of his sense of identity. She pays particular attention to the changes in his speech through his appropriation of African American Vernacular English, such as changes in pronunciation and grammar, before delving into the sources of accesses that white youth in general would have to adopt this dialect of English. In the 1970’s hip hop dance was quickly being molded into a legitimate dance culture. Dancers showed off their skills whenever, wherever. In the 1980’s, as breaking, popping, and locking were being institutionalized all over the United States, hip hop was evolving from random performances to formal competitions. What would have been youth violence in gangs were now dance crews. Dancers in the same neighborhood or block would form a crew and create their own identity. As acknowledged by Candice Jenkins, a researcher on Hip-Hop and the Literary from Duke University , “indeed, it calls for a rigorous attention to rap's language and to the genre itself as a particular kind of verbal artifact, one driven as much by aestheticized oral communication as by musical expression” (Jenkins, 2013). Hip-hop and Literary studies focuses on the message that hip-hop music portrays, and the meaning of the diction. Society's ability to function stimulates from being able to communicate and be expressive through different formats. American culture norms are seen to include patience and peacefulness (InterExchange, 2018). Hip-hop was centered around a self-expression for artist, and a form of relatability for audiences; Once a political stance to project the difficulties and opinions of the those in the impoverished or ghetto areas, Hip Hop presented style and creativity of storytelling. Hip Hop was a release and it was a way in which people could reclaim their energy against racism and discrimination. Unfortunately through the rise of Hip Hop, animosity rose as well. Western culture has pre-established ideas about what roles men and women play in society. Starting from the Frontier, men were suggested to have this dominating persona. The term “hip-hop” is used today to describe a specific form of dance and music, but actually encases a much broader art. “It [Hip-Hop] is the cultural embodiment of violence, degradation, and materialism . . . a multibillion-dollar industry based on debauchery, disrespect, and self-destruction” (3). Although hip-hop does heavily involve music and dance, Joseph G. Schloss has found that there are many more aspects that make up the hip-hop culture. Foundation is a collection by Schloss of his findings from his research of hip-hop. Hip Hop and Roots -The Study on the New York Born Dance Culture- Summary This paper traces back the roots of Hip Hop culture particularly focusing on dance/Bboying/Bgirling/ Breakin? known as breakdanceing in general by conducting the interview on pioneers and practitioners meanwhile analyzing some previous researches. It is easy to argue that "music does bring people together. It allows us to experience the same emotions. People everywhere are the same in heart and spirit. No matter what language we speak, what color we are, the form of our politics or the expression of our love and our faith, music proves: We are the same" (Denver). However, not only does music bring us together as humans but also delivers an accurate depiction of society and it helps spread relevant ideas/. Abstract In the 2000s, hip-hop has become not only a music genre, but also a subculture movement in the U.S society. However, hip-hop is just a “tip of the iceberg” which is called Afro-American or African-American music culture. Since the 17th Century, when the first group of African slaves arrived to the America, a new form of culture has been developed, although there were several prohibitions and non-acceptances from the white American. Since then, new genres of music originated from the African-American society have occurred, grown and become well-known, such as, blues, jazz, soul, rock-and-roll, rap, R&B... Hip Hop: The Good Message Americans today tend to believe that hip hop has a bad message in their songs. What you did not know is that lyrics have a deeper meaning. Many people assume that hip-hop is bad for everyone. People around the world argue if hip-hop is bad or good. In my opinion, hip-hop is good because it tells how everyone has a story. The gay topic in hip hop is not trying to destroy hip hop. Cashun is a gay rapper, who challenged the homophobia with enough dignity. “Disidentification resists an unproductive turn toward good dog/bad dog criticism and instead leads to an identification that is both meditated and immediate, a disidentification that enables politics.” Black gay folks who are in the middle of different dominances find the practice of disidentificacion more seductive and enabling than major subjects. Black queer subjects in black, presumed heterosexual or gay (mostly whites) contexts find that an identification with larger groups is more a liberatory exit for survival than those people who identify themselves with dominant ideologies.

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Hidden Figures, a best-selling read by Margot Lee Shetterly and an Oscar-nominated film, is changing how we understand the history of science, technology, engineering, and mathematics (STEM). Often, the stories of scientific discoveries and engineering feats omit the contributions of women or people of color and obscure the knowledge and experiences, both lay and professional, required to achieve STEM accomplishments. The usual discourse of STEM deemphasizes the social-historical context that creates the conditions for innovation of personnel (the who), process (the how), and product (the what). Shetterly provides an alternative narrative as she shines a light on the people, places, and purpose of STEM. She features African-American women in her historical storytelling of the US Space Race and the Civil Rights Movement. Her personal and professional stories of women, like Kathryn Johnson, Dorothy Vaughn, and Mary Jackson exemplify African-American women at work in NASA as mathematicians, computer scientists, and engineers. These women fully participate in the practices of STEM as they perform computational analysis, program mainframe computers, and conduct engineering tests. She explains how war, racial segregation, and sexism at home and in the workplace limited how African-American women participated in STEM and conversely, created a window of opportunity that amplified their contributions to STEM, in particular the rise of US Space Program. Mary Jackson: Engineer and Inspiration While Shetterly’s biographies of these women position them as pioneers of the space frontier, it is the story of Mary Jackson on the homefront that captured my attention and inspires my work. Mary Jackson was one of the first women to leave “West Computing” to join an engineering team as a specialized computer. Later, she completed advanced math and physics courses and achieved a promotion to engineer. Shetterly reports that Mary Jackson filled her days with professional and community service that increased awareness of and preparation for engineering among young girls and women and African-Americans. In the chapter, Model Behavior (starting on page 193), Shetterly details how Mary Jackson spent time collaborating with her son, Levi, to design and build a car for the 1960 soap box derby race. Together, they read the manual to learn the specifications and constraints of this design challenge, ideated and sketched various designs of this vehicle, and built and tested several prototypes until Levi was ready to race. He won! Of course, Mary Jackson was filled with pride when her son became the first African-American to win the local soap box derby and advance to nationals in Ohio. But she had to be over the moon with her son’s answer to the local news reporter’s question, “What do you want to be when you grow up?” Levi responds, “I want to be an engineer like my mother.” Mary Jackson’s life history resonates with me. As an engineering student and professional, I spent many hours working to diversify the STEM pipeline. Whether I was organizing professor-student mixers for science and engineering majors on campus, motivating elementary students’ curiosity with Lego models of the Mars Rover, or strategizing with corporate and academic partners, I was fully committed to diversifying who participates in STEM and the broadening notions what it means to participate in STEM. Now, as a STEM education researcher and practitioner, I am constantly seeking opportunities to infuse preK-12 learning with rich STEM activities and help parents, teachers, and community partners recognize STEM’s potential to transform our lives at local and global levels. WGG Family STEM program captures the spirit of Mary Jackson Last summer, bluknowledge embarked on a new venture that captures the essence of Mary Jackson’s spirit. We fortified our partnerships with the Hofstra University WISE Guys and Gals (WGG) research program and Savannah’s Parent University and Early Learning College to pilot a family program that connects parents and children through engineering learning experiences at home. About every other month, we embed a WGG Family STEM session in an Early Learning College or Parent University event that happens on Saturday mornings at rotating local elementary or high schools. For two hours, participants who are parents or grandparents collaborate in pairs to design and test a solution to a given engineering design challenge. Guided by an in-person facilitator and the mobile WISEngineering platform, participants progress through the engineering design cycle. They (a) learn the specifications and constraints of their design challenge and engage in knowledge and skill-building activities. Then, they (b) ideate and build a prototype to meet their design challenge. Finally, they (c) test and plan for refinements to their designs. At the end of the session, we provide participants with a tablet and materials so they can engineer at home with their kids. Participants use tablets to access the WISEngineering mobile platform and learn the knowledge and skills to perform the design challenge. The Design Challenge Your challenge is to make a stable and comfortable model of a prosthetic leg that you will be able to walk at least 20 steps, and be able bear your weight without breaking. You will have limited time and materials for constructing your prosthetic leg. Participants construct a prototype of a prosthetic leg using bubble wrap, sponges, ace bandages, and duct tape. What’s next for our Mary Jacksons? To date, we have recruited 8 African-American mothers and grandmothers of at least one middle-schooler for our pilot WGG Family STEM program. These Mary Jacksons have immersed themselves in the world of STEM as they learn about civil, biomedical and mechanical engineering careers. They have collaborated with fellow Mary Jacksons and their children and grandchildren to design and test prototypes for safe paths for transport, prosthetic limbs, and alternative vehicles (yes, hovercrafts!). Most importantly, they have been broadening what it means to participate in STEM as African-American women, parents, grandparents, and families. While we are still early in our inquiry of the WGG Family STEM program, we seek to understand the social, material, and intellectual conditions that empower families to participate in STEM in their everyday lives — past, present, and future. We wonder how these engineering experiences give rise to adult and youth curiosities of our natural, built, and technological worlds shape the relationships and dialogue among family members at home encourage lifelong and collaborative learning as adults and kids (re)learn STEM knowledge and practices with each other. Like Shetterly and her “Hidden Figures” of NASA, we too, are inspired by these women of the WGG Family STEM program.

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At St James’ Lanehead, children are explicitly taught the skills of reading (outlined in the National Curriculum and the KS1 and KS2 test domains) using VIPERS, which were created by Rob Smith (The Literacy Shed). VIPERS is an acronym to aid the recall of the 6 reading domains as part of the UK’s reading curriculum. They are the key areas which we feel children need to know and understand in order to improve their comprehension of texts. Vocabulary Inference Prediction Explanation Retrieval Sequence or Summarise Our aims for English is to ensure that by the end of Key Stage 2, all pupils: - Read easily, fluently and with good understanding - Develop the habit of reading widely and often, for both pleasure and information - Acquire a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language - Appreciate our rich and varied literary heritage - Write clearly, accurately and coherently, adapting their language and style in and for a range of contexts, purposes and audiences - Use discussion in order to learn; they should be able to elaborate and explain clearly their understanding and ideas - Are competent in the arts of speaking and listening, making formal presentation, demonstrating to others and participating in debate The English curriculum is underpinned by two core values – that all children should be competent readers and that all children should be able to articulate their ideas. We believe that in order for our children to become successful writers, they must first be able to speak well and read with fluency and confidence. Reading is an essential part of our whole curriculum. Children read extensively in all other curricular areas – from following instructions in DT, to reading religious texts during Religious Education. We believe that children should read frequently and widely. Children actively and enthusiastically engage with books, labels and information on displays throughout school. Books and iPads are used daily for research within other subjects. Children are encouraged to read for pleasure with each class having dedicated library time and there being an embedded system for borrowing and returning books. We ensure that all our pupils are benchmarked so that our staff are fully aware of the children’s levels. Home reading books are phonetically decodable to facilitate independent reading especially for those children who are not read with at home. Within the school, we value reading, children are read to daily to promote a love of storytelling and all staff share their experiences of reading with the children. We are happy to introduce our brand new reading apps: Oxford Reading Owl and The Bug Club. These are a great addition to our abundance of books and will provide a replacement for our reading books within school until we are able to send them home again. They are both fantastic apps that act as an online library for your child, allowing them to access a range of books that are specific to the level at which they are at. Below is the information you will need to log in for EYFS, KS1 and KS2. You should have received these letters home as paper copies with your child’s reading level on too. If you wish to check your child’s reading level, please contact the school office. To access Oxford Reading Owl: Please log on and select which book you would like your child to read from the level that has been provided by school. To access The Bug Club: Please log on using the details you have been provided with and you will find a range of books ready to read, these are books that your child’s class teacher has selected for them. After your child has finished reading you will be able to complete the reading record which is available on Purple Mash. This will allow staff to monitor the home reading and provide feedback if needed. The staff will be checking this on a weekly basis. To find the reading journal on Purple Mash, please follow the steps below: · Log in – Search ‘Reading Journal’ (Select the one appropriate for your child’s age) · Record reading Again we appreciate that not all children have access to devices which allow them to access apps online. If this is the case, please continue to read with them at home. Reading can take place in any form, reading books, when you are out and about or in the house e.g. reading street signs or following a recipe! 100 Books to Read We strongly believe that all children should experience high quality books that enhance literacy skills and inspire them to read. We aim for children to develop a love of reading and this will help motivate them to write. To help with this we are sharing a fabulous and highly recommended list of ‘100 Books to Read…’ 100 Books to Read - KS1 100 Books to Read - Years 3 and 4 100 Books to Read - Years 5 and 6 Reading Spine takes place daily in every classroom where the children are read to. Each of the books help to develop the imagination of our children and equips them with language. We want our school to be a place where children are read to, enjoy, discuss and work with high quality books. We use the Pie Corbett Reading Spine so that children have access to high quality texts and develop a love for reading! Key Stage Reading Prompt Booklets KS1 Prompt Booklet KS2 Prompt Booklet Supporting Reading at Home Reading with Your Child Effect on Reader Prompts Tell Me Cards KS1 Home Reading Questions KS2 Home Reading Questions 7 Top Tips to Support Reading at Home Virtual Visit from Dan Worsley This week we had a virtual visit from the author Dan Worsley. All the classes met Dan, listened to one of his amazing stories and then had the opportunity to ask him some questions. Here are some responses from our families and children: We really enjoyed listening to Dan today. He used lots of expressions and kept us entertained.” “Dan is a very engaging storyteller!” He gave us excellent words of advice…”Keep reading and believe that anything is possible!” “Thank you for making our week. The children absolutely love reading his books!” “Thank you for what was such an enjoyable afternoon. Dan was marvellous to listen to and the children were so engaged all the way through!” “We had such a good time, and this had been something that we had been looking forward to all week! Thank you to the school and to Dan for inspiring us to believe that we can do anything if we put our minds to it!” “I thought Dan was really funny and he gave me lots of good ideas for my writing.” ‘I have never seen Dan before, I have just read a few pages of his book and I am hooked, I can’t wait to read the rest. World Book Day 2020 On World Book Day 2020, children were faced with crime scenes in each classroom! Somebody had been in and destroyed the classrooms, leaving evidence around. Our job was to find the pieces of evidence and work out who this could have been. More evidence arrived throughout the day, with reports from the neighbours, school office and a visit from the police! We gave all of our information to the police officers. For our Family Friday event, our families were inviting into school to look at the evidence and help us to work out who had caused the mess! We also came dressed up as a word because as a school we have been focusing on vocabulary. Here are some of our pictures from the day…

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Primary teaching resources Our free, easy-to-use teaching resources help children aged 5 to 11 to look at the world from a humanitarian point of view. These curriculum-linked activities, sessions and teaching packages are ideal for PSHE, Citizenship, English, Art, Geography and informal learning time. They help primary learners develop empathy with others, learn to help others, develop their resilience and gain many other life skills. Don't miss out Sign up to our mailing list and receive new teaching resources, newsworthy resource packages, and information about educational offline and online products straight to your inbox. Type: Quick activity A free kindness learning pack including activities around kindness, coping, recognising feelings and learning new skills. Subjects: PSHE, Citizenship, Tutor time Curriculum linked resources with activities for primary and secondary learners about loneliness and feeling lonely Type: Quick activity Subjects: PSHE, Cross-curricular, SMSC Children are encouraged to learn about and practise kindness this December with the The Snowman™ and The Snowdog in our new kindness calendar. Subjects: PSHE, Tutor time Activities to record your journey back to better, to resilience and recovery Educational activities for young people and children ages 7 to 8 exploring what personal resources they have to manage and understand stress and anxiety. Wellbeing activities for children and teenagers aged 7 to 18 feeling anxious, stressed, and lonely. Learn coping skills and build resilience to support wellbeing. Subjects: Citizenship, PSHE Resources for children and young people for home learning, using the experiences of other young people aimed at building empathy, understanding and resilience through storytelling. Keep children and young people entertained during the summer holidays with the summer of kindness calendar. Type: Guidance and activities A free primary and secondary teaching resource about how to support and talk to children and young people about race, racism and anti-racism. Subjects: PSHE, SMSC, Citizenship Primary and secondary resource helping students understand migration, build empathy, increase understanding and learn about the stories of refugees and their journey. Page 1 of 4

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Philosophy of Curriculum: Prekindergarten The core curriculum is based on the Illinois Early Learning Standards supported by the Illinois Learning Standards and focuses on developmentally appropriate activities tailored to the needs of each child. Greek language instruction, technology and religion are also taught in the preschool program. Reading and Writing The reading readiness skills students develop at this age include recognizing and writing their own name, using illustrations to understand the story, being aware of the multiple purposes of print, left-to-right reading, recitation and recognition of the alphabet, knowledge of front and back of books, an introduction to authors and illustrators, reproduction of letters via copying, awareness of beginning sound-letter associations, knowledge that a “string” of letters creates a word, and the use of pictographs and sentence/picture journals. We use Jolly Phonics! Jolly Phonics is an innovative program that approaches “learning letters” from a child centered perspective. The multi-sensory method focuses on synthetic phonics, where the sound each letter makes is emphasized, instead of just the name of the letter. Utilizing Jolly Phonics allows for 5 core skills to be developed including: letter sounds, letter formation, blending, identifying sounds in words and identification of tricky words and letter combinations. The combined use of physical motions to help the children remember each sound provides multiple sensory engagement. A key focus in our early learning mathematics curriculum is to develop the children’s number sense. This is achieved through daily hands-on math encounters. To develop an awareness of numeration, students use manipulatives to make one-to-one correspondence. The three-year-olds are expected to recognize and count from 1 to 10, and the four-year-olds from 1 to 20. They can also estimate more and less, and use number books. Geometry work includes free play with tanagrams and wooden blocks, being able to name basic shapes (circle, square, triangle, rectangle, star, octagon, and geometric solids), recognize these shapes in everyday objects, and use the shapes in art activities such as collages. Four year old students write calendars to understand days, weeks and months. Children learn about measuring during hands-on activities such as water and sand play with volume (pails, cylinders, boxes, etc.), free play with measuring tools, and weighing activities using a beginner’s scale as well as bi-monthly cooking projects. The objective of the science curriculum is to make the world familiar to children via hands-on explorations of everyday objects. The course outline includes units that arise from the children’s interests, as well as weather, germs, colors and color-mixing, magnets, plants and flowers, bugs and insects, bubbles, babies and human growth, and animals. The Orthodox faith is a core component to our school mission. Students start the day with prayer and end the day by venerating the class icon as they exit the room. Our faith serves as the foundation for all aspects of the school day. Preschool students attend Liturgy whenever possible. As part of their curriculum, religious instruction emphasizes identification of different items in icons, elements of the liturgical calendar, and a basic understanding of all major feast days. The primary goal of the social studies component is to understand the world we live in, from the 7 continents down to our home town. Our staff works with topics including differences and similarities among people, friends, and families, while keeping the focus on the fact that we are all God’s children. Basic topics covered include greetings, numbers from 1 to 10, colors, animals, body parts, family, food and feelings. Students attend weekly lessons in small groups that complement the weekly preschool theme for the week. During these lessons they use a variety of skills, such as cutting, coloring, matching, writing and singing. Young children are primarily process-oriented artists. Multiple opportunities to explore the media are necessary before they can be expected to create a purposeful art piece. Because of this, the preschool art program does not focus on the end product, but rather on the process that the child experiences. By designing process-oriented art encounters, the children’s skills in drawing, painting, pasting, cutting, tearing, and sculpting can be extended to their fullest potential. Furthermore, all artistic endeavors, great or small, are appreciated. With that being said we do make special craft projects through out the year. Students use the following media throughout the school year: pencils, markers, crayons, tempera paints, watercolor, clay, pastels, chalk, collage and play dough. The physical education program encourages gross-motor and fine-motor development. The children participate in fun, interactive cardiovascular activities, both in the classroom and in the gymnasium, while also working on their social skills (taking turns, following rules and directions) and academic knowledge (counting, alphabet, colors). Handwriting Without Tears is used with our 3 and 4 year old students. Research supports the active teaching of handwriting. Recent findings demonstrate that writing by hand improves creative writing skills and fine motor skills. With the adoption of the Illinois Learning Standards, the emphasis and expectations placed on classroom note-taking and expository writing in grades K-5 is greater than ever. Our students love interacting with the characters, learning the songs and participating in the writing activities. Physical Development and Health Prekindergarten students receive instruction each week in physical education to promote healthy physical development and align to the Illinois Early Learning Development Standards (IELDS). The domain of physical development and health includes preschool benchmarks in: movement skills, rules and safety during physical activity, team building skills and principles of health promotion and prevention and human body systems. Additionally, all preschool students receive instruction through age-appropriate sexual abuse and assault awareness and prevention through Erin's Law presentations.

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“You can make anything by writing.” – C.S. Lewis, Writer and Author As adults, we write for a reason: to write a letter, to make a list, to leave a note, to communicate with a friend in a letter or e-mail or to create a story. Children learn to write most easily when they write with purpose too, rather than being told what they should write about. Like all other things, learning to write is a process. When children realize that writing communicates meaning, they begin to experiment with it and usually start by using scribbles on a page. From there they start to use symbols that look like letters and then use real letters, although they may go back and forth using real letters and their own symbols. These are exciting first steps because it shows that children are aware of a difference between drawing and writing and you can support them by asking what the writing says. Over time, as children are exposed to examples of writing in their environment and in the books you read with them, they gradually incorporate the use of punctuation and conventional spelling as they pick up “mistakes” in their own writing and rewrite words or letters. While they start out writing mainly to record and communicate messages, as you keep reading with them you will notice that they begin to write their own simple stories. As we continued to explore how a child develops these skills, we had an opportunity to ask Allison Willson, Senior Director of Curriculum and Innovation at Stratford School, questions about how children are learning to write in school and below we’d like to share her expertise. How do children learn to write, focusing on the act of writing itself and not physical handwriting? To learn the skills to write stories, early learners must not only learn to handle a writing tool, but also learn how to generate ideas (brainstorm), elaborate upon their ideas and learn to sequence and connect them together. Young writers learn to develop these skills over time through play, storytelling, writing practice and in modeled conversations with adults or older peers. When should children start learning to write? Writing is a complex skill that develops over time. Though your toddler won’t yet have the ability to write stories, they can certainly engage in experiences that support future reading and writing. Fine motor control and drawing are young children’s first steps toward writing. They will then progress to scribbles meant to mimic handwriting before reaching conventional writing and spelling. You can encourage your budding author to draw pictures that depict stories, their feelings and/or observations of their world. What does current research say about teaching kids to write and what teaching practices are currently used in schools? Current research suggests that to write stories, young children must learn not only to handle a pencil or other writing device, but also to generate ideas, elaborate upon them and sequence and connect them coherently. Children develop these skills through scaffolded play, storytelling, writing practice and in conversations – particularly with adults and older children. Knowing what we know about how children acquire these skills, early childhood classrooms should provide frequent opportunities for writing practice throughout the day through play and practice. (e.g., “Let’s create a list for our grocery store today.”). Explain the link between reading and writing. Reading and writing support each other. The more your child does both, the stronger their overall literacy skills will be. At an early age, children thrive on modeled behaviors. The act of listening to stories, poems and other texts provides opportunities for our little ones to experience the writing process. By orally retelling stories, drawing or acting out read-alouds, young children understand narrative or story structure (beginning, middle and end) which they then can apply to their own stories. We often encourage children to retell the stories in their own words or extend this learning by encouraging our young authors to reimagine the ending. How can parents help children learn to write at home? Model. Writing is practical and an incredibly important part of our daily lives. Model for your child ways in which you use writing (e.g., “Let’s create a list for your birthday party! What will we need and who should we invite?”). Provide Time and Space for Drawing and Discussion. Drawing allows little ones to develop their fine motor skills while also expressing their thoughts and feelings. Ask your child questions about their drawings, for example: “What is the boy/girl doing?”, “Does the house look like ours?”, “Can you tell a story about this picture?”, or “What might be a different ending if you had a chance to rewrite the story?”. You can also write their responses directly on their artwork. Read Together. Reading and writing go hand in hand. As one muscle is built, the other is strengthened. As you read together, you can also talk about what the author did that was so effective, such as: “How did the writing make your child feel?” or “What words or phrases made you feel that way?” Involve Everyone. Invite family members to be a part of your child’s writing journey. Send and receive cards from loved ones near or far. You can also send your child a letter or card once in a while too, so that he/she is reminded of how special they are! Create a family message board in the heart of your home to give and receive notes to the members of your family. Encourage Inventive Spelling. As your child develops phonological awareness, encourage him/her to do their best to write words on their own based on the sound spelling. Praise the Process. Give specific praise as your child grows in their literacy development. Like any skill, the more time and energy put into it, the better the result. So, make writing skill development part of your family’s mission by encouraging them to talk about everything they’re interested in — and then have them write it down. Make the process fun for them and they will foster a love for writing from an early age on into adulthood.If you are interested in learning more about Stratford School, or scheduling a personalized tour, visit us online at www.stratfordschools.com.

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Is Storytelling a good learning tool? I’m sure you’ve heard by now that storytelling can make learning more effective. Stories help us process and remember information. Perhaps they even touch a part of our consciousness associated with the magic and creativity of childhood. 1. Stories are the emotional glue that connects the audience to the message Much of what people remember from a learning experience are the feelings of the underlying message rather than a multitude of small facts (which are better reserved for job aids). Stories are an important way to tap into the heart of the audience, providing a channel for conveying a deeper message based on emotion. 2. Information presentation should be constructed around a story Any kind of presentation—whether it be online training or a live presentation—will benefit from a story construction. Organising information into a format with a beginning (setting the stage), middle (the challenge) and ending (new reality) can work for many topics. 3. People want to know about origins When we watch or read about a superhero, we always remember the person’s origins. We know where they came from and the circumstances that created their super powers. People are defined by their origins and people are curious about where people (or fictional characters) come from, how they change and how they evolve. Include this type of information in your next story. 4. Stories reshape knowledge into something meaningful For centuries, people have used stories to pass on knowledge. When information is embedded in the context of a story, it is transferred to a listener or reader in a unique way. According to the presenter of this session, new research shows that 70% of what we learn is consumed through storytelling. 5. Stories make people care When you know your audience—their pains, frustrations and joys—your stories can reflect their emotions and experiences. As learners begin to see themselves in the story and begin to identify with it, they start to care. Nancy Duarte, author of Resonate, states that a story serves as a moment of emotional appeal. 6. Stories transcend one’s current environment Good storytelling can transport learners out of their stuffy meeting rooms and offices into an adventurous world away from the workplace. In this altered reality, the mind becomes more open to perceiving and thinking in new ways. This is an ideal position from which to learn. 7. Stories are motivating Stories can motivate an audience toward a learning goal. They are ideal for attitudinal training because when an audience is motivated, they no longer need to be persuaded. An encouraging story will inspire someone to take action. 8. People take time for stories Have you ever noticed that even the busiest of people will stop to listen to someone’s story or to tell one of their own? Stories are why people are drawn to novels and movies and gossip magazines. If you want to maintain an audience’s attention, you’re more likely to do it through storytelling. 9. Stories are more likely to be shared Because we are so attuned to stories, people love to share them. They are like hooks that draw people in as they are passed from one person to the next. If you have any doubts, check out the thousands of Facebook Stories. This is where people share how they use Facebook and the meaning it has in their life. Do you need to spread the word about something? Put it in a story and see if it gets shared. 10. Stories give meaning to data Many people perceive data as meaningless numbers. This happens when the data is disconnected to anything important in their experience. But when the data is placed in the context of a story, it comes alive. For the Love of Lore.

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Reading and Phonics This page contains all the information about how we teach, promote and celebrate reading at our school. To have a love of reading is one of the six fundamental priorities we identified as part of our curriculum vision. We understand the importace that reading plays in the lives of happy, succesful and valued adults and we want our children to get the best start in this, one of the most vital parts of a child’s development. To see the way that teaching and learning in Reading supports our school’s wider curriculum vision, click the image to the left. Phonics and early reading development Phonics is a way of teaching children to read quickly and skilfully. They are taught how to: recognise the sounds that each individual letter makes; identify the sounds that different combinations of letters make – such as ‘sh’ or ‘oo’; and blend these sounds together from left to right to make a word. Children can then use this knowledge to ‘de-code’ new words that they hear or see. This is the first important step in learning to read. Our Phonics Scheme From September 2022, we will be using a phonics scheme called Little Wandle Letters & Sounds. This is a revised version of the original ‘Letters and Sounds’ scheme which is well established in our school. The Little Wandle scheme has been validated by the Department for Education as meeting the most recent criteria for an effective systematic synthetic phonics programme. Little Wandle has a useful resource page for parents including videos and downloadable guides. You can visit their website here. Children start learning the sounds we all use to decipher and read when they enter our Nursery and develop these further as they move into the Reception class. For more information about learning to read in our Early Years classes, please visit their pages here. Developing Reading and Readers There are two distinct but related processes involved in teaching children to read: learning to read words and developing language and reading comprehension. As children develop their phonological awareness and skills, they are encouraged to begin to think about and respond to their reading. In every year group, class teachers use high quality texts as a stimulus for learning and carefully plan a series of lessons which develop children’s understanding of the test. Planning of Reading In every year group, class teachers use high quality texts as a stimulus for learning and carefully plan a series of lessons which develop children’s understanding of the text. To view our Reading Overview Plan which shows the progression in reading across school, click below: To view the reading planning for each year group, click the appropriate button below: Teachers plan regular opportunities for children to engage in whole class and independent reading. In all classes, teachers provide pupils with daily read-aloud sessions where pupils will be encouraged to respond to the text in a variety of ways. Year groups have sets of books to read with which allows all pupils to have a shared experience of a text. Throughout English lessons, the teacher acts as the expert who guides the children through the text, providing signposts to the most important and most helpful features of the textual landscape, gradually encouraging children to do this independently. Teachers planning ensures that children are given the opportunity to develop their critical thinking skills: teachers ask high order questions to challenge and stretch children’s understanding. Children acquire a range of skills which allows them to draw on their personal experiences and prior knowledge. Encouraging a love of reading Overfields Primary has worked with The National Literacy Trust to ensure that we provide a reading rich environment. We have dedicated reading areas in each classroom with bookshelves laden with a variety of genres. In addition, the central school library is well-stocked with a variety of fiction, non-fiction, newspapers, audio stories and poetry. We regularly hear from our visitors that we are a ‘book rich’ school. We encourage our children to read at home, every day if possible, and we recognise and reward their commitment to reading. As part of our home learning expectations, we encourage parents to listen to their child read and to comment on if they are enjoying the text, any parts they struggle with and any questions they may have. We celebrate pupils reading accomplishments in class on our reading rocket boards. When they have read 100 times they receive a certificate and a book of their choice which they can take home to enjoy. Children from Reception to Year 2 take home a fully decodable phonics reading book, matched to the phase they have just learnt in school. They also take home another book of their choice to share with an adult. As they get older, the children choose their reading book independently using the book band colour system and eventually progressing to being a ‘free reader’. Throughout the year, school takes part in various exciting events which promote the enjoyment of reading. - World Book Day - Visits from authors and illustrators - Reading Café - National Storytelling Week - Peer reading (older children sharing stories younger pupils) - Assemblies & displays The Department for Education has published ten top tips for parents to support children to read. You can view this resource by clicking the image below: All staff ensure all children are read to by an adult at least once a day and are advocates for book talk. Children enjoy discussing characters, setting and plot and are confident in justifying their opinions. Staff use their knowledge of wealth of children’s literature and spend time showing children how to select an appropriate text in order to increase the chances of fulfilment. Each year group has a carefully selected reading spine as well as a class author and this is a focus of teaching and learning throughout the year.

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Sometimes abbreviated as char, a character is a single visual object used to represent text, numbers, or symbols. For example, the letter "A" is a single character. With a computer, one character is equal to one byte, which is 8 bits. Character is defined as a trait, quality or high moral code. An example of character is someone who is known for being funny. An example of character is a person who is trustworthy. A complex of mental and ethical traits marking a person or a group. Explanation: The typeface are the characters which are used in typing the text of same design. The variations in typeface is known as font. "Characters" included letters, numbers, punctuation and symbols. Letters are characters in an alphabet used to form words. Words are part of a language made up of characters that represent distinctive sounds in their respective languages. In regular expressions, a normal character is an atom that denotes the singleton set of strings containing only itself. One way to classify characters is by examining how they change (or don't change) over the course of a story. Grouped in this way by character development, character types include the dynamic character, the round character, the static character, the stock character, and the symbolic character. In general, a "character" is any mark or symbol that can appear in writing. A "letter" is a character that is part of an alphabet. Basically, a character that represents a sound in the language and that can be combined with other characters to form words. The different types of characters include protagonists, antagonists, dynamic, static, round, flat, and stock. Alternatively referred to as the character set, charset, and character encoding, a character code describes a specific encoding for characters as defined in the code page. ASCII is the basis of most code pages, for example, the value for a character "C" is represented by 67 in ASCII. If we categorize character types by the role they play in a narrative, we can hone in on seven distinct varieties: the protagonist, the antagonist, the love interest, the confidant, deuteragonists, tertiary characters, and the foil. Types of Characters in a StoryProtagonist. Your main character or hero is, naturally, the essential player. Antagonist. This is the villain, the character who opposes and undermines your protagonist. Sidekick. Orbital Character. Love Interest. Confidante. Extras. Foil. To insert an ASCII character, press and hold down ALT while typing the character code. For example, to insert the degree (º) symbol, press and hold down ALT while typing 0176 on the numeric keypad. You must use the numeric keypad to type the numbers, and not the keyboard. In the C programming language, the character set refers to a set of all the valid characters that we can use in the source program for forming words, expressions, and numbers. The source character set contains all the characters that we want to use for the source program text. 9 Types of Characters in Fiction WritingConfidante Character. A confidante is someone or something the main character confides in. Dynamic or Developing Character. Flat or Static Character. Foil Character. Round Character. Stock Character. Protagonist or Main Character. Antagonist. Select Input Torrens Coordinates at the top of the stairs, to the right, and enter the coordinates you have for the Torrens (35, 75). The Indian Chapati/Roti is made using Whole wheat flour and the dough is prepared by mixing this flour with normal water/oil(at times) at room temperature. However, the Mexican Tortilla flour is made using refined flour (Maida) or even maize/corn flour at times. Oikawa was born in Japan on 22 February 1911. She celebrated her 110th birthday in February 2021. Oikawa currently lives in Shintotsukawa, Hokkaidō, Japan, at the age of 110 years, 324 days.

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California Grade1: Mathematics Content Standard 2.5) Show the meaning of addition (putting together, increasing). Students will deepen their understanding of the concept of addition through oral storytelling with the use of manipulatives. They will connect addition stories to math equations, and write the equations. Chart paper with addition poem (Apples), flannel boards with manipulative pieces, white boards and markers, index cards with equations and answers for matching game that have been cut in half. Begin by reading the addition poem, Apples. Tell students that they will be making addition stories using the flannel boards and practicing using three important words (first, then, together). Explain that they will also be writing the equation that goes with the addition story. Using a flannel board, model how to tell an addition story using the three key vocabulary words. Write the corresponding equation on a white board. Check for understanding during the modeling by including students in the story telling. Ask students to tell a story and help with writing the equation. Arrange students in heterogeneous groups of four and give each group one white board and marker. Tell an addition story using the flannel board and ask student groups to work together to write the corresponding equation. Only one student may write, while the other three provide guidance. Have students then pass the white board and marker to a teammate and repeat the process. Continue until all group members have had a turn writing an equation. During this time, circulate and assess student understanding and correct misconceptions among the teams. To help students apply their math knowledge, conduct an inside/outside circle activity. The students on the inside of the circle hold the white board and the marker. The students of the outside circle hold the flannel board. Ask the students with the flannel board to tell an addition story to their inside partner, using the words first, then, and together. As they finish their story, have the partner write the equation to match the addition story. Once complete, instruct the partners to exchange materials and begin again. Repeat this process so that the students have numerous opportunities to practice integrating the content and the language objectives by telling an addition story. Distribute half an index card to each student for a mix and match activity. Half of the students will receive the half of the index card with an equation, while the other half of the students will receive the half of the index card that has the equation's answer. Ask two students to model the trading process by asking, "What do you have?" and replying, "I have six plus two" (or whatever the card says). Next, ask students to reverse the questions, and then have them say,"Let's trade." Conduct the activity and have students begin mixing. Provide enough time so students have a chance to read many of the different equations and answers. Say, "Freeze!" to stop the mixing and then tell the students to find their match. Those who have matched sit on the edge of the rug, while those that are still seeking their match remain in the center of the rug. When all students have found their matches, ask each team to report out their equation and their answer. If desired, repeat the entire process for additional practice.

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When it comes to teaching creatively we use both the heart and the mind in equal measure. .. Writing can be a chore, even the imaginative exercise of creative writing. To open the floodgates of their imaginations, learners can always use creative writing prompts to generate ideas. Regular writing helps improve your learners' creative and analytical skills. With daily practice, the process becomes more enjoyable as they get better and better at it. Below we've got some examples of writing prompts from all over the Web. They're fun and challenging exercises students will love. 4 to 1 Exercise These creative writing prompts come from Kelly Roell at ThoughtCo. Learners come up with four different things: - A specific source of light - A specific object - A sound using onomatopoeia - A specific place When the list is created, students write a one-paragraph story including each of the four items and a single protagonist they create or borrow from another source. Students of all kinds often struggle to understand and manage emotions, and exercises like this can help. These creative writing prompts come from an article about expressive writing featured on Study.com: - Write about your happiest childhood memory. Why is this memory so happy? What did it mean to you to feel this way? - Describe someone that makes you angry. What does the person do to make you feel angry? What does that feel like to you? - Write about something that happened to you that made you feel sad, writing it as though it were a story. - Talk about a time that you felt jealous of someone. What were you jealous about and why? - Was there ever a point in your life when you were truly frustrated with yourself? Describe how the emotion of frustration affected you both physically and psychologically. With this exercise from AuthorityPub, you can write as much or as little as you wish. However, the trick is to not think too much about the answers—try expanding on the first thoughts that pop into your mind. - Who just snuck out the back window? - What were they carrying? - Where were they going? - Who is Ethan? - Why is he crying? - What is he going to do about it? - Whose house is Julia leaving? - Why was she there? - Where is she going now? Prompts for Journaling Journaling is one of the best writing and self-expression exercises out there. It's an ages-old practice that has stood the test of time, and your learners can benefit greatly from it themselves. Here are some creative writing prompts for journaling from Daily Teaching Tools. - Write about going back to school after summer vacation. - Write out the best or the worst day of your life. - Finish this thought: If I could change one thing about myself ... - Design some gadget, machine, building, or other creation that might enrich the future. - You are to tell a person from a distant planet or from another era what pollution is. Make that person understand what causes it and why it is bad. - Begin a list of questions that you'd like to have answered. They may be about the future or the past. - Did you ever break an important promise? - Imagine that you are an animal in the zoo. What type of animal are you? How do you feel about being caged? How do you feel about people that visit and watch you? - Would you rather have a brother or sister? Why? - Describe a fight you had with your mother. Now tell it from her point of view. - If you had three wishes, what would they be? - What is something special and/or different about you? Why do you think it is special or different? - Name and describe a teacher who made a difference in your life. What did that teacher do that was so special? Other Ideas for Creative Writing Prompts - Visit a lyric site like lyrics.com and choose random lyrics from a few different songs. Next, use them to create a conversation between two or more characters in a story. - Use the creative writing prompts on tools like The Brainstormer to help you begin your short stories. - Rewrite a famous tale from Shakespeare or some other historical writer. Your rewrite can be translated into more modern language, and given a different theme or outcome from the original. For example, look at this comedic retelling of the rivalry between Macbeth and Macduff. - Explore these 365 creative writing prompts from ThinkWritten. - Write a letter to yourself in either the future or the past. What are the most important things you'd want to say to that version of yourself? How would you express them? - Create an "alternate history" tale in which the timeline of history is altered by an unlikely event. There are some great examples here at SciFi Ideas. Editor's note: This post was originally published in 2018 and has been updated for comprehensiveness. Originally published Jun 14, 2018, updated October 18, 2021

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Tools to Help Children Develop Visual Perception In this audio-cast, Jenny discusses tools that can be used by teachers, therapists, and parents to help children develop visual perception. Jenny offers presentations, webinars, and workshops for teachers, occupational therapists, speech therapists, and physical therapists. If you are planning a conference and you are looking for a speaker on SPD, please contact Jenny today. Visual perceptual skills are the foundation skills necessary for reading, writing, and math. There are seven visual perceptual skills that impact learning. A student can have deficits in one or more of these subskills. I would like to share with you a description of these visual perceptual skills, how they might impact children in school, and activities to help improve each area of visual perception to enrich learning ability. Visual Discrimination: The ability to discern slight differences between letter shapes, sizes and fonts. This can affect reading comprehension. Activities: Matching game such as Old Maid, Go Fish, scrabble. Visual Memory: Important skill for copying from the chalkboard or spelling. Activities: Memory card game, practice spelling words using a scented marker, then smell the marker just before the test. The olfactory system is linked to memory. Visual Spatial Relationship: Enables discerning between b-d-p-q. It is important in preventing letter reversals and manipulating columns of numbers. Activities: Puzzles, parquetry, tanograms. Visual Form Constancy: It is important in discriminating similar font styles when reading. Can lead to poor reading comprehension and recall. Activities: Find and circle all of the letter “a’s” on a magazine or newspaper page. Then find all of the letter “b’s” etc. Visual Sequential Memory: Affects reading comprehension and spelling. It is important in written organizational skills for creative writing. VSM difficulties may mean that class performance exceeds exam responses. Activities: Use a hand-held electronic speller. Spell words using magnetic letters. Spell words in modeling clay. Visual Figure-Ground: Difficult to focus on tasks without being distracted by extraneous input. May lose things easily in desk and would therefore benefit from organizational aids. May lose place on page when reading. Activities: Use a window guide when reading. Here is one example (Reading Helper 954-752-3692). Hidden picture activity pages such as Highlights magazine, Where’s Waldo or I-Spy books. Visual Closure: Difficulties may affect word identification, seeing words “spl-it”, or omitting letters when reading. Activities: Finish the picture activity books, dot-to-dot (ask child what the picture is before completing it).

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Supporting early language and communication in the younger years is extremely important to develop your child’s mind to their fullest potential. By encouraging early language and communication development, it supports a child’s ability to communicate effectively, a skill that forms the basis of building relationships that they will develop through to adulthood. Practicing early language and communication also supports a child’s ability to not only express their feelings but to also understand them, as well as to listen to others and their feelings, ensuring that their peers feel understood. This article will go into further detail about several experiences you can try with your child to support their language development from an early age, and how you can develop this as they get older to make the most out of their learning. From birth to early years There are many day-to-day communications with your little one that you can take on to support their language and communication development. Exposing them to this will subconsciously develop their skills and encourage a response through learning. By describing what you are doing in day-to-day processes, such as getting dressed or feeding time, it begins to build basic understanding of language, sentence formation, and highlights key words that will be recognised by your child. Pointing out colours and shapes, talking about sounds and using gestures can also be an effective way to develop your child’s learning due to the associations made. When having a conversation with your child, be sure to encourage them to repeat words back to you, as repetition will make the topic of conversation more memorable. You can develop this further through responding through body language and facial communication, as this helps develop understanding of feelings and expression. From toddler to pre-school After the basis of language and communication has been learnt, you as a parent/carer can assist in developing this further. One way you can do so is by encouraging your child to complete full sentences, enabling them to practice structuring a sentence around the key words they feel confident with. For example, if a child says, ‘want drink’, you can extend their sentence and repeat back to them ‘Would you like a drink?’ to demonstrate this. By asking your child questions that include them in making choices, will encourage a sense of independence, allowing them to practice making their own decisions and understanding which they would prefer. There is nothing wrong with using baby talk for a basis of understanding, but by using the ‘adult wording’ afterwards it will assist in developing the understanding of the words proper form as their speech begins to mature. Importantly remember to give your child time to understand what you are saying before speaking further. By talking specifically about what you can see/hear/smell, you will develop your child’s understanding of our five senses as a basis of conversation. This will effectively improve their descriptive skills and build upon their ability to communicate. Singing simple songs and nursery rhymes is also an effective method for developing language in the early years, as it will teach your child the rhythm of speech, as well as gaining the basic understanding of syllables and rhyme. Experiences to take part in Role play is a great way to expand your little one’s language and develop skills through elements of creative play. Not only does role play support the development of speech, but it also plays massively on a child’s imagination and communication, by allowing them to communicate ideas thought up by themselves with no limits or boundaries on reality. By including open-ended possibilities, it fosters thinking as the child has full control of the situation and what it may turn into. Here at Kids Play we love nature-based learning and mud kitchens are one way to effectively implement role play situations, as they give children full control over their play, using imagination to interact with other children and develop their language skills through extended vocabulary. Action stories are stories consistent of action and energy throughout and allow a child to elaborate their imagination through fiction storytelling. Children use gestures to act out their stories and to develop simple language, by pairing a movement with a word to describe the action. Action stories can be about any topic, from simple day-to-day experiences to as creative as visiting space. Children progress their early learning and communication through excitement of telling the story, by forming new ideas, images, and concepts which they bring to life through speech. ‘What is in the box?’ An easy game to play around the house or surrounding outdoors area is a game called ‘What is in the box?’. This game focuses on description to develop language and vocabulary, whilst forming proper sentences about everyday items you may interact with. To play, you simply collect some everyday objects from around the house and garden and put them in a box, before taking it in turns to pull an item out of the box and talk about it. How far you develop this game is up to you and your child’s ability. You can develop this game to include descriptions of our five senses, discussing how it feels, looks, or smells, or simply what it is used for. You can also use actions to accompany or explain the item. For example, a toothbrush and the motion of brushing your teeth. This will help the child to develop their descriptions quicker due to modelling them and incorporating them during play. By including these methods of developing language and communication into your everyday lives and daily routine, you will be accompanying faster and more in-depth development from an early age, allowing your child to continue progression and build upon their communication as they get older. By repeating these methods, children will learn from a young age about the importance of emotion, communication, and expression, enabling them to use these skills day to day. Back to Articles

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As your child begins to show signs of learning, through interactions they experience on a daily basis, you might be mindful as a parent to give them the best learning environment possible. But just what should you do to stimulate your child’s mind? Here’s four simple methods you can try to help develop your child’s learning for a better IQ. #1 Read to them Part of increasing someone’s IQ is through expanding their imagination, and what better way to do this than by the power of books? Reading to your kid helps them create a world of possibilities in their mind, and this strengthens their brain muscle for better development of concepts. Besides the simple effectiveness of verbal storytelling, enhance their learning experience with picture books. Through pictorial guidance along the way, younger ones will be better able to match words to images in their mind, which improves their IQ from an early age. Simple stories with math elements weaved into them also help to expand their abilities for both language and calculus. Learning centres such as S.A.M (Seriously Addictive Mathematics) also provide various programmes for different aged groups with a focus on enriching knowledge through mathematics. #2 Include mathematical topics in your interactions Through your everyday conversations with your little one, they’re already picking up on learning elements. Take advantage of this fact and develop their brain further with mathematical information thrown in casually. Saying sentences like “I will let you watch two cartoons at 6PM”, or “Do you want one apple or two?” firms up their understanding of different concepts. Soon enough, they will react faster to your questions, and even grow to requesting for what they want in specific quantities. #3 Expand their horizons Creativity plays an integral part in improving your child’s IQ, which you can still practice through your own imagination. Turn everyday objects into fun scenarios for your kid, such as making a spoon pretend to be an aeroplane while feeding them, stationery transformed into cartoon characters, or paper planes as fighter jets in the sky. Having various ways to tell stories will certainly make children more receptive to their surroundings and learn better! #4 Let them practice what they watch Whether it’s on traditional television or on YouTube, letting kids watch educational shows that encompass different educational topics in moderation is an easy way for them to learn. After all, didn’t most of us grow up on Sesame Street and Barney and Friends? The ages of 3 to 6 years old are vital for kids’ learning, as that’s when their brain development is at the most. But learning from the TV isn’t sufficient either. Learners should put what they watch into practice, and a small class where they get to hone their new abilities such as counting and telling time will do them a world of favours in improving their IQ.

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Newcomers and SIFE mastering grade level ELA standards? What if they had limited formal education? They can. Our SIFE (Students with Limited or Interrupted Formal Education) are every bit as intelligent as the rest of the class. Their foundational literacy skills (decoding, sight words, etc) will come more quickly if they have the same opportunities for reading as their peers. This post focuses on reading in mainstream ELA classes. A follow-up post will focus on writing. To illustrate accommodations for SIFE & non-English readers, I have received permission to reprint the following blog post from Evan Robb. Evan is an author, a principal , and a public speaker. My background is in ELA so I follow his blog, the Robb Review, closely and recommend it to all ELA teachers. Evan’s background is such that his reading suggestions already include differentiation but for the purposes of this article, I have made annotations with #booksnaps so that the accommodations for SIFE are highlighted: by Evan Robb @ERobbPrincipal Popcorn reading, bump, and round robin reading do not make for great middle school classrooms! Often I am asked what types of reading should occur in a middle school English classroom? Three types or reading should be part of every middle school Language Arts classroom. Reading can and should be taught. An interactive read aloud allows the teacher to model in a think aloud how they apply a reading strategy. This modeling during a read aloud builds and/or enlarges students’ mental model of how a strategy works. For this aspect of instruction, I suggest that the teacher models with a short text that matches the genre and/or theme that ties a reading unit together. Short texts can include a picture book, an excerpt from a longer text, a folk or fairy tale, myth or legend, a short, short story, or an article from a magazine or newsletter. - Making inferences - Identifying big ideas and themes - Identifying central ideas and themes - Locating important details - Skimming to find details - Author’s purposes - Purposes of informational texts (nonfiction) and literature (fiction) - Literary Elements and how each supports comprehension: setting, protagonist, antagonists, plot, conflicts, other characters, climax, denouement - Informational text structures and how these support comprehension: description, compare/contrast, cause/effect, problem/solutions, sequence, question/answer - Word choice as a guide to pinpointing mood or tone - Vocabulary building with an emphasis on general academic vocabulary, figurative language, and comprehension, using roots, prefixes, suffices, discussing concepts, diverse word meanings, and different forms of a word. Instructional reading should happen during class. Students need to read materials at their instructional reading level—about 95% reading accuracy and about 85 % comprehension. Organizing instructional reading around a genre and theme—for example biography with a theme of obstacles—permits students to read different texts and discuss their reading around the genre and theme. As an example, the class opens with an interactive read aloud lesson that lasts about ten minutes and occurs daily. Next, a transition to instructional reading. Find books for students in your school library, your community public library, and in your class library and school’s book room (if you have one). Instructional reading books stay in the classroom, as students from different sections may be using the same materials each day. A teacher can have students chunk instructional texts by putting a sticky note at the end of every two to three chapters. When students reach a sticky note, they stop to discuss their books with a partner and then a group of four. During this stop-to-think time, students can write about their books, connect the theme to the book, and apply strategies and skills the teacher has modeled during interactive read-aloud lessons. Partners should be no more than one year apart in reading levels so they have something to contribute to each other. Students reading far below grade level learn with the teacher. Students should always have a book they are reading independently. By encouraging them to read accessible books on topics they love and want to know more about, you develop their motivation to read! Have students keep a Book Log of the titles they’ve read and reread. Do not ask students to do a project for each completed book, for that will turn them away from reading. A book talk a month and a written book review twice a year on independent reading is enough. Reflecting on independent reading is important; getting hung up on how you will hold students accountable is not very valuable. Remember, enthusiastic readers of any age do not summarize every chapter they read in a journal. Students should complete thirty minutes of independent reading a night, and that should be their main homework assignment. Try to set aside two days a week for students to complete independent reading at school. Reading in a classroom is valuable! Including the three layers of reading into a middle school curriculum brings balance, engagement, and motivation to the curriculum and holds the potential of improving reading for all students. When the teacher models how she/he applies a skill or strategy to a specific text, the teacher provides opportunities for all students to observe how a skill or strategy works. Instructional reading asks students to apply specific skills and strategies to texts that can improve students’ comprehension, vocabulary, and skill because these texts stretch students’ thinking with the teacher, the expert, as a supportive guide. Equally important is independent reading: easy, enjoyable texts that students self-select on topics, genres, or by authors that interest them—texts about two years below students’ instructional level. Give this framework a try. The goal is to increase reading and help students learn how to become strategic readers. Special thanks to Evan Robb for writing such a great article on inclusive reading best practices. Evan and I communicated briefly to be sure we were on the same page about accommodations for newcomers. I feel that this is a great example of how the mainstream and ESL teacher can collaborate virtually in support of our students who are SIFE.

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The Korean War was a war fought between North Korea and South Korea from 1950 to 1953. The war began on 25,June 1950 when North Korea invaded South Korea following clashes along the border and rebellions in South Korea. It ended with an armistice on 27 July 1953. In the midst of a devastating war, the artists put their messages about the war on the canvas with their own colors and perspectives. ‘War painting’ with the theme of war were often produced for the purpose of boosting the morale of the military and glorifying heroes. The Korean War was a desperate issue of survival for most artists, and some painters became active as 'military painters' as a means of preserving survival in the whirlwind of war. Among the war painters who were active in this period, South Korean painter, Sueok Lee(1918-1990) expressed the horrors of war by realistically depicting a ruined city. For the artists at the time, the Korean War was a tragic event for both South and North Korea. In the end, everything is destroyed and everyone suffers together. With an objective view, he expressed the ruins of a town and the common people who survived and made a living in it with a brush. After the war, war orphans worked as shoe polishes to earn a living. At an age where they were in their prime and would be supported and loved by their parents, the war prevented them from enjoying such a stable life. At a young age, they had to go out into the streets with shoe shine bags. Below is a picture of Korean children drawn by the same artist in the 80s. Korea has rapidly restored the ruins of war and achieved remarkable growth. This picture seems to show the situation of the Koreans, who are defending their lives by playing a dangerous tug-of-war despite the threat of North Korea with a desperate desire for peace more than anyone else. In this way, war eventually destroys everything and leaves pain and despair for those who survived. That is why there are no winners or losers in war. Witnessing these results with their own eyes, the painters feel skeptical about the cause and justification of the war. They sometimes speak their voice to the world and the government as a political voice, but in the end they have supported and appealed for peace regardless of their political colours. In the legend, the general of the defeated army kneels on the ground and the winner looks down from the horse, but in his paintings, Justin the loser and Spinola the victor stand on equal footing. Diego Velázquez, a Spanish painter called the painter recognized by the painters and the painter of the painters, also showed the true face of a war with no winners or losers through the painting Surrender of Breda Castle. The painting illustrates the exchange of keys that occurred three days after the capitulation between Spain and the Netherlands was signed on June 5, 1625. Hence, the focus of the painting is not on the battle itself, but rather the reconciliation. Wouldn't it be great if war could be ended and peace could be pursued with a warm hug and a rational agreement like Velázquez's painting? And how grateful we will be if a society that loves, understands, and accepts each other like the paintings of Marc Chagall, who dreamed of beautiful love in an era of war and ruins. Mclver, Gillian (21 April 2016). Art History for Filmmakers: The Art of Visual Storytelling. London: Bloomsbury Publishing. ISBN 978-1472580658. Myungja Anna Koh Risk Weather by Girin Instruments

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How do pupils with dyslexia, or specific learning difficulties, learn best? Rebecca Jenkin offers active strategies to support dyslexic pupils and make a difference to their experience and outcomes at school |There have been times in my teaching career where I’ve struggled to support dyslexic pupils. When I did my teacher training, I don’t think dyslexia, or specific learning difficulties, was even mentioned. In recent years, working as an English co-ordinator in a middle school (where more and more pupils are identified as having dyslexia), I have had to find information and discover what works best in the classroom. This certainly does not make me an expert – far from it – but I now try to support dyslexic pupils using effective strategies that seem to make a difference to their educational achievement, attainment and happiness at school.| What is dyslexia? The word ‘dyslexia’ comes from the Greek dys-, meaning difficult, and -lexia, meaning words or language. Dyslexia affects information processing skills (receiving, holding, retrieving and structuring information) and the speed at which information can be processed. It has an impact on the skills that many pupils take for granted – reading, writing, using symbols and calculating. Dyslexia is not linked to low intelligence. The term indicates a kind of mind that learns in a different way from most other people. The condition appears in all age, race and social groups. I have noticed over the years that dyslexic pupils are often more likely than their peers to have other positive talents, such as creativity, lateral thinking and good visual and spatial skills. I have found dyslexic pupils to be efficient problem-solvers, and they often have good social and verbal skills. I have been able to make a difference in my classroom by harnessing these positive talents. I have found that children can secure knowledge in their long-term memory when the learning is made personal and meaningful. I have used patterns for text types and tried to give pupils the big picture by using a more holistic approach. Often, I link reading and writing to what the pupils are actually interested in, which I find generates enthusiasm and a positive attitude to learning. Dyslexic children can find it difficult to acquire literacy skills, and they often encounter a lot of anguish and trauma because they find learning difficult. As teachers, we can take steps to alleviate this by making sure that we fully integrate a dyslexic child into the classroom learning environment; that we try to make the child feel secure and comfortable in order to develop their confidence and raise their self esteem. If we create a positive climate, the child can feel successful and valued. In the classroom In the classroom, start by preparing an outline of what is going to be taught in the lesson. Use a laminated timeline and write the lesson outline using simple key words. It is important to be explicit – dyslexic learners are often very literal. Always finish a lesson with a resume of what’s been taught to help pupils make the shift from short-term memory to long-term memory. It is important to break tasks down into small, easily remembered pieces of information. Too much writing can be confusing, so if the pupils are copying from the whiteboard try to use a different colour pen for each line. If possible, have the text copied for the dyslexic pupil onto a small board in the colour that the pupil finds easiest to read. An additional way to help dyslexic learners with their writing is to offer models for written work. Writing frames and scaffolds can be used to help with planning, structure and organisation. If possible, encourage dyslexic pupils to use an audio tape or mini-disc recorder. This can be useful to help them organise their writing by recording their initial thoughts and ideas. Audio tapes can be used as a record of the child’s verbal, rather than written, account. Try to find ways that help pupils compose without too many constraints – for example, using a computer. Consider using a scribe. If you are teaching an older year group, I recommend talking to the dyslexic pupil about how they prefer to learn. Learners do not always know how they learn best, so I sometimes have to suggest an approach and encourage the learner to evaluate whether or not it works. As teachers, we need to be very flexible in approach when working with a dyslexic child so that they can find the method of working that suits them best. When working with extracts from texts or a class novel, it is helpful to give the pupils the extracts to be studied before the lesson so that they can familiarise themselves with the text. Invite the pupils to highlight key points and underline unfamiliar vocabulary. This certainly makes the pupils I teach more confident in class; many of them volunteer to read aloud to the whole class. Dyslexic learners find that using a coloured acetate or overlay on the page can help them to read more fluently and improve comprehension. Some dyslexic pupils find it difficult to check and proof-read their work. Aim to offer direction and give the pupils plenty of opportunities to practise. From the experiences I’ve had, I recognise that the dyslexic child needs to be able to separate the two processes of writing and reading. Allow time after a writing task before asking the pupil to proofread the work. Often, the process of proofreading will need to be carried out more than once. The first time, encourage the pupil to look at content and organisation; the second time, ask the pupil to focus on grammar, expression and sentence structure. The final check should focus on spelling. Dyslexics find it difficult to correct their spellings spontaneously as they write, but they can be helped to look for errors that are particular to them. Avoid rewriting pieces of work as this can dishearten a child who has put a lot of effort into the original piece. Promoting good organisational skills Homework should always be written on a board so that pupils can copy it down correctly (use a pen in the colour preferred by the dyslexic child). To help organisation, never leave setting homework until the end of the lesson so that the instructions are hurried. Dyslexic pupils often have poor organisation. Give them time to put away their books and worksheets so that the right materials are taken home. Depending on the school’s homework policy, try to only set homework where it will be of real benefit to the child. Set a limit on the time to be spent completing homework, for dyslexic pupils a task will generally take them longer than a child with good literacy skills. I have a buddy system in my classroom which pairs more able children with less able children. The buddies’ numbers are written in the front of pupils’ homework diaries so that if they are not clear about any aspect of the homework, they can ring their buddy and check what they have to do, rather than worry all evening or complete the work incorrectly. Encouraging a daily routine can help develop the child’s independence, responsibility and self-reliance. Stick a laminated sheet in the homework diary where a daily checklist for the pupil can be recorded to refer to during the evening. Providing the pupils with coloured, labelled folders and dividers can help them to organise their work for different subjects. The more creative dyslexic pupils like to personalise their folders with drawings that mean something to them. This gives them ownership and makes them generally more enthusiastic about using the folders. One of the most positive ways to raise self esteem is through how you mark work. Try to give credit for effort as well as achievement so that a dyslexic child who tries hard gains self-assurance. When marking creative writing, give credit for the context. Positive comments in pencil or green ink are much less off-putting than work covered in red ink. Having fun and enjoying learning Brain Gym activities, a series of simple movements developed to enhance whole-brain learning, are enjoyed by all pupils. Brain Gym is said to make all types of learning easier by processing all parts of the brain, through movement. I often incorporate these activities, which are widely available online, into my starters, so that pupils feel warmed up and ready to learn. Since I’ve been incorporating more Brain Gym in my classroom, the performance of dyslexic pupils has improved. Everyone can benefit Teaching dyslexic pupils highlights the need for more varied learning within a classroom. Often the strategies used, including structured and systematic techniques, can be of value to all learners in the class. Use a range of multi-sensory approaches with auditory, visual and kinaesthetic elements that serve to reinforce each other. Try to see the whole child, and understand their strengths and weaknesses. Understanding a pupil’s particular difficulties can enable a teacher to adopt teaching methods and develop strategies to help the dyslexic child to be fully integrated into the classroom. Teaching dyslexic pupils highlights the need for more varied learning within a classroom. Often the strategies can benefit, and be of value to, all pupils

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The word ‘Hyperbole’ is a Greek word which stands for ‘excess’. The word ‘Hyperbole’ works in a way that it uses extreme exaggeration to focus on a certain sentence or a point. In simple words, the meaning of ‘Hyperbole’ can be understood as the opposite of ‘understatement’. We can find the examples of these words in daily speech and literature works too! I am so angry, I will turn everyone’s world upside down. In this statement, we can see that the person who is angry, cannot literally turn anyone’s world upside down, in fact, nobody can. But, the statement is used to show that the person is extremely angry. How can you pronounce Hyperbole? It looks easy but its is a bit of a difficult task to pronounce the word ‘Hyperbole’ correctly. But in the simplest way, the word can be broken down into four parts which makes it easier to pronounce. The pronunciation of Hyperbole goes like HYE-PER-BUH-LEE. The last section of the word i.e (bole) may sound like ‘bowl’ but if looked at it carefully, it is divided into two syllables: buh-lee. What are the Uses of Hyperbole We use hyperboles in literature, rhetoric, and regular speech and in a majority of times, we do not use these kinds of words in nonfiction works like research papers, review papers, and even reports, however, they can be used in the department of creative writing and communication where we can add some dramatic effect to a story. Remember that the ‘understatement’ is the opposite of the word and synonym for the word is ‘overstatement’. Difference between Hyperbole, Metaphor, and Simile When compared with simile and metaphors, the main meaning of the Hyperbole words are serious exaggerations and overstatements that should not be taken literally. Very often, Hyperboles are used to show contrast and even catch the readers’ attention. Hyperboles can be used to add a dramatic or serious effect. To add an emphasis, it all depends on the statement – how to use it and which context to use it in! To receive the best out of Hyperbole, we will need to see what is getting described in the same (feeling, quantity, etc.) or does it sound natural, or does it makes sense! - Without hyperbole: She is taking a long time to come to the party. - With hyperbole: She is taking forever to come to the party. - Without hyperbole: She has a lot of work to do today. - With hyperbole: She has tons of work to do today. If you have noticed in the above statements, there are certain words that have been used to make it look dramatic. A person cannot take forever to come to a party and similarly, nobody gets tons of projects to complete in a day. Please note these kinds of statements are not be taken literally, the main purpose of them is to add poetic effect and drama. Contrast between situations can be shown and humor can be depicted with such types of statements.

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Waldorf education teaches the whole child – head, heart, hands. Special subjects include French, Music, Handwork, Woodwork, and more, all working with the appropriate curriculum to provide a balanced education for the mind and body. Students in classes 1-8 have handwork lessons each week in which they develop the patience needed to learn new, complex skills and experience the joy of bringing each new item to completion. - Natural fibres are used to create beautiful, useful items - Perseverance is learned as months of work are needed to complete each cherished project - Fine motor skills are developed as students learn to knit, crochet and sew - Finger dexterity leads to healthy brain development as cross-stitch and embroidery are learned - Creativity is fostered as soft dolls and animals are designed and carefully sewn - Independence is fostered as students learn to read patterns and create their own clothing using the sewing machine Students in Class 5-8 have woodwork once a week. We have a well equipped shop to create and finish simple wooden projects. Many students use saws and shaping tools to begin their project. Rasps and sandpaper are used to smooth the wood. Oil finishes and paint are used sometimes to enhance the wood. The students learn: - Wood Selection: many domestic woods are used to create projects - Creativity: students learn how to design and draw form shapes on paper and transfer to wood pieces - Tool Usage: students learn how to safely and efficiently use hand tools - Projects: these range from wheeled toys to swords/shields, spoons and bowls, and small furniture pieces Although music is part of the daily experience of a Waldorf student in their classroom, students in Grades 3 – 8 have music class twice a week. The Grade 6, 7, and 8 students will additionally participate in choir together once a week. - Collaboration: Children practice working with others to achieve a common goal. - Language: Speaking the language of music with notation, intervals and modalities deepens their understanding. - Feeling: Experiencing harmonies opens a child to their feeling life. - Discipline: Achieving skills of learning musical instruments will bring a healthy development of structure to the individual. - Creativity: Students will have opportunities to explore music composition, along with developing their own harmonies. Each week, students in class 5 to 8 physical health education classes, students develop physical capacities, skills, teamwork strategies and individual movement and stretching techniques. - Versatility and perseverance are nourished in students so they can develop skills in different spheres of activities. - The Silverking gym is well-equipped, with a quality floor for activities, games and sports. - The equipment room is filled with sports and games material to explore movement, strategies and skills. - The Forest offers students a space to move and play In nature. Trail running, snowshoeing, and forest games are some of the students’ favourites. - Sense of adventure and community connection are at the heart of the Ski program is an occasion for students to explore winter adventures and connect with the broader community. - Health and well-being are fostered in the curriculum with the support of both the PHE teacher and the class teachers. Learning French provides a rich experience exploring culture, language, and how they are connected, as well as provides a base for learning other languages. - Class 1-3: French is introduced through songs, games and storytelling, developing a child’s imagination and listening skills - Class 4-5: the curriculum becomes more practical. Students learn casual and formal conversational French - Class 6-7: Speaking, writing, and reading are practiced in a more formal manner, and students write and perform their own skits - Class 8: Real-life applications of speaking a new language is explored. Students explore where French is spoken, and how and why language enriches our lives. Special Subjects Teachers

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Mountain Math Worksheet What is a worksheet that requires students to write their own wordstory problem? Students are required to write their own wordstory problem and then use equation circle drawing comparison bar and math mountain to show their understanding in this activity. It's great for 1st and 2nd graders. There are top 8 worksheets found for this concept. First grade. What is Mountain Math's name? She started Mountain Math, LLC in 1991. Word spread and now Mountain Math can be found all across the country and the world as teachers and students enjoy the benefits of daily review. Mountain Math is known for its daily review in math, but also in language and science. What is the name of each worksheet? There are a variety of practice problems connected to 3rd, 4th, and 5th grade math standards. The concepts include: Place Value, Rounding, Subtraction, Multiplication, Division, Fractions, Decimals, Customary, and Metric Systems. What is the study of mountains called? Orography is the study of mountains. The study of mountains on other planets is called exogeology. A mountain is a landform that is elevated above the surrounding land. There is no universally accepted definition of a. Most people know one when they see one. What is the topic of teaching about? The topic of mountains can be used in math, science, social studies and creative writing. There are additional teaching resources dedicated to the topic of teaching about. How many books & videos are available for kids? Over 40,000 books and videos for kids can be accessed instantly. What is the name of the teacher who said Mountain Math helped me master basic skills needed for second? What teachers say about Mountain Math and Mountain Language. It helped my students master the basics. It takes minutes a day and provides a strong routine for the kids. When my membership ends, I will renew my membership. Tracy Rivers is a person. What is the name of the quiz/worksheet combo? About this quiz. You can use this combo to test your knowledge of a mountain range. What is a peak of a mountain range? A mountain range usually has a peak, which is a pointed top. Mountains have different climates than land. What is the name of the teacher who is teaching students with moderate and severe disabilities? What teachers are saying about Mountain Math and Mountain Language? I teach students with moderate and severe disabilities and it has been a great learning tool. Karen Harlow. Quick order form download. What is the name of the school subject? Language: English School subject. Add to my classroom, add to Microsoft Teams, and add to the list. What is long? English live worksheets. What is it? What is it? What is it? What is it? The person is identified as 1854959. The language is English. School subject is math. The grade is 2. The age is between 6 and. What is a polygon? What is a Polygon? The high school LEAD students have significant gaps in their learning. What is the Color Pink? English live worksheets. What is the color pink? The boxes next to the pink objects will be clicked on by students. The person is identified as: ID: 1641675. The language is English. School subject is math. The grade is Elementary. The age is 10. The main content is colors. Have something to tell us about the gallery?

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The Maker Movement is inspiring thousands of young people across the nation to tinker with and tackle problems involving design, engineering, and programming. There is a strong sense that young makers are accomplishing much more than producing objects—they also seem to be acquiring a host of valuable knowledge and skills. Because making is a relatively recent phenomenon, there are not yet frameworks in place for identifying and documenting these benefits to youth. What are makers learning? How is making changing the way young people engage in science, technology, engineering, and math (STEM)? The New York Hall of Science (NYSCI) has been at the forefront of embracing authentic approaches to STEM learning that engage young people’s desire to explore, create, build, and make. NYSCI embraces a triad of universal, freely chosen methodologies called Design-Make-Play (DMP), which young people use to investigate how “real stuff” works in order to solve problems, build devices that improve, and repurpose the creations of others. The focus on “how stuff works” overlaps extensively with the processes that lead to creative thought and innovation in STEM learning. As the host site for World Maker Faire, NYSCI has been convening national leaders to converse about learning and engagement as they relate to young people’s passions about making. NYSCI hosted a series of annual conferences; the first two yielded learning frameworks related to DMP methodologies. The third built on the previous meetings and took a critical look at how to describe and document the learning that takes place when young people make. The symposium brought together nearly 150 makers, funders, educational researchers, educators from K–12 and informal settings, museum and community-based leaders, and policymakers. The aim of this national symposium was to craft a strategy for documenting the variety of learning and engagement that making methodologies foster. A distinguishing feature of the symposium was the creation and sharing of a collection of young maker profiles, produced during Maker Faire by six experts known for their creative approaches to learning and assessment in STEM fields. Guided by the DMP learning framework generated during the previous symposium, each expert assembled a profile of an individual or a group of makers in which they examined the makers’ work and thinking. The profiles included images, videos, written descriptions, interpretations, and reflections on DMP. During the symposium, the participants were asked to apply their expertise and experience to reflect collaboratively on the young maker profiles. What resulted was the emergence of four focal points that highlight the affordances of the DMP framework. (1) Motivation and Persistence. The young maker profiles suggest that makers develop the confidence to view failure as a necessary step in the iterative process of design, in which acquiring the ability to evaluate one’s own progress is a natural outcome. The ability and desire to persist in the face of challenges also emerged from all the profiles and took various forms, including investments of many hours and a search for solutions that required multiple attempts. Another distinguishing feature of making is the role that personal choice and initiative take in driving learning—the makers who were the focus of the profiles were there of their own accord, rather than as a result of externally imposed pressures. Because maker projects are fueled by personal interest, they have the potential to engender interest. (2) Context and Support. The profiles and meeting deliberations revealed the importance of context for enabling young people to engage in making, as well as for attending to equity considerations. All the makers benefited from supports, whether from their family, schools, or afterschool clubs. Supports include the provision of materials, intellectual constructs, emotional encouragement, and/or opportunities to explore through making. (3) Process, Problem Solving, and Learning. The essence of making is doing what it takes to first articulate and then solve a problem, including seeking support and new information. Within the diversity of maker projects and the variety of challenges encountered, makers acquire and draw upon a wide range of general and content-specific skills and knowledge to solve problems. Moreover, in contrast to so much formal instruction in which topics are learned and then left behind, the ability to apply strategies learned in an earlier project to the project at hand is a cumulative skill that grows with the maker’s experience. Whether novices or experts, the makers all took pleasure in hands-on learning in which they physically engaged with the processes and products of making. (4) Storytelling and Sharing. The makers also had in common a desire to share their experiences with a broader community. They were eager to share their process as well as their challenges, and eager to offer advice and to seek it. Identifying and communicating the challenges of each project required makers to hone flexible and effective communication skills. There was even evidence that some young people, who would otherwise be less inclined to engage socially, had found a context in making that promoted their participation in a broader social community. This research has led us to envision a tool that will honor the sense of efficacy and agency that young makers bring to their work, while at the same time supporting opportunities to document the benefits that accrue through DMP engagement. The NYSCI Maker Space has developed an approach to creating maker activities informed by the DMP framework. The approach—a work in progress—focuses on investigating the materiality of objects and exploring the potential of tools. For More Information

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A study of the geographic areas of South America, with an emphasis on Brazil. Students explore history and its influence, government, economics, and society and culture. South America unit contains 13 learning experiences. Learning Experiences (Lessons) in South America Each learning experience takes about 45 minutes to teach in the device-enabled classroom. Northern and Central South America: Geographic Passport Students are introduced to the physical geography of Northern and Central South America. They identify the countries in this region and explore a map with political, physical, population, and climate layers, and compare and contrast the countries. Then they select two countries and compare and contrast their natural resources as well as the impact of those resources on the economy. Finally, they do independent research on environmental issues in the region. Northern and Central South America: History and Its Influence Students learn about early agricultural engineering in Bolivia. Then they explore the Spanish conquest of South America. Next, they learn about Simón Bolívar and the role he played in driving the Spanish out of South America. Finally, students research and create a history timeline for one of the countries in the region. Northern and Central South America: Government and Economy Students explore the connection between the natural resources and economies of several of the countries in this region. Then they do additional research on these natural resources to understand the kinds of jobs that are associated with them. Finally, students learn about Juan Manuel Santos, the Colombian president who won the Nobel Peace Prize in 2016. Northern and Central South America: Society and Culture In this experience, students are introduced to the storytelling tradition of Latin America, particularly Colombia. They listen to a Colombian children's folktale and compare it to one they know. Then they learn about Gabriel García Márquez and magical realism and read the first paragraph of one of Márquez's stories. Finally, they do their own research to identify other elements of Colombian culture. Southern Coastal South America: Geographic Passport Students are introduced to the physical geography of Chile, Argentina, and Peru. They create a geographic passport of the three countries. Then they focus on the Andes Mountains, the Pampas, and Patagonia and the physical features, the climate, and the human population in each region. Students then pick a location in the region that they would like to visit and they explain why. Southern Coastal South America: History and Its Influence Students are introduced to the Inca Empire by first exploring Machu Picchu. Then they learn about various elements of life in the Inca Empire. Next, they focus on the Spanish conquest of the empire by Francisco Pizarro and explain how he was able do it with so few soldiers. Finally, students explain what they would most like to see and understand about Machu Picchu. Southern Coastal South America: Government and Economy Students explore the government and economy of Chile, Argentina, and Peru, noting historical influences. In small groups, they do additional research on one of the countries to create a report. Finally, they consider the role of tourism in the Patagonia region and create a tourism brochure for people their age. Southern Coastal South America: Society and Culture Students learn about the long tradition of gauchos and cattle herding in Argentina. Then they research and explain the traditional way that this cattle and other food is prepared and served in Argentina. Finally, they consider the positives and negatives of the isolated way of life of the gaucho. Brazil: Geographic Passport In this experience, students are introduced to the physical geography of Brazil. They learn about four landscape types in the country. Then they focus on what the Amazon rainforest is, why it's important, how it is threatened, and what possible solutions are. Finally, students research and explain the threats to the coastlines and beaches of Brazil. Brazil: History and Its Influence Students begin by learning the early history of Brazil, including that of its native population. Then they explore and explain the impact of the Portuguese colonization and independence, researching a specific era in Brazil's history. Finally, they consider the impact of the slave trade on Brazil. Brazil: Government and Economy Students are introduced to the importance of coffee to the Brazilian economy. Then they read and note important features of the Brazilian government and economy, comparing them to features of the United States. Next, they learn about the development of sugarcane-based ethanol in Brazil, which has made the country independent of foreign oil. Finally, students brainstorm ideas for using natural resources to solve problems in their own communities. Brazil: Society and Culture Students learn about the culture of the river dwellers along the Amazon River. Then they explore the Afro-Brazilian influence in Salvador. They research cultural features and challenges in Salvador and present their findings. Finally, they are introduced to some of the etiquette and customs of Brazil and describe them in a letter.

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We all know that during the holiday season it is harder to engage our students. Using holiday and seasonal activities helps to get over that hurdle. These Christmas writing activities will have your students focused and engaged while working on important writing skills. Writing Activities that Engage Engaging students in writing can be tough, holidays or no holidays. There’s something about a blank piece of paper and a really broad topic that overwhelms students. By just taking these away and changing up the methodology we can grab their attention and get them focused on writing. Shorter writing activities are also a great way to really focus on one specific writing skill. Once students have practiced the concept, it is then easier for them to incorporate their new writing skill into larger writing assignments. These Christmas themed flip books are a great way to engage your students with the holiday writing and help them work on a variety of writing and language arts skills. The small, mini flip book format makes them something fun and exciting for students too. Inside this resource you will have 6 mini-books to engage your students in different types of writing. These no prep writing activities include directions so your students know just what to do. A great resource to whole class writing or adding to the writing center. Here’s what your students will work on using these Christmas writing activities. 1. Descriptive Writing Fun Many of the writing activities in the Christmas Flip Books will help students work on improving their descriptive writing skills. Starting with brainstorming adjectives that relate to the topic, students can practice adding these words into their sentences. By connecting the descriptive writing to something that students have experienced with multiple senses, they process of thinking of describing words is easier. This flip book on My Christmas Tree is a great example. On two of tabs in this mini-book, students will focus descriptive writing. They will start with listing adjectives to describe their tree. Then they move on to using adjectives in sentences as they describe the ornaments. Three of the 6 mini-books have descriptive writing activities. This allows students to have multiple opportunities to practice this important writing skill. You can find the descriptive writing activities in the My Christmas Tree, A Christmas Bakery and the Wrap It Up mini-books. 2. Writing and Supporting Opinions Another important life skill we can teach our students is that of thinking through why they have opinions. It is one thing to have an opinion, we all have them, but it is another to be able to explain why we have an opinion. As our students get older, they transition from just believing what they are told to developing their own opinions. But being able to think through and explain why we have those opinions is an important part of that. Helping our students learn that “just because” or “I don’t know” are not good reasons. Using the Christmas flip books, students will work on stating their opinions and explaining why they have that opinion. It might be their favorite Christmas ornament in My Christmas Tree, explaining what gift they would give to someone in Great Gift Giving, or writing about their favorite Christmas Carol. All opportunities to practice writing and supporting their opinions. 3. The Power of Persuasion Learning how to write persuasively is another great skill we can teach our students. Whether they have a future in advertising, the courtroom or public service, being able to lay out a well crafted, persuasive plan is great life skill. Using the Christmas mini-books, students will practice their persuasive powers. Practicing persuasion takes a couple of different forms in these mini-books. In A Christmas Bakery, students will create an advertisement for the bakery. This is a great way to learn how images and words can go together to persuade. Additionally, in My Christmas Tree students will write to try to persuade someone to come and see their decorated tree. 4. How to Writing Another writing skill your students will work on is how to writing. Being able to clearly and concisely write steps or instructions is an important skill for our students to develop. Using the Christmas mini-books your students will have the opportunity to practice how to writing about activities they have already done in real life. The Wrap it Up mini-book will have your students writing about how to wrap a present. Here students will include a list of needed supplies in addition to writing the steps. What’s great about this activity is that it is really simple to set-up a hands-on gift wrapping station so that kids can experience it before they write about it. Using recycled newspaper, construction paper or wrapping paper, students can practice before writing. You can also use the hands-on gift wrapping station to have students “test” their steps. Working with a partner, students can read one step at a time while the other person completes the action. Make sure to have students do exactly what was said – no reading between the lines allowed. This activity is a wonderful way to help students see how they can be more specific with their words. Here’s an example of this type of activity done with how to writing for making a peanut butter and jelly sandwich. As you can see, this type of activity really helps students to think about their words. It’s great for a whole class lesson as an engagement activity, but it’s also great to put the final writing to the test. I don’t know about you but a gift wrapping station is a lot less mess than PB&J! More Christmas Writing Fun Too! While these activities cover many important writing skills, there’s more too. Students will have opportunities to do some creative writing in A Christmas Bakery, and practice word variety in Christmas Carols as they work on synonyms. There’s also a fun flip book with word puzzles and a chance to write out their Christmas list. Your students will love writing this holiday season with these Christmas Flip Books. And you, well you will love just how easy it is to engage your students in working on a variety of writing skills during the holiday season. You can grab these Christmas Flip Books in my store on Teachers Pay Teachers. Looking for More Christmas Learning? Between my love of Christmas and my desire to engage students, I have a variety of fun learning activities that are perfect for this time of year. Here’s just a few that I know you and your students will love. - Christmas Writing Prompts with a Gingerbread PBL Twist - 5 Fun Christmas Math Worksheets for Upper Elementary Classrooms - Christmas Activities for Kids - Christmas Tree Challenge: A Christmas STEM Activity - December Reading Activities for Upper Elementary Pin it to Save it! You might need these resources now, or you might have found your way here in July. Either way, just pin this to your favorite classroom Pinterest board so you can come back any time for fun and engaging Christmas writing activities.

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Evaporation happens when liquids turn into vapors. You can often see water evaporate on a hot day. In addition, there are fun and simple evaporation experiments you can do at home to learn more about the process. Read on and try the following evaporation science experiments. Experiment With Covered and Uncovered Jars Fill two identical mason jars with water. Leaving one of the jars uncovered, cover the other one with an improvised aluminum foil lid. Make the lid as secure as possible. Then, take the jars outside and place them both in an equally sunny spot. Draw a picture of the jars, noting the current water levels. Return to the experiment every day for the next week to observe and draw the current state of the water jars. You will observe that the water in the uncovered jar “disappears” more every day, while the water in the covered jar evaporates at a much slower rate because the evaporation process gets blocked by the aluminum foil. Experiment With Sun and Shade After filling up two identical bowls with water, take them outside and locate a spot where direct sunlight and shadow stand side by side. Place one water bowl in the direct sunlight, and the other beside it in the shade. Observe both bowls and use pencil and paper to illustrate current water levels in each bowl. Return to the experiment every hour for the rest of the day, continuing to make observations and illustrations of the water levels. You will see that the water in the bowl placed in direct sunlight evaporates much more quickly than the shaded water due to the higher levels of heat, which increase molecular activity in the water, thus expediting evaporation. Experiment With Wet Cloth Wet two identical pieces of cloth and wring the excess water out. Place one of the pieces of cloth in an airtight plastic bag. Place the other piece of cloth in an open tray. Position both items near a window with plenty of sunlight. Make predictions regarding which item will dry up first: the cloth in the sealed bag, or the one exposed to the air. Leave the items by the window overnight. When you return to the experiment the next day, you’ll see that the exposed cloth dried up, while the one sealed inside the bag remains moist. This is because the water molecules in the sealed cloth can’t escape into the air like the ones in the exposed cloth. Experiment With Salt Water Add a decent amount of salt to a large glass of water. Then, pour the salty water onto a sheet of black construction paper placed inside a baking tray. If necessary, weigh down the paper with rocks or waterproof paper weights. Place the tray outside in a beam of direct sunlight. Predict what will happen to the water and salt. In a few hours, return to the tray to discover the outcome of the experiment. You will see that the water is gone, and that the salt remains on the black paper. The water disappeared due to the process of evaporation, but the salt stayed because it would require a lot more energy than provided by the sunlight to fully evaporate. About the Author Bill Reynolds holds a Bachelor's degree in Communications from Rowan University. He has written hundreds of articles for print and online media, drawing inspiration from a wide range of professional experiences. As part of the UCLA Extension Writer's Program, he has been nominated for the James Kirkwood Prize for Creative Writing.

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What are expository essays The concept of an exploratory essay is that you start without an end in mind. You don t necessarily know how you feel about a subject or what you want to say about the subject, you allow the research and your own direction to determine the outcome. This is writing to learn rather than writing to prove what you know. Purpose: The exploratory essay. The Modes of Discourse—Exposition, Description, Narration, Argumentation (EDNA)—are common paper assignments you may encounter in your writing classes. Although these genres have been criticized by some composition scholars, the Purdue OWL recognizes the wide spread use of these approaches and students’ need to understand and produce them. Rhetorical modes (also known as modes of discourse) describe the variety, conventions, and purposes of the major kinds of language-based communication, particularly writing and speaking. Four of the most common rhetorical modes and their purpose are narration, description, exposition, and argumentation. The purpose of narration is to tell a story. Definition: A pedagogical term for any form of writing that conveys information and explains ideas: exposition. As one of the four traditional modes of discourse, expository writing may include elements of narration, description, and argumentation, but unlike creative writing or persuasive writing, its primary goal is to deliver information about. How to Write an Expository Essay Four Parts:Planning Your Essay Introducing Your Essay Expressing Your Main Points Concluding Your Essay Expository essays are often assigned in academic settings. In an expository essay you need to consider an idea, investigate the idea, explain the idea, and then make an argument. While it may seem overwhelming. The purpose of the expository essay is to explain a topic in a logical and straightforward manner. Without bells and whistles, expository essays present a fair and balanced analysis of a subject based on facts—with no references to the writer’s opinions or emotions. A typical expository writing prompt will use the words “explain” or “define,” such. If you search the Internet for a definition of an expository essay, you might become confused. Some books and websites define them as how to essays, while others give a long and confusing definition that seems to include every possible essay type out there. Expository essays are simply essays that explain something with facts, as opposed to. Expository essays are simply essays that explain something with facts, as opposed to opinion. This writing assignment could tell a story or provide instruction. essayinfo.com/essays/expository_essay.php The concept of an exploratory essay is that you start without an end in mind. You don t necessarily know how you feel about a subject or what you. Expository writing or essay is defined as , “A statement or rhetorical discourse intended to give information about or an explanation of difficult material ”. or “A form of writing which intends to define, inform, explain, elaborate and expound the author’s subject to the reader ”. The intention of an is to present, reasonably and absolutely, other.

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The use of figure of speech in creative writing gives ideas or sentiments a unique perspective. It involves a deviation from the more commonly used form of word order or sentence construction. Writers usually employ such figures of speech embellish their composition. This article is attempted to throw light on various figures of speech that will help you realize how you can craft your writing to meet your expectations. It is a specific comparison made by means words such as “like” or “as” between two kinds of objects. “Reason is to faith as the eye to the telescope”, an example of simile. It uses a word or phrase denoting one kind of idea in place of other word or phrase in order to suggest a likeness between the two. It involves a series of ideas that suddenly diminish in importance at the end of a sentence or passage. It is used to bring satirical effect. It is a juxtaposition of two words, phrases, clauses, or sentences contrasted in meaning to offer emphasis to contrasting ideas. “To err is human, to forgive divine”, is a fine example of antithesis. It is an arrangement of words, clauses, or sentences in the order of their significance. The least powerful comes first and the others. “It is an outrage to bind a Roman citizen; it is a crime to scourge him; it is almost parricide to kill him; but to crucify him-what shall I say of this?” This particular example rightly tells what climax means. It is an elaborate and often extravagant metaphor. It makes an analogy between totally dissimilar things. The term originally means concept or idea. Conceits were widely used in the 17th-century metaphysical poetry. In “A Valediction: Forbidding Mourning”, John Donne uses it where the image of the joined arms of a pair of compasses is used to demonstrate the attachment of a pair of lovers; even when one makes s move, the two are attached closely being one. It involves substitution of an inoffensive term or phrase for one that has coarse or sordid unpleasant associations, for instance in the use of words like “toilet” for “lavatory”, and “pass away” for “die”. It is a form of inordinate exaggeration. It means a person or thing is portrayed as being better or worse than the actual one. For example, “Dr. Jonathan drank his tea in oceans”. It is humorous or lightly sarcastic mode of speech. Words are used here to convey a meaning contrary to their literal meaning. It involves representation of inanimate or abstract ideas as living beings. The sentence, “Necessity is the mother of invention” can help you make out this idea better. The close study of these figures of speech will help you understand the sense of crafting your ideas and imagination in creating fine piece of literature, poetry or other mode of writing.

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Using Screencasting Software to Improve Student Learning A screencast is a digital video and audio recording of what occurs on a presenter's computer screen, and it can be used to create sophisticated, information-rich multimedia presentations. The word "screencast" was first coined by columnist Jon Udell in 2005. Udell first used the word in an article published in InfoWorld, describing the benefits of using this technique to show his readers how computer applications worked. In a screencast, the presenter records all the screen activity and images continuously to complete a designated task. Audio can be recorded simultaneously or afterwards in postproduction along with sound effects and music tracks. Screencasting can be integrated across the curriculum and into many learning activities. Screencasts are an effective instructional format that can be used for tutorials, demonstrations, digital storytelling, and narrated PowerPoint presentations. During the video editing process a variety of media can be imported into a screencast project, such as video clips, photos, music, and animations. Screencasting is a multimedia alternative to video recording, is easy to use, and helps fill a need for dynamic, engaging content. As computer technology continues to evolve and advance, many teachers from K–12 and higher education use screencasting as an online or stand-alone teaching tool with traditional teaching approaches to enhance and engage the learning experience of their students. Sugar, Brown, and Luterbach noted that screencasting as an instructional strategy may be viewed as a modern descendent of instructional film and video. A screencast can include many multimedia elements — music, sound effects, audio, and graphics — along with text, making any content topic engaging while also appealing to different learning modalities. Mayer's theory of multimedia learning suggests that animated presentations that have a corresponding audio component, essentially moving picture and sound, provide a more effective learning experience than a more traditional alternative (e.g., a sequence of still images accompanied by descriptive text). Screencasting has emerged as a prominent teaching tool on the Internet. There are several advantages for both the instructor and the student. For the teacher a screencast is an efficient and effective means of describing a step-by-step process, explaining a particular concept, or presenting a PowerPoint presentation with narration. Teachers have the ability to craft succinct and concise presentations because each screencast can be edited. The inclusion of video-based instruction in online environments, such as screencasting, can have positive effects on student learning and can be pedagogically equivalent to their face-to-face instruction counterparts. For the student, screencasting allows them to learn by example, seeing for instance a step-by-step sequence in great detail or viewing a screencast video directly related to lesson content. In addition, students can watch a screencast video anytime, anywhere and have complete control of the lesson, which means they review any part of the presentation as needed. Screencasts can be delivered via streaming or downloaded in their entirety for later viewing. The ability to pause or review content also gives students the option to move at their own pace, which is not always feasible in the classroom. Screencasts are excellent for those learners who just need an aural as well as a visual explanation of the content presented. Screencasting is a perfect medium to explain difficult technical concepts to anyone with a non-technical background. Teachers can also use screencasting for a variety of other classroom activates such as reviewing lesson content and presenting online lectures and professional development. Source: Michael Ruffini, EDUCAUSE Review

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How to Use Chronology When writing, establishing a chronology can be relatively easy, especially in fiction, when the timeline of events is completely up to you! Overall, the best way to establish your work’s chro-nology is by creating a timeline of events. Start at the beginning and work your way to the end, being sure not to forget any important dates, events, or occurrences that are relative to your story. After that, you can decide how the timeline fits in with the way you want your audience to un-derstand the story. Ask yourself several questions: - Is a sense of time crucial to your work? - If so, to what extent—Historical period? Century? Decade? Specific date and time of day? - Is the order in which things occurred essential to the plot? - Are you trying to share a sequence of linked events? - Are you trying to show a chain of cause and effect? - Which events in your timeline are relative to the big picture? - Are any events not important enough to cover thoroughly, but at least need to be mentioned? In general, you need to think about context when developing a chronology—what about your timeline is crucial for the audience and your work? What can be left out, and what can’t? Ulti-mately, it is up to you and your creativity to decide how your audience will understand the time-line of your work. When to Use Chronology Basically, you always need to at least consider chronology when writing, in one way or another. When you are sharing any type of event or sequence of events, the timeline is important in just about every case, across all genres of both fiction and nonfiction. Of course, it is particularly important to establish a timeline of events when storytelling—that’s how we ultimately develop a plot! Your readers need some perception of time to follow what is happening, and the easiest way to assure that is by putting things in chronological order. Even if you decide to share events out of order, you as the author need to know when and how they hap-pened so that you can share them with your readers and avoid making mistakes with your story-line or characters. Let’s think back to the baseball player example—if the focus of your story is about how a rookie becomes a star, you could still begin by showing him hitting a home run on the field, and later show the steps it took to get him there. But imagine if in the beginning, your rookie character is also shown as being popular because he’s been partying all summer. Only, during all his practicing, he actually missed all the parties. It would be confusing to your readers and show a conflicting character, instead of a hardworking rookie. But this would be avoided if the timeline is well-developed before the story is composed. Since the theme is about the player’s road to fame, it’s also crucial to show how one thing causes another—the cause is that the boy is dedicated to practicing and sacrifices all other activities over a period of time, and the effect is that he becomes a great player and finally makes the baseball team. So even when “beginning with the end.” you still need to have an idea about the story’s chronology. What’s more it’s just a great starting point when you’re developing a piece of fiction!

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A colon is a versatile punctuation mark consisting of two ubiquitous dots. Colon usage, despite being common, is often misunderstood. Read on to know more about how to use a colon. Usage Of Colon A colon is a punctuation mark which has two equally sized dots placed vertically above each other. This punctuation marks discontinuity in a grammatical construction and the pause it introduces is of intermediate length - something in between a semicolon and a full stop. It aids in notifying the reader that the forthcoming information is vital and elaborates what has been said before the colon. This punctuation mark was introduced in English orthography around the 1600s. John mason, an author of the 1700s prescribed in his essay "An Essay On Elocution", "A comma stops the voice while we may privately tell one, a semi colon two; a colon three: and a period four." Math, science and technical documentation use colons extensively. In creative writing, the use of colons is more in scripts. The following section clearly defines the methods and techniques of using this punctuation mark. Go through the points and brush up on these fine details. How To Use A Colon As with all other punctuation marks, a colon can be used effectively in many different ways. The colon informs the reader that what follows in the sentence proves, explains or lists out the idea behind what was stated before the mark. A significant Italian scholar Luca Serianni defined and developed the colon. He identified four modes for it, viz. syntactical-deductive, syntactical-descriptive, appositive and segmental. Although this categorization was meant for the Italian language, it can also be well integrated into English. Besides these four main uses, the colon has many other small but important applications in our daily life. In this rule, the colon introduces a logical sequence or the effect of the fact stated before the colon. When the second independent clause explains or summarizes a preceding independent clause, a colon is used to separate them. For e.g., - There is a vital issue every chef has to consider: Will the souffle rise properly or dramatically collapse in front of the guests? - So far so good: The souffle looks as if it is going to rise impressively. The guests are not going to get disappointed. A Syntactical Descriptive introduces a description based on the idea of the clause or sentence before the colon. It helps in strengthening connections. The text after the colon emphasizes the point mentioned in the text before the colon, and juxtaposing a colon in between the two clauses or sentences helps in saving on words in a very elegant and concise manner. Instead of a sentence or a clause before the colon, a fragment or phrase can also be used. For e.g., - A poor homeless 8-year-old child was sentenced to 6 months in prison. His crime: stealing a few apples and some bread to feed his starving brothers and sisters. - I have three sisters: Catherine, Sarah, and Mary. The colon introduces an appositive independent clause. The sentence after the colon is in apposition to the sentence or clause before the colon. For e.g., - The colon was not necessary: I deleted it. - Always apply the Golden Rule: Do unto others as you would have others do unto you. A segmental colon, like a dash or a quotation mark, introduces speech. It is a method of indicating an unmarked quotation on the same line. This form is used in written dialogue like plays. The colon, in this role, indicates that the text following the person's name was spoken by the particular individual. For e.g., - Benjamin Franklin proclaimed the virtue of frugality: A penny saved is a penny earned. Introducing A List Usage of a colon after a complete sentence, to introduce a list of items, is the most common phenomenon. In this case, the preceding statement generalises the list elements that follows it. If the list is being written in a vertical form a colon should be placed after the introductory sentence. For e.g., - Your dishes will be judged on the basis of four criteria: taste, culinary level, cooking skill and presentation. - The contestants prepared the following kinds of ethnic dishes: Other Uses Of The Colon - A colon is used to separate numbers in a ratio when they are written in the number form (not word format). For e.g., Chef Roberto defeated Chef Castellans 4 :1 (four to one) at the regional cook-offs. - Hours, minutes and seconds are separated by using a colon. For example, The marathon winner passed the finishing line at 2:23:05. - The colon can be used to separate the main title from the subtitle in books. For e.g., Casseroles for the Soul: A Comprehensive Guide to Family Cooking. Also, The Evolution of Cajun Cuisine : A Socio-Historical Perspective. - Separating the chapters and verses in Bible and Quran is done using the colon. For e.g., Look it up in Psalms 14: 4-8 and compare to Genesis 23, 23-24. - Colons are also used in memos. For example., Date: December 30, 2007 To: Elizabeth Masters-Johnson From: Herbert Excelsior-Smites Re: Culinary Institute - Student Programs - The colon can be used after the salutation of a business letter. For e.g., Dear Dr. Marcos:, To whom it may concern:, Dear Madam: etc. Conventions Of Using The Colon - Leave one space after the colon - When the colon appears after quoted text, it should be placed after the closing quotation mark. - When a colon appears after an italicized text, italicize it as well. - The text after the colon should start with an uppercase or lower case letter. Again, whatever you choose, you must follow it consistently. But the text should be capitalized if the colon introduces a new sentence, a dialogue or a quote. A colon, as simple it is, can serve a lot more purposes than just indicating a following list of items. As with other punctuation marks, when used judiciously, a colon can add meaning and beauty to written text. Use it wisely: colons are important.

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Anaana's Tent is an educational preschool television series that aims to prepare young children for their first years at school by promoting early literacy, math skills, and social skills. On this page, you will find strategies that you can use as a parent, guardian, or educator to help support young children as they begin to learn how to read, write, and do simple math. You will also find fun, simple activities, exciting ebooks with characters from the series, and links to other educational websites and apps. Developing early literacy skills at home Creating a home environment that promotes the acquisition of early literacy skills does not have to take a lot of effort. Consider the following: Establish a literate environment. - Show your child that books have value by setting aside a special place such as a bookshelf or area in the house where books are kept. - Make reading a part of your daily routine. Reading with your child at the same time each day shows that reading is important. - Find a quiet and comfortable place to read to your child. Limit distractions by turning off the television, radio, or other electronic devices, and turn off notifications on e-readers. - Let your child see you read and write. Children are always interested in what adults are doing. If your child sees you reading and writing for pleasure, they may become curious about reading and writing, too! - Talk with your child as you do chores around the house, as you take a walk in the community, or during mealtimes. Regular conversations about different and familiar topics introduces and reinforces the use of varied vocabulary. - Tell your own stories to your child and encourage your child to tell their own stories. - Provide opportunities for your child to colour, draw, and paint. The more experiences your child has with these activities, the more prepared they will be to learn how to write when they start school.Show your child that books have value by setting aside a special place such as a bookshelf or area in the house where books are kept. Make reading fun! - Read to your child with expression in your voice and use different voices for different characters or parts of the story. - As you read through a book, talk to your child about the pictures or interesting words. Ask simple questions about what your child predicts will happen next (i.e., "do you think the bear will come back again?") and about what they see and hear in the story. - Encourage your child to engage with the story by asking them to point out words and objects they find interesting. - Show your child how to make personal connections to a book. For example, if a book is about a particular animal, talk about your own experiences with the animal. - Re-read favourite books many times to your child. This will help build vocabulary and familiarity with reading. - Once your child is familiar with a book, encourage them to "read" the book to you, using the pictures. - Let your child share the responsibility of choosing books to read and encourage them to develop opinions about the types of books they like to have read to them. - Make puppets to act out and retell the stories in familiar books. Develop print awareness. - Point out different types of print around the home to your child. This may include the print seen on food containers such as cereal boxes or milk cartons. - Create labels for common objects around your house, such as the garbage can, a door, or a chair. Point out the labels to your child and read the labels to them. - As you move around the community, point out and read different types of print to your child such as road signs, license plates, or building signs. - Occasionally, point to some of the words in the book as you read. This will introduce your child to the idea that spoken and written words are connected. Use the community. - If there is a public library in your community, visit the library regularly with your child and let he or she choose books they are interested in reading. - Attend community events with your child that encourage literacy such as storytelling events or cultural events such as singing, drumming, or Inuit games. - Encourage extended family members and friends to share stories with your child. Developing early mathematical concepts at home Math is more than just numbers. It also includes measurement, geometry, spatial sense, and patterning. Different developmentally appropriate mathematical concepts can be introduced and explored at home with preschoolers through every day routines and play. Consider the following: - Count food items (such as crackers) or toys (such as blocks) as your child is eating or playing. - Demonstrate simple addition and subtraction as concepts by counting forwards and backwards as you add to or take away from a group of toys. - Point out numbers in print around the house such as in books, on calendars, on phones, etc. - Let your child help you measure ingredients when you are cooking. - Talk about common shapes and connect the shape names to familiar objects in the home. - Demonstrate the concept of patterning with toys. For example, use building blocks to build a colour or shape pattern. - Use mathematical language such as big/small, close/far, fat/thin, and long/short to compare common items. - Encourage your child to do sorting activities such as asking your child to sort the laundry (socks, shirts, pants, etc.) or sort their toys when tidying up. - Encourage your child to think about how to solve simple problems. For example, if your child does not have a spoon to eat their stew, ask them what they can do. They might decide that they can go and get one themselves or ask you to get one for them. One way preschool-aged children begin to build their literacy skills is with stories—either by listening to, watching, or telling stories. Ebooks are one great way to expose children to books and stories. Below, you will find a list of ebooks that tie in characters and themes from Anaana’s Tent. You can download these ebooks from this website and add them to your iPad, tablet, or any other device that supports ebooks. The Nunavut Bilingual Education Society (NBES) is a community-based, non-profit society concerned with the preservation, protection, and promotion of Inuit oral history, cultural knowledge, and language. There are several Inuktitut language children’s books available for free download: - Out on the Ice - Ukaliq and Kalla Go Fishing - Action Words - Arctic Little Folk - A Walk on the Tundra - The Orphan and the Polar Bear - Fishing with Anaanatsiaq - Ukiuqtaqtumi Tingmiat - Lesson for the Wolf This IS Literacy is an initiative of the Literacy Implementation Team of the Child and Youth Network. National Reading Campaign has a vision to create, sustain and grow a society in which everyone has an equal opportunity to become and remain a lifelong reader. Illitaqsiniq promotes and supports literacy initiatives in the official languages of Nunavut with respect for the principles of community capacity building and development. It Starts at Home is a family engagement resource for Nunavut schools. Inhabit Media is an Inuit-owned, independent publishing company in the Canadian Arctic, aiming to promote and preserve the stories, knowledge, and talent of the Canadian Arctic. - Uqausiit Pinnguarutiit is an Inuit language app that provides young children with fun activities that support shape and sound recognition, as well as vocabulary development. Download the app on iTunes and in the Google Play Store! - Titirariuqsauti is an Inuit language learning app that provides young children with fun activities that introduce symbol sounds and printing paths. Download the app on iTunes and in the Google Play Store!

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- Max Kuehn Need to know what is folk music? It is any style that represents a community and can be sung or played by people who may or may not be trained musicians, using the instruments available to them. In this article, Fidlar will dive deeper into folk music definition, history as well as characteristics of this music genre. Definition Of Folk Music American folk music can be described as a musical genre that incorporates traditional music from various cultures and peoples. Many folk songs in the eastern United States have international roots. Appalachia‘s music was shaped by immigrants from England, Scotland, Ireland, and sometimes from the British Isles. Enslaved Africans brought their distinctive rhythms and chants to the South to sing to pass the time. This genre was incorporated into mainstream culture, creating a mixture of folk and pop music This music genre can be divided into several categories, including bluegrass, and railroad songs, protest songs, cowboy songs, sea shanties, jug songs, and other genres. Songs have been a part of American culture, often even being the popular music of their era. Where Did Folk Music Come From? Because it is difficult to pinpoint the origins of folk music, it is sometimes used to describe music from different regions. Traditional folk music also was defined as music with unknown composers In the 19th century, there was a movement to collect and document folk music. This folk culture evolved into a distinct musical form in the 20th century. It is often associated with particular regions, as well as specific folk musicians. Sheet music and tablature are freely available online. It has a flexible and democratic character that ordinary people own. It can also be shared and created through individual experiences. This political dimension continues to exist today. This political aspect has influenced a variety of folk music revival, from the right-wing nationalistic composers in the late 19th century to left-wing cultural revolutionaries in the 1960s and 1970s. A new style of folk music developed. A Short History Of Folk Music America’s folk music traditions are a result of continuous evolution over its history. Songs of work by enslaved people. Enslaved West Africans wrote songs to help them through their labor in the Southern fields. They used a call and response tradition and African rhythms. After emancipation, gospel spirituals were based on melodies taken from the fields. These same traditions were later used to inspire blues musicians in the 20th century. White folk traditions have roots in Great Britain, Ireland, and the United States. It are rooted in these traditions often include ballads, which tell stories. Traditional Appalachian music was shaped by Irish, Scottish, and English traditions. French settlers created a unique sound: French settlers helped create Louisiana’s traditional Cajun music, and zydeco. Work songs were popular: Folk music was also influenced by work songs. These songs came from railroads, mines, and the sea shanties that came with working boats. Cowboy songs emerged in the West from the stories of range workers. Many of these men were Anglo-American, while others were Mexican and Spanish. The genre was changing by the 1930s. Contemporary folk Woody Guthrie, a musician, is often credited with being the first to contribute to this genre. It was mainstreamed: The Carter Family’s recordings of “Can the Circle Be Unbroken” in the 1930s helped popularize folk music. This helped to sow the seeds of mainstream country music and launched a multidecade period for The Carter Family. The popularization of the new genre began in the 1960s. Many folk groups have brought decades of traditional music into the Pop culture to the masses through mass media. The folk music revival was closely linked to the Civil Rights Movement. This was due to their ties with Civil Rights Movement. Woody Guthrie, John Denver, Bob Dylan, Joan Baez, Arlo Guthrie, Simon & Garfunkel, Joni Mitchell, and Peter, Paul, and Mary, all popular folk singers at the time. Many of these artists were able to build on the foundation laid by the Carter Family. This genre has evolved in many ways, but the most important is the one that was created. Commercially successful Punk Folk is the most popular genre. The earliest form of this was created by the Pogues. Contemporary folk music is still famous. A vibrant folk scene continues to thrive well into the 21st century. Acts hail from all corners of the country, including Los Angeles and Chicago. Gillian Welch and David Rawlings, Old Crow Medicine Show, and Nickel Creek are just a few of the folk musicians who have kept this tradition alive. Three Characteristics Of Folk Music Acoustic instruments dominate folk music. They include acoustic guitars and banjo, mandolin, fiddle, and double bass. Dylan began to use Electric instruments in 1965. This was a significant transition to the use of an electro-acoustic instrument, which, although not fully accepted at the time is still used today. English Language Lyrics Most American folk singers sang English, except traditional Cajun music. Some lyrics, such as those by Bob Dylan, were about social justice. Some lyrics, such as those of Joni Mitchell, a progressive folk singer, were deeply personal. Some folk artists, such as the Kingston Trio, covered older songs. Emphasis On Regional Authenticity It is very different from one region to another, and many regional folk bands stick to their traditions. This is why bluegrass from southwest Virginia is so distinct from New Bedford, Massachusetts, and the South Carolina Black American spirituals. What Is The Purpose? It can be commemorative (the death of Nelson) or rural (cropping of hay). After the industrial revolution, it became more urbanized in subject matter with a political edge. Popular music includes sea shanties, lyric songs, and ballads. These all lend themselves to folk culture’s narrative storytelling element. Song structure often revolves around a repetitive chorus with changing verses. This allows multiple people to join in and helps them get through repetitive, mechanical parts of their job in the case of workers. What Instruments Are Used In A Folk Band? The typical instrumentation used in folk music traditions of Britain is voice, guitar, fiddle, whistle, pipes, and accordion. There are also many other percussion instruments, such as the spoons, bones, and bodhran, and more uncommon ones like the bazouki, hammer dulcimer, and hurdy-gurdy. Other exotic, but equally common instruments include the dulcimer (a simple instrument with a string), the zither (another instrument with a string), and other percussive instruments. Subjects Of Folk Music This genre includes instrumental music. This is especially true for dance music traditions. However, a lot of folk music is vocal music. This genre is often sung with lyrics and is usually about something. It from many cultures includes the narrative verse. This includes traditional epic poetry and other forms, which were initially intended for oral performance. Many epic poems from different cultures were assembled from short pieces of traditional narrative poetry. This explains their episodic structure, and sometimes their in media related to plot developments. The traditional narrative verse also depicts the outcome of battles, other tragedies, or natural disasters. These songs can also celebrate victory, such as the triumphant Song of Deborah in the Biblical Book of Judges. Traditional folk often include laments about lost battles and wars as well as the loss of lives. These laments help to keep alive the cause that the battle was fought. Folk heroes like Robin Hood and John Henry are often remembered in songs about folk genre narratives. Many hymns and other forms of religious music are of unknown and traditional origin. The original purpose of western musical notation was to preserve the lines and traditions of Gregorian chant. This was previously taught in monastic communities. Folk songs like Green grow the rushes O present religious knowledge in a mnemonic format. Christmas carols and other traditional songs in the West preserve religious lore through song form. There are other types of folk songs that are less well-known. Songs for work are often composed. They frequently have call and response structures. These are intended to allow the laborers who sing them to coordinate their efforts according to the songs’ rhythms. The American armed forces have a rich tradition of “Duckworth Chants” (jody calls) that are sung by soldiers while they are marching. A large number of sea shanties were used by professional sailors. Traditional folk music often includes love poetry. It is often sad or regretful. Folk song often includes nursery rhymes and nonsense verse. What Is Folk Music Example? Examples of Folk Songs: - Scarborough Fair. - One Morning Early - Swing Low Sweet Chariot. - Auld Lang Syne - Oh Danny Boy. - Waltzing Matilda. What’s The Focus Of Folk Songs? Folk songs emphasize humanity. These songs are often influenced by the environment or atmosphere. It helps preserve our culture. Folk songs are passed down from generation to generation to preserve and enhance the culture. We hope you find this helpful article. If you have any comments or suggestions, or questions, please feel free to leave a comment below.

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Compare and Contrast Paper This paper compares and contrasts the Warren, Burger and Rehnquist Supreme Courts and looks at one major decision each court made and the decision’s impact on the legislative and executive powers as well as how it affects states governments’ accountability to its citizens or states’ rights. From the Paper In the early 1950s, America was becoming a place concerned with social change and freedom. During the same period, the Warren Supreme Court (1953-1969) reflected these changes. The next court, the Burger Court (1969-1986) upheld and built on the change that had already begun. Both courts subscribed to a new idea, that the United States Constitution was a living, breathing document, meant to change with the times. In 1986, a new court emerged the Rehnquist Court. This court went back to the idea that the way the founding fathers drafted the Constitution was not only relevant in the early years of the United States, but relative and valid in the 20th and 21st centuries. This paper compares and contrasts these courts and looks at one major decision each court made and the decision’s impact on the legislative and executive powers as well as how it affects states governments’ accountability to its citizens or states’ rights. The Warren Court The Warren Court 1953-1969 was the court most concerned with social change. Authors such as Harvard Professor Morton J. Horowitz in his book, The Warren Court and the Pursuit of Justice states that it is “increasingly recognized as a unique and revolutionary chapter in American Constitutional history (5).” He says this because the Court “regularly handed down opinions that have transformed American constitutional doctrine and, in turn, profoundly affected American society.” The transformation began with Brown v. Board of Education (1954), which declared racial segregation as unconstitutional. Other important cases were Engel v Vitale (1962) and Abington School District v. Schempp (1963). These cases called on the First Amendment’s Establishment clause—“Congress shall make no law respecting an establishment of religion” to extend not only to Congress but to any governmental authority, creating a wall of separation between church and state. In writing for the Law Journal (2001). E. Joshua Rosenkranz writes in an op-ed piece that Justice Brennan states that the 1962 landmark case Baker v. Carr, was one of the most powerful case that said that a voter could bring constitutional challenge under the equal protection clause, to a state’s legislative districting with different populations in order to “increase the voting power of some communities at the expense of others.” Thank you for visiting Essaydemon.com and viewing our articles and sample papers. Kindly be informed that all these articles and sample papers are for marketing purposes only. The sole purpose of these articles and sample papers is just to provide our customers with an idea about our services before they place an order. Kindly visit our order/inquiry page for further assistance. Kindly order custom made Essays, Term Papers, Research Papers, Thesis, Dissertation, Assignment, Book Reports, Reviews, Presentations, Projects, Case Studies, Coursework, Homework, Creative Writing, Critical Thinking, on the topic by clicking on the order page.

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Power Play The Coffin of Horankh, 700 B.C, symbolizes Egyptian power. The coffin is made of wood, Gesso, paint, Obsidian, calcite and Bronze. The decorated coffin shows that this was a person of power. In the Odyssey the goal of getting home is more important to the development of Odysseus's character. He learns something important while on his journey that makes him a more fully developed character. He learns about the value of family. After the Trojan war, Odysseus understands that he can now go back home to his family. In Greek culture, it is a custom to bury the dead to please the gods. The Greeks also believed that when you don’t bury someone they will wonder the earth. Antigone wanted to give Polynecies a proper burial because it is right in the god’s eyes. She also wanted him to have an afterlife. She never lied to Creon when she was caught burying the body. The Dale Patrick Burns stated “ I parked in the front of the parking lot, exited out from the driver side, noticed that I forgot to bring my backpack, and I went back to get it. After grabbing my backpack, a guy came up with his hands, and pushed me back. The guy behind me threaten me with something that felt like a gun pointed at my back and grabbed my backpack. After that, they were running toward the red truck into woods. Also, I saw the guy behind me have a red swastika tattoo and has a mohawk hairstyle from the reflection of my truck.” In Ancient Greece, peoples fear of reanimation forced them to perform burial rituals for the dead, fearful that if they did not, the dead would come back to harm the living. In 19th century U.S. and Europe, reanimation was feared to the point where people had to place cages over their graves, so that the living would not harm the dead’s bodies through electric reanimation. In 19th century Haiti, Haitians feared reanimation because they were afraid of the idea of being drugged, or “killed”, and being reanimated to be used as slaves. While it is true that all three societies shared the anxiety of reanimation, it would be unfair to suggest that these fears have similar origins. By viewing the historical context of each society, it is evident that Drew Dryden Mrs. Newton ELA Period 2-3 October 11 2016 In the short story, Ransom of Red Chief, by O Henry and the film, Home Alone, by Chris Columbus and John Hughes. Don’t judge a book by its cover, has been a well common theme for a story. Every movie, book, or play has a main message known as the theme. Never underestimate someone who is smaller than you . Having a sibling or multiple can be painstaking at points but it can also a relationship that nobody can tear apart. I have a sibling and we have the greatest bond of all time. We share many of the same characteristics as Lyman and Henry. “The Red Convertible” is a great example of two brothers who love eachother but the war has torn them apart. After researching Louise Erdrich 's life and reading “The Red Convertible”, the best literary elements of the short-story are the car in general, the raging waters, and the boots filling up with water to drown Henry. Long ago, before America was the great country she is now, she was one of the many children of the great Queen Britain. Although she was the most talented of all her siblings, America cared much more about compassion and justice than she did entertainment and fame. In fact, she despised fame with great fervour. But, unlike her daughter, Queen Britain did absolutely anything for attention. She loved fame, and wanted to the whole world to know her name. “Masque of the Red Death” by Edgar Allan Poe is full of literary elements such as antagonist, climax, imagery, personification, and symbolism. Throughout the plenary story these elements are present. The antagonist, or ‘villain’, of “Masque of the Red Death” is the Red Death. It is the antagonist because it causes all of the tribulation in the story. I’ve seen many of my people fall victim to the brutality of the “Red Death”. The disease continues to inflict blood on even the youngest of children and the oldest of the elders. Along my streets, I see my people lying helpless, suffering from the clutches of the “Red Death” while others have already been taken by it. Nothing that has ever happened in this world, amounts to the devastation that this disease has brought to my kingdom. Nevertheless, I do not fear the disease, and my happiness and joy remain and will remain throughout this epidemic. Michael Gorges Mrs. Welch GCLC March 21, 2017 Thanatos In Ancient Greek mythology, there lived a demonic representation of death known as Thanatos. The representation of Thanatos appeared in many famous dictations in the past, first and foremost by Homer in various poems. He did not appear as a divinity but was instead seen as the brother of Sleep.

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Puppets have a special place in the classroom of littles. Using a puppet in teaching may feel like another item to worry about or check off your ever-growing to-do list, however, when used correctly, they can be powerful to students. It’s as if you have a second teacher in the classroom, a separate being with separate ideas is what they see it as. Puppets to students are magical, even when they are old enough to know better of what they are and how they work, their little brains work in the way that they look at that inanimate object as an animate object with its own thoughts and feelings, even if they are all indirectly coming from you as the puppeteer. Tips for using a puppet in the classroom: - Use him as an example of good behaviors you want students to model. - Use him as an example of common problems in the classroom such as trouble with a math problem. Later, when students run into the same problem, a great reminder for them would be how the puppet solved the problem. - Use him as a new storyteller in the classroom. - Let the puppet introduce new topics such as persuasive writing or reading non-fiction. - Let the students use the puppet as a writing audience. - Turn it into an art project and allow the students to create their own puppets. Puppets have a big place in the classroom, whether he or she becomes a part of the classroom, or they are simply used in dramatic play for storytelling. The best part of puppets is that they can be as complicated and expensive as your limits allow, but also as simple as a sock with buttons glued on. They don’t care about the complexity of it, they just care about the magic behind it. Do you use puppets in the classroom? What benefits do you see? I am all for promoting a good read-aloud in every classroom from daycares to high school students. I know the power and lessons picture books can hold when you choose the right one. However, I am also aware that simply reading a picture book to students can become mundane and routine when done often, so here are a few tips on how to switch up how you share books with students. - Felt board stories- For those that aren’t crafty (like me), check Etsy for links to buy sets of felt storyboard characters. Or grab a crafty friend or two to help you create fun sets yourself. - YouTube videos of books- The majority of popular picture books have at least one YouTube video of someone reading the story. There are whole YouTube channels dedicated to read-aloud books, sometimes with music or discussions at the end. - Vooks- This is a subscription for an animated book collection of popular picture books, however, last I checked it was offered free for teachers for one year. It seems worth checking out. - Guest readers- For those parents, friends, and community members that are wanting to help in your classroom. How exciting would it be to have a REAL firefighter read a story about what firefighters do? - Students draw as you read- Let their imaginations do a little work, ask them to illustrate the story as you read. - The student reads- If you have students that are strong readers that wouldn’t mind a little time in the limelight, give them a chance to read their peers a quick story. - Coloring pages that go along with the story- I distinctly remember in 2nd grade my teacher read aloud Charlotte’s Web while we colored pictures of pigs, mice, cows, goats, and spiders each day and we hung a few favorites around the room. It brought the story alive in a new way, especially as it became part of our classroom. - Puppets- They don’t have to be extravagant. Put a sock with some button eyes over your hand to speak as the pigeon in Pigeon Drives The Bus and suddenly your student engagement skyrockets because it’s a little different and a little new. - Act it out- Once the story is over, let a few students act out their interpretation of the story. - Change Your Location- Changing up how the book is read seems to be the first idea of increasing engagement. However, changing something like location can amp up the excitement of the book as well. A dear friend of mine once brought her students outside bundled up and ready for a cool fall day while they sat under a big tree watching the falling leaves, and read aloud to them Fletcher And The Falling Leaves. What a magical way to have a story truly come alive for kids. What fun ways do you switch up reading for your students? How else do you increase engagement in your students while reading?

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for a private consultation By Eden Gallery, Posted Jun 10, 2021 , In Art Blog, Modern Art The modern art movement produced some of the world’s most recognizable and beloved artworks. In just over a hundred years, modern artists completely transformed what critics and the public knew art to be. Modern art is artists’ response to the radically new lives, technologies, and ideas that came out of the 20th century. The modern art period coincided with significant cultural, societal, and political change and upheaval, resulting in radical changes in artistic styles. Modern art is defined as artworks produced between the 1860s to the 1970s in modern styles. Modern art denotes one or more of the styles and philosophies prevalent in the art produced during that era. Some artwork produced during this period followed more traditional or classical styles. But the term “modern art” is associated with art that challenged the traditions and techniques that came before it. Van Gogh’s Sunflowers, Picasso’s Les Demoiselles d’Avignon, and Warhol’s Campbell’s Soup Cans are all examples of well-known modern artworks. Modern art is specific to a period and should not be confused with contemporary art which is being produced today. Modern art is now well established as “real art” and was responsible for redefining what art was. Artists who preceded the modern art era focused on realistic art, created as a means for storytelling. Traditionally, art had been used to document, tell a narrative, or capture a moment in time and space. By contrast, modern art is not always true to reality. Modern artists distorted reality to different extents through the use of radical new painting techniques and styles. Many art historians consider Paul Cézanne to be the inventor, or “the Father” of Modern art. Paul Cézanne was a French oil painter working in the late 19th century. His work broke away from the impressionist style and became a catalyst for the modern art styles that followed it. Modern art began roughly during the late nineteenth century and spanned from the 1860s to the 1970s. Artists of the period sought to rebel against the traditional constraints of realistic art that were technically correct. Artists sought to capture on canvas, or through sculpture, the modernism they saw around them in society and technology. Following the Industrial Revolution, the world saw rapid changes in politics, transportation, society, manufacturing, and technology. It was a period that would become a crucial turning point in world history. Train travel and industrialization allowed more people a freedom of movement that expanded their horizons. Populations shifted en masse from the countryside to rapidly growing urban metropolises. The invention of photography art created an accurate means to depict the world, a role previously held by paintings. Painters then turned away from realism and accurate depictions of scenes. They began to look to their dreams, feelings, personal iconography, and symbolism as inspiration instead of reality. Before the 19th century, artists had traditionally worked on commission, often for the church or wealthy patrons. This meant that much of the artwork created in the earlier centuries had a religious theme. But in the late 1800s, artists began to make more artwork using their own choice of subject matters. This allowed artists to depict a wider view of the world and society, to take a political or social stance, and make their own commentary through artwork. Artists took inspiration from their personal experiences and the modern advancements and inventions of the time. The urbanization of the period also allowed artists to assemble more easily and interact, allowing artists to create schools with like-minded contemporaries. Impressionism was the catalyst for the modern art movement. It was the first modern painting style that introduced an emphasis on light and abandoned technical painting techniques to introduce blurred brushstrokes. Modern art plays an essential role as a stimulus that can provoke independent thoughts and even emotions. Modern art gives the audience an opportunity to embrace new ideas and reflect on changes in the world and our lives differently. Modern art is often mistaken for contemporary art. Both “modern” and “contemporary” are terms to describe something current, but modern art came from a period where modernism in itself was a new concept, and new ideas flourished and changed the world at a rapid pace. Although there are many different styles and movements within the modern art period, there are underlying principles that unite and define modernist art. These include the rejection of conservative values and tradition, innovation, a tendency to abstraction, an emphasis on ideas and feelings, experimentation with materials, techniques, processes, and a shift towards social and political agendas. Modern art aims to reject traditional aesthetic values through the reimagining or reinterpretation of scenes and ideas. Modern artists were determined to move with the times and stay current. Each modern art movement developed a visual language that was determined to be both original and representative of the times. Therefore modern art styles can be grouped as movements or schools. Similar working styles were seen amongst groups of artists for short periods before they moved on and reinvented themselves. There was a tremendous amount of change in the styles and techniques used by artists over the century that modern art flourished. There are countless styles of modern art, which include: There are far too many famous artists from the modern art movements to name them all. Here are just a few of the many well-known modern artists whose artwork fits into the definition of modern art. Modern artists were challenging the notion that art must depict the world realistically. The avant-garde artists of the last century changed the art world forever, and their works are still cherished, studied, and appreciated today. Modern art styles produced by contemporary artists remain popular choices for collectors and to display in private homes. 92x122 cm | 36x48 in Share with friends 90x109 cm | 35x42 in 25x52x16 cm | 9x20x6 in 90x60 cm | 35x23 in 68x79 cm | 26x31 in 100x80 cm | 39x31 in 120x180 cm | 47x70 in Street art has made its way into the heart of what luxury fashion embodies in the 21st century. Click here to learn more about the individuals responsible for the movement of street tagging to high fashion collaborations. World traveler SN is one of Eden Gallery's most dynamic artists, incorporating different cultures and far-reaching parts of the world into his art. Click here to explore more about his recent Tanzania exploration. Eduardo Kobra creates magnificent murals of historical figures over time that have changed the way we function as a society, across all countries. Click here to see more from Kobra. Jonty Hurwitz's rare and personal combination of science and the arts in his one-of-a-kind anamorphic sculptures can be viewed in-person at Eden Gallery a well as on the Eden website. Explore his collection today to find a visually stimulating and fascinating addition to your space. Learn about the rise of luxury arts and the already rich history behind the United Arab Emirates. Click here Eden Gallery opens Mykonos Nammos Village gallery for the summer season! Click here to learn more about the vibrant, luxurious island of Mykonos with an abundance of night life, fine art, and rich history. As climate change becomes an increasingly dire problem with each passing year, humans around the globe are trying to do what they can, in ways big and small, to help save the planet. Learn more about World Creativity Day here. As Eden Gallery's closest example of Abstract Expressionism, Calman Shemi is an artist who is not afraid to experiment with vibrant colors, which unite cohesively in his artworks as abstract forms that express the unconscious. Read more about Calman Shemi here. Embellishments in art are thoughtful, specific details that are added by the artist on top of the existing work. Learn more about embellishments here. Subscribe for Exclusive Updates Be the first to receive information about new collections, new artists, and event invitations.

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Creative writing – the two words in the HSC English syllabus that make students wince in despair! Few guidelines and barely any structure is given, yet you are expected to craft a story out of thin air using a tiny amount of stimulus. However, creative writing is not always as it seems – it is one of the few moments in the entire HSC that allows you to be the author, not simply analysing and critiquing other texts, but creating one of your own. Although this kind of freedom can be intimidating to many, it is also a chance to show how well you understand the Area of Study with your own personal flair. Having said this, following a few simple rules allows you to write creative pieces worthy of a Band 6, both while practicing and in the final exam. Firstly, guidelines to prepare for the exam: - Practice writing in an exam environment, with a set amount of time for your story. - Use stimuli from past and practice papers, finding at least a few connections to belonging for each – that way, when you’re faced with something new, it will be easier to make a connection so you don’t waste time trying to find one. - Editing your stories and even other people’s work can give you a fair idea of what your strengths and weaknesses are. This allows you to improve your work significantly. - Being prepared is key – practice, practice, practice!! Feedback from people never hurts, if anything it will be a guideline to improve your work. Now, for the story itself: - Establish a concept – how will you connect the stimulus you’re given to belonging? Will it be to people or a place? What mood will your story have and what turns will it take? Basic concepts of writing a story will come into play here – have the beginning, middle and end in mind before you start, keeping in mind this CAN change quickly. - Will you use 1st, 2nd or 3rd person? And will it be past, present or future tense? Remember to decide that in the beginning and stick to it throughout – this is why proofreading is so important! - It is always important to use imagery that appeals to all the senses – being in-depth will allow the marker to visualise the situations and characters in the story, and the mood you are trying to create. - Think of a pace and how the sentence structure affects it – short sentences create a fast, frenzied pace, whereas longer ones are more relaxed and slow. - Be original – many English teachers these days will find anything a cliché, so you need to set your story apart from the thousands of others. You can do this by experimenting beforehand with different settings, personal experience and interwoven timespans; freedom in writing doesn’t have to be all pressure, it’s always what you make of it

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How to Write a Number in a Letter When writing a business or formal letter, the way you write numbers can influence how the recipient sees the readability and professionalism of your writing. Drawing on common writing style principles and accepted standards for particular topics, you can appropriately write out numerals and other quantities in a way that will solidify the quality of your writing. The main trick is to be consistent throughout. Write addresses the same as you would for an envelope, with the street address on one line and the city, state and ZIP code on the next line. Example: 123 Elm Street on one line and Eagletown, LA 71234 on the next. Write contact phone numbers as either (999) 123-4567 or 999-123-4567. Write out the month in dates, such as January 1, 2012. Stick to words for zero through one hundred and numerals for 101 and above. You could say your organization has eighty-five members or 185 members. Use numerals for consistency, if your letter includes numbers above and below 100. This avoids awkward phrasing, such as "between ninety-five and 105." Spell out large, round numbers with only a numeral at the beginning, as in 8 million. Use numerals for figures that would require many words, opting for 775,000 rather than seven hundred seventy-five thousand. Use numerals for all percentages, as in 87 percent or 87.75 percent. You can use either the word percent or the sign % as long as you remain uniform. Do not include trailing zeroes (such as 55.0 percent) unless directing your letter to a math or science audience warranting significant digits. Even tens numbers can be in words, as in twenty percent, though keeping consistent with other percentages would trump this. Use numerals for decimal figures such as 3.14, and include a zero at the beginning of a number less than one, such as 0.375. Again, omit trailing zeroes unless they are central to the accuracy of the data that you're discussing. Write out fractions in words, such as two-fifths, only if the number is less than one. Use numerals for greater mixed numbers, such as 3 3/4. Use the dollar sign and numerals for money amounts below 1 million, omitting the decimal and zeroes for whole dollars, such as $15 or $20,000. Write round figures of 1 million or more with only the beginning numerals, as in $10 million. You can use a maximum of two decimals for a number like $12.75 million, but otherwise use only numerals, such as $12,755,500. When in doubt, find a guide such as "The Chicago Manual of Style" and stick to that writing guide's rules. "The Associated Press Stylebook" is the norm for journalism, and it's an alternative option for letters regarding public relations or being directed to the media. When writing a letter for a specific audience, perhaps a grant request or a letter to a colleague about research findings, follow the number format common to academic or professional papers from that field. Things You'll Need - Pen and paper - When in doubt, find a guide such as "The Chicago Manual of Style" and stick to that writing guide's rules. "The Associated Press Stylebook" is the norm for journalism, and it's an alternative option for letters regarding public relations or being directed to the media. - When writing a letter for a specific audience, perhaps a grant request or a letter to a colleague about research findings, follow the number format common to academic or professional papers from that field. John Bland has been a freelance writer since 2009, with his essays, fiction and poetry appearing in "Shine Magazine," "North Texas Review" and many online journals. He received a Bachelor of Arts in creative writing from the University of North Texas in 2008.

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Following are ideas for incorporating technology tools for implementing ISTE Standards for Students. Creativity and Innovation - Collaboration: Students brainstorm for Ideation using a virtual sticky note board such as Padlet or 3M’s Post It Plus. - Publishing: Students use 3D Creation tools such as Sketch Up or Tinkercad to develop prototype models. Students use digital storytelling tools or such as Animoto, WeVideo , GoAnimate for Schools , Lego Movie Maker , Zooburst, Storybird, or comic creation portals such as Pixton and Make Beliefs Comix to create original interpretations of disciplinary understandings or expressive narratives. Communication and Collaboration - Communication: Students participate in expert interviews via video conferencing tools such as Skype or Google Hangouts or virtual field trips via the Digital Human Library or Google’s Expeditions Pioneer Program. - Collaboration: Students use Edmodo or Wikispaces to collaborate on projects with students from other places and cultures - Publishing: Students use blogging platforms such as kidblog, edublogs or blogger to share their thoughts, ideas and reflections. Research and Information Fluency: - Communication: Students use Flipgrid (video) or Vocaroo (audio) to record reflections throughout the research process - Collaboration: Students collaboratively annotate documents and /or create a collaborative resource list using diigo, Ref Me, or Noodle Tools. Students use a collaborative mind mapping tool such as Lucid Chart to organize questions or found information. - Publishing: Students publish evaluated and annotated resources to a public curation site such as: Scoop It, Pearltrees or Pinterest. Critical Thinking, Problem Solving and Decision Making: - Communication: Students present arguments for possible favored solutions to a challenge or problem via Voicethread or Flipgrid. - Collaboration: Students use a collaborative mind mapping tool such as Lucidchart or shared action list using Trello to manage and organize processes. - Publishing: Students publish research results using infographic creation tools such as: Easely, Pictochart or Canva. - Communication: After sharing a questioned digital citizenship incident or situation, students participate in a discussion via Todays Meet regarding thoughts, reactions and possible solutions. - Collaboration: Students use a digital storytelling tool such as Go Animate for Schools to collaboratively demonstrate a possible solution to a shared digital citizenship issue. - Publishing: Students locate, upload and cite free use media resources in blog posts or video creations. Technology Operations and Concepts: - Communication: Students review possible technological tools and share thoughts on ease of use, possibilities for use and recommendations. - Collaboration: Students work together to figure out how to use a new tool. - Publishing: Students create and publish screencast or video tutorials, using Explain Everything or Screencastify, or Powtoons showing others how to use a particular tool or to explain concepts such as “cloud computing” or “URL protocol”. International Society for Technology Education, 2007. ISTE Standards for Students. Retrieved from http://www.iste.org/standards/ISTE-standards/standards-for-students Schiano, D. Always Interested Library and Info Center Retrieved from www.alwasyinterested.nett/free-use-media.html

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- 1 How is language important to storytelling? - 2 How does story telling develop language? - 3 How does storytelling help with language development? - 4 Is storytelling a form of language? - 5 Why is storytelling so powerful? - 6 What is the purpose of storytelling? - 7 What is storytelling strategy? - 8 What are some storytelling techniques? - 9 What is the importance of oral storytelling? - 10 How do children learn through storytelling? - 11 How do you engage children in storytelling? - 12 How can storytelling develop oral skills? - 13 What are the 4 P’s of storytelling? - 14 What is the difference between storytelling and acting? How is language important to storytelling? Storytelling brings language learning alive and creates a participatory and immersive experience that allows Young Learners to enjoy hearing the language in a dynamic, sometimes stylistic and entertaining way. Participation using key vocabulary and phrases can create an awareness of rhythm and structure. How does story telling develop language? Telling and listening to stories provides a bridge between the oral language skills of early childhood and the more formal language of print. To encourage this ability in your child, ask her to retell a story you have just read. How does storytelling help with language development? Listening to stories draws attention to the sounds of language and helps children develop a sensitivity to the way language works. Active participation in literacy experiences can enhance the development of comprehension, oral language, and the sense of story structure (Morrow 1985). Is storytelling a form of language? Storytelling uses words. Storytelling uses language, whether it be a spoken language or a manual language such as American Sign Language. The use of language distinguishes storytelling from most forms of dance and mime. Why is storytelling so powerful? Telling stories is one of the most powerful means that leaders have to influence, teach, and inspire. What makes storytelling so effective for learning? For starters, storytelling forges connections among people, and between people and ideas. Stories convey the culture, history, and values that unite people. What is the purpose of storytelling? Telling stories gives us a sense of culture, history, and personal identity. Storytelling passes on personal, hi-stoical, or cultural events or experiences so they transcend to shared experiences. Storytelling alters individuals,changing them into families, groups, communities, and even nations. What is storytelling strategy? Your storytelling strategy is all about the big picture: laying the foundation of your organization’s narrative, identifying the audiences your stories will speak to and, most importantly, setting goals and objectives for your work. What are some storytelling techniques? Here are seven storytelling techniques: - Have an Enemy and a Hero. Stories need a good guy and a bad guy – also called a hero and an enemy. - Use Conflict. - Omit any Irrelevant Detail. - Tell the Story Like You Talk. - Make It Visual. - Make It Personal & Easy to Relate To. - Add Surprise. - Your Blog. What is the importance of oral storytelling? Studies reinforce the importance of oral storytelling in the development of an individual’s social and emotional abilities, cognitive growth, as well as their language skills. Socially and emotionally, oral storytelling is much more personal than telling a story using a book. How do children learn through storytelling? Through storytelling, children learn how to pay attention and listen actively to the person talking. They learn to be more patient as they listen to others speak. It also opens their eyes to other people’s thoughts and understanding how each and every person’s opinion vary. How do you engage children in storytelling? 10 Tips to Make Story Time Memorable - Ask your child for book suggestions. - Consider your child’s attention span or your family’s schedule. - Consider different times of the day to read to your child. - Keep your child engaged in reading. - Read aloud together with your child. - Be creative during story time. How can storytelling develop oral skills? Storytelling improved their comprehension, fluency, vocabulary, grammar, and pronunciation. Thus, it can be said that storytelling could improve students’ speaking skill. As social human, people always interact and communicate one another. The first way to do the interaction and communication is by speaking. What are the 4 P’s of storytelling? As Patrick said, before his team takes on a project, they make sure they have a firm understanding of what they call the Four P’s: People, Place, Plot, and Purpose. What is the difference between storytelling and acting? “One of the differences I feel is when you are acting, you’re emoting a lot of feelings – your character is feeling this and that – and in storytelling, you are telling what the character is feeling; you’re not feeling it.”

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“Your silence will not protect you.” Audre Lorde – Self-Expression How do we know when to be silent? Students make moral choices everyday. These choices usually revolve around specific actions they take, like helping a friend, deciding not to cheat on a test, or obeying curfew. Students also make the moral choice to be silent after witnessing the immoral behavior of others. In these situations, fear and the impulse for self-protection override the duty to help others. Learning when to speak up in the midst of injustice is a very important part of moral development. Join Steve and Dan Fouts for an unforgettable conversation about self-expression that you can recreate in your classroom using the Teach Different 3-Step Method. Image source: Wikimedia | Elsa Dorfman Steve Fouts: 00:02 Hey everybody, Steve and Dan Fouts here, and we are teaching different with American civil rights activist, Audre Lorde with a quote about self-expression. Here’s the quote, “Your silence will not protect you.” A really thought-provoking quote about how silence is somehow linked to protection and whether you say something or not will affect your safety. What claim would you say that it’s making? Dan Fouts: 00:37 – Claim Yeah, very thought provoking and she’s saying, hello people silence is not going to protect you. In other words, speak up. Your voice in the world is never going to be heard if you don’t have the courage to speak up. Steve Fouts: 00:54 And that sounds like something a Civil Rights Activist would believe. Dan Fouts: 00:56 Yes, and she spoke out against racism and sexism in the context of civil rights and so it totally fits her background. Steve Fouts: 01:09 Now, when it comes to the students and getting the conversation going, I think asking them to talk about a time when they were silent, because they felt like they needed to protect themselves would be a really good storytelling prompt. You’re going to get some interesting stories from that. They’re going to talk about their friends that they may have had to protect them. That’s going to be a good way to get this conversation going. Now, about the counterclaim. What is the push back to this one? Dan Fouts: 01:43 – Counterclaim Well, sometimes being quiet is the right thing to do. Sometimes not speaking out is the appropriate response, because you really do need to protect yourself or a friend. At least you think it’s the right thing to do. Steve Fouts: 02:00 Right. Again going to the storytelling. Bullying might be an interesting theme to bring up, because when bullying happens there are witnesses at times and sometimes they remain silent and don’t speak up. Dan Fouts: 02:16 This is interesting because there are a lot of examples where students won’t say anything, and they would probably argue that they don’t want to ruffle feathers. Steve Fouts: 02:29 They’re minding their own business. Dan Fouts: 02:30 I don’t want to make a situation worse by speaking up. I have myself to protect and I’m not going to go around… Steve Fouts: 02:38 It’s not worth it. Dan Fouts: 02:39 …regulating other people’s behavior. Which, of course, Audrey Lorde would bristle at because as a civil rights activist she would want the opposite behavior. Steve Fouts: 02:52 It is situational. Getting the students to talk about how they reacted to those environments – did they speak up, did they remain silent, did they regret it later, are they happy they did it – is going to be interesting. Dan Fouts: 03:08 Definitely. After they share their stories, follow them up with how did it work out in the end. If it worked out well, then you can go a little farther and say, because it worked out okay, to not say anything in that situation, does that make it the right thing to do? Steve Fouts: 03:32 – Essential Question Exactly, and then when they get to hear from other students about how it did work out or didn’t, that’s when it’s going to get interesting. That’s going to inform their position when you ask the essential question, which could wrap this up very nicely. How do we know when to be silent? That’s going to get some great responses. You’ll enjoy reading where the students are coming from, because it’s not clear when the best time is to be silent or speak up. It really depends on the situation and the person. Dan Fouts: 04:14 Right, and what a great little writing assignment you could have them do after this conversation with that essential question leading the way. Steve Fouts: 04:20 Dan Fouts: 04:21 I think that this would get them to become more self-aware, and most importantly, aware of the ethical decisions that they’re making every day. Steve Fouts: 04:34 Exactly. Most people, I would say, don’t think being silent is an ethical decision. Dan Fouts: 04:42 Steve Fouts: 04:45 But it is, and it’s okay to know that. This will be great. This conversation is going to light up the classroom. We hope you enjoyed Audrey Lorde. Make sure to go to our Conversation Library where we have all kinds of resources you can use to get these great conversations going in your classroom. We’ll talk to you soon. Dan Fouts: 05:13 Okay, take care.

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What you need to know about FASD FASD is a form of brain damage that can make it difficult for students to keep up with others in school or perform activities in daily life. Individuals with FASD often demonstrate: - Poor judgment, social skills and organizational skills - Difficulty recognizing and setting boundaries - Good verbal skills but poor follow-through. Students with FASD often recognize that they are different and that they feel like they are “just not getting it”. One of the biggest differences between FASD and other exceptionalities- and one of the most frustrating aspects of this disorder – is that many students with FASD have a great deal of difficulty learning from experience. As a result, consequences that may work well with most students may not benefit some of the students affected by FASD. Secondary Concerns related to FASD include: - Being at increased risk of developing emotional problems, such as depression. - PLEASE USE THE “Strategies not solutions brochure to explain the lying, stealing and defiance” - They can often be easily led and manipulated, - May develop serious social problems including alcohol abuse, physical abuse and sexual abuse. (I AM NOT COMFORTABLE WITH THIS… )please find another resource to describe… we can talk about this…. An FASD Assessment and Diagnosis can be a protective factor for these students; if they receive a medical diagnosis of FASD (and the understanding and support that goes along with this diagnosis), they are less likely to develop secondary disabilities such as conduct disorders or drug dependency. Could a student have FASD and we not aware of it? Possibly. In many ways, FASD is an invisible condition. Because the most obvious symptoms of FASD are often behavioral ones (caused by the brain dysfunction), people don’t always look for a medical cause. Although there are several distinct physical characteristics that doctors use to help diagnose FASD, people with this disability are affected in different ways and may look quite typical. Therefore, physical symptoms are not an indicator of the severity of brain damage). Even when FASD is suspected, it is challenging to diagnose this syndrome because: - There is no one symptom that can identify FASD - There are no specific tests to diagnose FASD - Many FASD symptoms are hard to see in babies - These children may not be living with their birth parents, making it difficult to confirm the mother’s alcohol use during pregnancy - The symptoms of FASD can also be symptoms of other problems Over the last few years, there has been more research and training for multidisciplinary assessment teams so they can recognize and diagnose this condition more accurately. What can I do if I suspect a student has FASD? The school can do an educational and psychological assessment of the individual student and look for immediate ways to support this student. If warranted, school staff can use information from these assessments to encourage the families to seek further medical and psychological assessment, often beginning with the family physician. FASD is a medical condition that must be diagnosed by a qualified team of health professionals. It is therefore important for educators to direct their concerns appropriately as an attempt to investigate, diagnose or label the student’s learning and behavioral difficulties as FASD may be premature. A diagnosis of FASD can serve as a protective factor for students and their families. So it is important that student receive a diagnosis- understanding the characteristics and needs of students with FASD helps parents and school staff adjusts expectations, build a supportive environment and better meet the developmental needs of these children. What can I tell other students and parents about students with FASD? Like any medical or family background information, a student’s diagnosis of FASD is confidential information and cannot be the subject of discussion with other students or parents. Schools need to focus on creating inclusive and supportive learning environments in which individual differences are respected and accommodated. Students need opportunities to work together, and they need to be encouraged and to learn how to show empathy and support for one another. What can schools do to support these students? School staff need to be aware of the individual needs and strengths of these students, and provide a safe, structured and supportive environment with appropriate levels of supervision, clear guidance and reasonable behavioral expectations. In the classroom, these students need appropriate levels of support. They also need strategies to accommodate any memory, language or academic difficulties they may have. And like all students, they need opportunities to be successful, to belong and to contribute to the school community. What kind of support do teachers of these students need? Teachers need opportunities to build their understanding of FASD and how it impacts students and their families. Teachers also need the support and expertise of a collaborative team, including the school administrator. Often students with FASD have challenging behaviors and special learning needs that require a team approach. Teachers may also need access to additional professional development and consultants. What can schools do to prevent FASD? The only way to prevent alcohol-related birth defects is supporting women to not drink alcohol during their pregnancies. Schools can provide information to students on FASD and the adverse effects of alcohol on the unborn baby. This information can be included in the Health and Life Skills program. Providing students with opportunities to develop strategies for managing emotions and feelings, making personal decisions, building a circle of support and making positive life choices can serve as a protective factor against future alcohol abuse. What can schools do to enlist the support of families of students with FASD? Parents lay a critical role in their children’s daily lives and can help school staff understand their children’s behaviors and needs. School staff may be able to offer support and assistance to parents in the following areas: - Setting realistic goals and expectations for their children. - Keeping a positive focus on their children’s strengths and accomplishments - Facilitating referrals to other agencies, such as health and social services - Finding parent support groups and / or counselling with knowledgeable individuals - Encouraging parents to participate in specialized parenting courses, such as those dealing with the parenting of children with behavioral challenges. - Link parents to online resources. Some parents may be reluctant to work with school staff for a number of reasons including economic or health difficulties, or a history of negative school experiences. It is essential that school staff encourage these families to actively participate in their children’s education by: - Trying a range of ways to contact them (text, email etc) - Continuing to invite parents to come to school - Asking for the help of a parent advocate, family service agency worker or group already involved with the family, such as a health agency or child and family services - Maintaining a positive, understanding and nonjudgmental approach, even when the situation is challenging - Recognizing that parents have valuable information and insight about their own children. - Involve parents in case conferencing with other service providers A significant percentage of children identified with FASD are not living with their birth parents: they may be living with other family members or in foster care. Some of these families may still be struggling with alcohol abuse and some birth mothers may have FASD themselves. Many students rely on school being a safe and structured place where they can learn and feel like they belong. Changing the way we approach students affected by FASD |From seeing the students as …| Trying to get attention Refusing to sit still Trying to annoy me |To understanding the student as …Can’t,| tired of failing Storytelling to compensate for memory Needing contact support Displaying behaviors of young child Exhausted or cannot get started Doesn’t “get it”, lacks understanding Needing contact, acceptance |From personal feelings of….| |To feelings of…Hope| Working with Networking,collaboration |Professional shifts from..Stopping behaviors,Behavior modification| Teaching one way |To….Preventing problems by identifying what student needs,| using visual cues Teaching many ways many times This is a wonderful resources for educators (About 5minutes) Video is Produced and Published By NeuroDevNet These files are part of Teaching Students with Fetal Alcohol Spectrum Disorder: Building Strengths, Creating Hope (2004) Organizing for instruction(754 kb) Responding to students’ needs (1148 kb)

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Travelling to outer space, discovering cures for deadly diseases, accessing the world’s knowledge at our fingertips – some of the feats humans have pulled off are mind-boggling. Now, what if we told you, ‘making elephant tusks disappear’ is also part of the long list of human exploits. Surprised? After years of illegal poaching activities, more and more elephants in the wild are found born without any tusks. This World Elephant Day, let’s look at how humans, unwittingly, have changed the course of elephant evolution. An elephant’s tusks are its modified teeth. They are essentially the incisors (teeth meant for cutting or biting) of an elephant’s upper jaw. The grey giants use their tusks for various activities including digging, carrying objects and defending themselves. Interestingly, similar to how humans are left or right-handed, elephants are also left or right tusked preferring the use of one tooth over the other! Ivory is a white substance derived from the teeth and tusks of animals. As early as the Harappan civilization, artefacts made from ivory have been considered valuable. While ivory objects can be made from many different animal teeth, elephant tusks are the most popular choice. Most objects made from ivory were used for decorative or ornamental purposes. The handles of spoons, gift boxes, pins and combs are just some examples of objects that were made from ivory. However, as valuable as these objects were, they came at a very high cost- the only way to obtain ivory is to kill an elephant and extract its tusk. In modern times ivory trading and poaching of African and Asian elephant tusks have been made illegal. Unfortunately, despite the ban on poaching elephants and trading ivory, many people still conduct these activities illegally. This prolonged illegal elephant poaching by humans has led elephants to evolve and become tusk-less. Here’s how! While most elephants are born with tusks, there is a small portion of female elephants who are born without tusks. Since these elephants are not poached (as they don’t have tusks to make ivory objects), they end up surviving, reproducing and giving birth to more daughter elephants who, like their mothers, are tusk-less. Scientists first noticed this when a surprisingly large number of elephants were born without tusks in Gorongosa National Park in Mozambique, Africa. Some informal accounts from scientists say the tusk-less variant of elephants is able to function without their modified teeth just fine. Many Asian elephants, for instance, depending on their habitats, are often tusk-less. But how their African cousins will adapt with fewer tusks is yet to be studied. Meanwhile, we still don’t know if more elephants will be born with or without tusks as governments across the world crackdown further on illegal poaching activities. This is also a reminder for us that human activities have far-reaching effects on the biodiversity of the planet. When we interact with the flora and fauna around us, we have the potential to change the course of species in lasting ways. Given this, caring for the environment (and the many beings it houses) responsibly becomes all the more important. Ever wondered what will humans look like in 1 million years. Liked this? Read more here Deepthi is an ambivert who is on a steady diet of good food, filter coffee, and self-improvement. Being an ardent reader, storytelling has been her first love and she enjoys exploring how to convey stories compellingly. Having studied psychology and experienced the learning and development field, Deepthi is driven to understand human behavior and to know what makes each of us unique. You are most likely to find her tucked into a cozy corner at a local cafe with a Kindle or a book in hand. If you find her there, stop by and say hello, she'd be eager to learn your story too. Until then, you can ping her at [email protected] for anything you may like to share. Arya C is a 4th grader who talks about her transition from the US to India and how BYJU`S has helped her at that. She also loves how BYJU`S has made learning a lot more fun. Meet Sourabh who has a ton to say about his BYJU`S learning experience. His love for quizzes, games and other fun activities are paying off! V Shriya is a class eight student who has been using BYJU’S for a year now. She shares her experiences with using the app and how it has helped her in improving her academic performance.

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WITHOUT WORDS: Looking at WORDLESS PICTURE BOOKS Updated: Jun 4, 2018 Have you ever read or shared a wordless picture book with your child or students? We read books all the time that have words and no illustrations so why not books with only pictures and no words? Text only books allow us to create pictures in our minds. So, in the same way, picture only books can assist to build words and thus create stories. Wordless picture books encourage storytelling and are the perfect tool for enhancing visual literacy skills. Their breathtaking images provide a pure feast for the eyes with endless possibilities to learn from them as visual texts. What are Wordless Picture Books? Wordless picture books have no words. The narrative is told entirely through the illustrations on the pages. Sometimes there are just a few words, though often, these are limited to the sounds being made (onomatopoeia) in the story. Peritextual elements, such as the title of the book and author or publisher blurbs inside the dust jacket, are also evident and may give clues to the visual narrative. Importantly, the story’s characters, settings, plot and meaning are built through what is visually communicated within the images. Indeed, any "written text is subservient to the visually rendered narrative" (Serafini, 2014, p. 25). The images tell the story. Who can read Wordless Picture Books? Wordless picture books can be enjoyed by both younger and older readers. Struggling readers, reluctant readers and readers whose language is not native to the country, can all benefit immensely from wordless narratives. Yet, this does not make wordless picture books and narratives simple or an easy alternative to written text. Generally, wordless picture books contain amazing and complex imagery where visual literacy skills need to be employed to derive understanding and meaning of the whole narrative. As with other books, wordless picture books are developed for certain age groups dependant on the theme and complexity of the story and visual design. Wordless Picture Books are fantastic for… (infographic) Why read Wordless Picture Books? Wordless picture books open endless possibilities by: allowing readers to be able to read at their own pace. Readers can get lost in the detail and this quiet reflective time can allow them a quiet space for their own thoughts. developing a sense of rhythm and melody within stories dependant on the size and number of images to a page. A double page image will allow a pause or break to look for detail, whereas a series of small images will increase the tempo. empowering the reader to use their voice by being the narrator of the story. developing inquiry and critical thinking skills by questioning what they see in the image. Using visual thinking strategies (VTS), readers can discuss, analyse and interpret what they see and predict what may happen next. reflecting on how pictures makes them feel. Using visual images can be a powerful vehicle for creating empathy, developing understanding about other people and situations and making personal connections to themselves. promoting and extending the reader’s vocabulary through discussing and describing what they see and what is happening in the image/s. developing visual literacy skills by questioning the use of design elements such as colour, shape, line, movement and pattern to create meaning in the story. engaging the reader in an active participatory role when reading/viewing the text to be able to make sense of the narrative as a whole (Arizpe, 2013). enhancing relationships between readers through conversation and discussion of what they are viewing. By taking turns to listen to others, readers can develop their ability to negotiate and be considerate of others opinions and co-construct ideas. How to read a Wordless Picture Book and other activities Wordless picture books can be read various ways. Here are some ideas and responding activities… Read quietly, especially in the first viewing, absorbing the pages in sequence and taking the necessary time needed on each page. Allow them time to re-read so as to make connections and make sense of the visual narrative as a whole. Read through again, this time discussing what you see; what is happening in the picture; why you think that; and what will happen next. Allow the younger reader to be the narrator of the story. Let them develop the storyline and give personality to the characters. Encourage them to use fanciful words to extend their vocabulary. As a guide, model being the narrator of the story and develop words to accompany the text. Give characters their voice and consider the context of the story... if the images are bright and quirky then allow yourself to role-play the characters with humour and wit. Discuss how your story is similar or different to each other’s story. Discuss how the images made you feel and why. There may be a particular page that the reader is drawn to or moves them emotionally. Talk about how the illustrator/author has used colour, texture and other design elements and concepts to make meaning or create emphasis. Perhaps all the background colours are soft greens and there is one element that is red (its contrasting colour). There may be an element (image, colour, shape) that is repeated throughout the book...what is its significance to the story OR does it represent something else (symbolism)? Discuss if there is a moral to the story. Was the author/illustrator trying to convince us or make us aware of something? Cover up the title of the wordless picture book, read through and then ask the reader/s to give the book a title. Give reasons for their title. Write a story with words to accompany the images. Use descriptive language and develop the character’s voice and language. Respond to a page, sequence of pages or the whole story with a visual or sensory response such as a colour and texture collage that describes the feeling or mood of the image/s in the book. Create character profiles for each of the story’s characters. What is the name of each character? Be creative with the name titles. Describe the character’s personality. What is the character’s shining characteristics and what are their flaws? Create a digital book trailer combining images, music, sound effects and written text with visual design elements to portray the message and meaning of the wordless picture book. Take the time to get to know a few of these treasures and get lost in the wonderful world of Wordless Picture Books!! Here are some wonderful wordless picture books to explore… (All cover images shown above have been listed with links below) Leaf by Stephen Michael King 2010 Bird by Beatriz Martin Vidal 2015 Mirror by Jeannie Baker 2010 Window by Jeannie Baker 2002 Lines by Suzy Lee 2017 Pool by Jihyeon Lee 2015 Flora and the Flamingo by Molly Idle 2013 Zoom by Istvan Banyai 1998 Mr. Wuffles! By David Wiesner 2013 Flotsam by David Wiesner 2006 Chalk by Bill Thomson 2010 Journey by Aaron Becker 2014 Bluebird by Bob Staake 2014 Sidewalk Circus by Paul Fleischman & Kevin Hawkes 2007 The Lion and the Mouse by Jerry Pinkney 2009 Professional Crocodile by Giovanna Zoboli 2017 Footpath Flowers by Jon Arno Lawson & Sydney Smith 2016 Flood by Alvaro F. Villa 2014 The Boy and the Airplane by Mark Pett 2013 Flashlight by Lizi Boyd 2014 A Ball for Daisy by Chris Raschka 2011 Bee & Me by Alison Jay 2017 Waltz of the Snowflakes by Elly MacKay 2017 Here are some more wonderful wordless picture books suitable for an older audience as they explore more complex imagery and themes… (All cover images shown above have been listed with links below) The Arrival by Shaun Tan 2006 The Red Tree by Shaun Tan 2010 Small Things by Mel Tregonning 2016 Robot Dreams by Sara Varon 2007 Unspoken by Henry Cole 2012 The Whale by Ethan & Vita Murrow 2017 Leaf by Daishu Ma 2015 The Last Goodbye by Yuan Pan 2015 The Middle Passage by Tom Feelings 2018 Here are some more links to other Wordless Picture Book reviews and articles: Goodread's "Popular Wordless Picture Books Shelf" Picture Books Blogger "Wordless Wonders" Chronicle Books Blog "How to Read a Picture Book with No Words" Reading Rockets "Sharing Wordless Picture Books" All About Learning Press "Wonderful Wordless Picture Books" The Book Chook "Book Chook Favourites - Wordless Picture Books" My Little Bookcase "Book List: Wordless (and almost-wordless) Picture Books" Children's Books and Reading "Wordless Picture Books" Nerdy Book Club "Top Ten Wordless Picture Books by Kristen Remenar" Read, Write, Reflect "Wordless Picture Books for Mini-lessons"

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When we talk about a student in an intervention meeting, we often start with what is amazing about that student. Teachers and caregivers who know the students deeply rattle off talents, skills, and strengths. These are personal and often show up outside of school. There are so many ways to be smart, creative, and self-directed. We start with the positives, with the assets, then move on to what a student might need that they are not getting. This is called an assets or strengths-based approach, where we are seeing students through an appreciative lens. It is a beautiful and affirming way to start a meeting about a student’s needs. Imagine you are giving feedback on a friend or student’s writing piece. Would you start with everything that is wrong with it? Or would you start with what was strong about the piece? Most of us respond better to critical feedback once we’ve heard some warm feedback on our work. Now, imagine how we start project-based or service-learning projects. Do we start with establishing who knows what about a community, concept or issue, or do we go straight to the “problem”? One problem I have with problem based learning is how it focuses on, well, deficits or problems. Perhaps we might begin by learning what is good, right, and positive. Assets based pedagogies are certainly not new. They have their roots in several curricular and scholarly movements. - Critical race methodology “provides a tool to “counter” deficit storytelling” (Solórzano and Yosso 2002, 131). These researchers focus on telling stories that challenge the dominant narratives and seek to fight racism, sexism, and classism. Kim Morrision, in her article, Informed Asset-Based Pedagogy: Coming Correct, Counter-stories from an Information Literacy Classroom, shares that the foundation of assets-based pedagogy are rooted in the work of W. E. B. DuBois, Carter G. Woodson, Zora Neale Hurston, Geneva Gay, and Gloria Ladson-Billings. These authors and researchers used critical race theory to explore people’s lived experiences, especially those that had been pushed to the margins and silenced. - Hip hop pedagogy, summarized in this Edutopia post by Joquetta Johnson, is another approach that has foregrounded and validated the experiences of youth in historically marginalized and underserved communities. This approach is rooted in what Gloria Ladson-Billings introduced as Culturally Responsive Pedagogy, which helps students accept, validate and affirm their cultural identities. An assets-based approach is not new, but it can be easy to forget in the work of designing service and project-based learning experiences. As educators, we want to engage students in genuine problems and help them solve them. In our excitement, we may fail to consider background knowledge, the local context, and an exploration of what is going RIGHT. Students can confirm negative stereotypes, develop biases, and “other” those they are seeking to help. I’m reminded of the quote by Hazel Edwards: “nothing about us without us is for us.” These concerns drove me to take another look at our project-based learning and service learning templates. I wondered, what might be missing? And while in my earlier writings about service learning, I encouraged teachers to look for local knowledge, and to connect with the deep well of community when planning service learning, there was no equivalent of that in the project-based learning templates and work. Updated project-based learning template So the template needed a spot for students and teachers to explore the assets and knowledge of the issues, community, and context before seeking solutions or improvements before diving into looking to improve conditions or solve problems. You can now see that here in the PBL 3.0 (Strength-based PBL) template. In addition, there is an asset mapping activity linked here, in the service-learning toolkit. Planning for justice-oriented action But asset-mapping and approaches aren’t enough. We need to fully work toward equitable learning environments. Environments where our students’ voices are valued, amplified, and listened to. Environments that include them in decision-making, and project-based learning plans. And these should include a step where students work to find a way to disrupt inequities, challenge dominant narratives, and amplify often unheard voices. Sharing work with authentic audiences is important, and can increase purpose, motivation, and engagement in students. But if we stop there, are we really working to create more inclusive, equitable policies, procedures, and practices in our schools, communities, country, and world? Helping students move from authentic sharing to justice-oriented action can help them see their own civic power and agency. It can support the disruption of inequitable systems, practices and policies. Teaching Tolerance standards include identity, diversity, justice and action and urge meeting these standards across grade levels, including saying, “Students will plan and carry out collective action against bias and injustice in the world and will evaluate what strategies are most effective.” You’ll see a step in the updated project-based learning template for this here. This provides another opportunity for students to deeply reflect on their actions and plans as well. It’s easy to rush through projects, lessons, and curriculum, without interrogating potential blind spots and falling into harmful equity traps. I am thankful to scholars of color who have shown me the importance of grounding any meaningful project work in an assets-based approach, and to work toward creating more equitable communities through our work with students. While this often happens in practice, being intentional in the design phase of powerful pedagogies ensures that students will have a more meaningful opportunities to make significant changes for good in their schools, communities and world. What does this look like in practice? Thankfully, Vermont teachers and students are showing us how to make this work. How to make sure their projects take direct action, for instance. How to make projects work toward justice, equity, and/or shared goals. Like the United Nations Global Goals. Jeremy DeMink’s middle school students at Edmunds Middle School in Burlington have participated in a Hands-Joined Learning project about social inequities and worked to take direct action to change them. These projects were in partnership with Jessica DeMink-Carthew, an assistant professor at the University of Vermont. Students demonstrated humanities learning targets through their social action projects, written about here by WCAX here. You can read more about the Hands-Joined Learning process in this recently published academic article, or in AMLE magazine for more information. Check out what teacher Christie Nold and her sixth grade students did to work to disrupt bias and stereotypes and build opportunities for students and teachers to explore their identities. These students designed experiences to make their voices heard. Heard by both teachers at a professional conference *and* by their local school board. This demonstrates not only growth in transferable skills and english language arts standards, but in amplifying student voice in decision-making and educational conferences. Lastly, the Global Goals inspired service and project-based learning at Burke Town School. The school launched this project with an asset-based, integrated project called Humans of Burke. In this project, students thought of a local community member they admired. They read up on the person’s work. Then they interviewed them, and created an art block print portraits. A local coffee shop hosted a gallery of the portraits for the community. Affirming, positive, community-based. Quite a place to launch service and project-based learning from! What do you think? How can we move our service and project-based learning into a more intentional strength-based and justice oriented experiences?

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War and Peace book report - detailed analysis, book summary, literary elements, character analysis, Leo Tolstoy biography, and everything necessary for active class participation. Introduction War and Peace is an epic novel about Russian society between 1805 and 1815, just before and after the Napoleonic invasion. … [Read more...] about War and Peace Leo Tolstoy was a Russian novelist born in 1828. A profound social and moral thinker, Tolstoy was one of the greatest writers of realistic fiction during his time. The son of a nobleman landowner, Tolstoy was orphaned at the age of 9 and taught mainly by tutors from countries like Germany and France. At the young age of 16, he enrolled in Kazan University but quickly became dissatisfied with his studies and dropped out soon after. After a brief, futile attempt to improve the conditions of the serfs on his estate, he plunged into the dissipations of Moscow's high society. In 1851, Tolstoy joined his brother's regiment at the Caucasus, where he first met with cossacks. He later portrayed the natural cossacks life with sympathy and poetic realism in his novel 'The Cossacks', published in 1863. Tolstoy completed two autobiographical novels during his time in the regiment and the works received instant acclaim. Back in Saint Petersburg (now Leningrad) Tolstoy became interested in the education of peasants and started a local elementary school that fostered progressive education. In 1862 he married 18 year old Sofya Andreyevna Bers, a member of a cultured Moscow family. In the next 15 years he raised a large family, ultimately having 19 children. During this time he also managed his estate and wrote his two most famous novels, War and Peace (1869) and Anna Karenina (1877). In the uniquely candid powerful novel Confession, Tolstoy described his spiritual unrest and started his long journey toward moral and social certainty. He found them in two principals of the Christian gospels: love for all human beings and resistance to the forces of evil. From within autocratic Russia, Tolstoy fearlessly attacked social inequality and coercive forms of government and church authority. His didactic essays, translated into many different languages, won hearts in many countries and from all walks of life, many of whom visited him in Russia seeking advice. At the age of 82, increasingly tormented by the disparity between his teachings, his personal wealth and by endless fights with his wife, Tolstoy walked away from his home late one night. He became ill three days later and died on November 20, 1910 at a remote railway station. At his death he was praised the world over for being a wonderfully moral man. That force and his timeless and universal art continue to provide inspiration today. "The Death of Ivan Ilych" is a novella written by Leo Tolstoy and published in 1886. The novella is considered one of his masterpieces and was written shortly after his religious conversion in the 1870's. The story in the novella is that of a man named Ivan Ilych, who lives an unremarkable, average life, slowly … [Read more...] about The Death of Ivan Ilych "Hadji Murat" is a novel which differs itself by its lengths from all the other novels from Leo Tolstoy. Tolstoy wrote it during the 19th century, and this novel was published postmortem, and it became a sensation in the literary world. Its length and thematic are also different from Tolstoy's other works, and it … [Read more...] about Hadji Murat "Resurrection" is a novel by the Russian writer Tolstoy. It was published in 1899 and it was the last significant work by Tolstoy. He idealizes the character of a Russian peasant and he has a critical opinion of the privileged aristocracy. Tolstoy wrote the most famous worldwide works such as "Anna Karenina", "War and … [Read more...] about Resurrection "Anna Karenina" is a novel with a contemporary thematic in which the main theme is Anna's adultery because of which she get rejected from society and experiences a tragic end. Parallel to her story we follow up on the destructive love between Anna and Vronsky and the love story between Levin and Kitty based on an … [Read more...] about Anna Karenina

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**Across our curriculum, students will explore their artistry and creativity and develop problem-solving skills. They will learn about the history of dance, music, theatre and visual art as well as how these art forms relate to the world beyond the studio and stage. They will learn about human anatomy and best practices for dancing safely. Language arts and mathematical reasoning and understanding of the human experience grow through our multidisciplinary approach. Students will be challenged and nurtured in the learning process while being valued as individual artists, appreciated for their differences and thus build life-long habits as collaborators, critical thinkers, leaders, explorers and learners** Based on the acclaimed "Brain-Compatible" and Concept-Based dance curriculum originated by Anne Green Gilbert. Warm-ups include rhyming dance exercises, ballet-oriented stretches and listening activities using varied movements. Dancers will explore weekly concepts individually through a creative problem-solving approach, sometimes with props to aid the exploration. Children learn to copy each other’s shapes and mirror moving shapes. They will work on skills such as leap, gallop, hop, skip, run, slide, twist, bend, stretch, swing, turn and more as well as try skills already mastered in new ways (exploring levels, directions, speed, etc). Students will begin to learn short movement combinations and incorporate this learning into simple folk dances. A variety of music is used to enhance creative expression and improvisation. Storytelling, music studies, visual art and language arts are incorporated as well. Classical ballet emphasizes strength, flexibility, alignment and musicality. Barre work begins at this level; dancers should enjoy the focus and attention that this portion of class time work requires. After having the previous experience of the brain-compatible curriculum in Creative Dance, students can more easily integrate the language of ballet with their own movement vocabulary. Folk dances encourage sequencing and learning choreography as well as improvisational whole body movement followed by stretches and strengthening for foot and ankle articulation and stronger abdominal and back muscles. The ballet vocabulary is introduced gradually to allow students to master the technical aspects of the fundamentals of the material. We will continue to explore concepts, incorporate music theory, ballet history and art exploration as well. Our ballet classes are primarily based on the Vaganova method, which is a ballet technique and training system devised by the Russian dancer and pedagogue Agrippina Vaganova (1879-1951). Fusing elements of traditional French technique from the romantic era, with the athleticism and virtuosity of the Italian school, the method is designed to work the body as a whole, with total involvement of the body in every movement, and equal attention paid to the upper body as well as the legs and feet. Due to its strictly codified training system, the Vaganova method is widely considered to be injury-free, if taught correctly. For comparative purposes, we will study various aspects of other systems in ballet such as Bournonville, Cecchetti and Balanchine techniques. Our dancers will be carefully assessed throughout their training to place them into the class level that will give them the best balance between new technical challenges and reinforcement of fundamental skills. Dancers will be assessed individually for readiness for pointe work as well. Music history and theory, ballet history, visual arts integration, etiquette and choreographic styles will be studied. Repertory, Variations and Enrichment: This specialized class is designed to challenge our dancers to learn excerpts from classical and contemporary ballets. As we learn these solo and group works, our dancers will have the opportunity to improve their performance quality, learn new movement vocabulary and dig deeply into the rich history of ballet. Enrichment work will include studies of alignment, pantomime and more… Beginning Ballet (Teen/Adult): This class is intended for teens and adults inspired to learn the art of ballet, and for students who may have studied ballet previously, but are interested in rebuilding their technique after time away from study. New vocabulary and steps will be broken down for understanding, we will build combinations gradually and students will be given corrections and guidance to build proper technique. Modern Dance Curriculum: Our modern program is based on codified movement techniques from 20th Century dance artists such as Martha Graham, José Limón, Lester Horton and Merce Cunningham. Class work consists of an extensive warm up including floor work and short movement combinations, creative work such as improvisation and concept-based explorations, center work, movement phrases and choreography. For our young Modern dancers we begin with an introduction to the vocabulary along with an exploration of movement concepts through structured improvisational activities. Visual and moving image arts as well as music history and dance history/appreciation will be incorporated. Students have the opportunity to create their own movement and collaborate with fellow dancers in class as they also build their technique. As dancers progress in our Modern program, they develop increased understanding of the codified techniques mentioned above. Dancers will learn more complex movement combinations, and explore further into the history and aesthetics of the techniques. We will continue to incorporate improvisational activities, moving toward shared-weight and contact improvisation as the dancers build their strength and confidence. Through all of our Modern classes, the dancers are also exposed to a wide variety of musical styles and meters, which inspires and challenges them as they work through their study of modern dance. This class is for young dance artists interested in learning about the choreographic process through use of structured improvisational work and through explorations of movement concepts and systems of composition. Dancers will collaborate with each other and explore solo work as well to build fluency in using improvisation to set their own choreography. We will practice and develop problem-solving skills. We will study various choreographic styles and dance genres as well as spend time viewing and discussing the work of well-known dance artists through time. Opportunities to present work are available at various times during the school year. Our tap program is geared toward teaching the fundamentals of tap dance to dancers from age 5 to adult. In our tap classes dancers will gain skills in musicality, speed, balance, strength, and coordination of their upper and lower body. They will also learn about the development of tap dance and its history along with its amazing artists through time. Our Jazz curriculum is an exploration of movement inspired by musical theatre, a study of the work of Jazz pioneers like Jack Cole, Matt Mattox, Bob Fosse, Gus Giordano and others, and also lessons about how this movement vocabulary relates to other dance forms. In Jazz dance, we find dynamic rhythms, syncopation, expression of the human condition and an emphasis on individuality within the technique. Jazz is a dance style that has evolved over time and has been influenced and fed by African Dance, ballet, modern dance, show dance, theatre dance and social dance...it is a wonderful blend of mind and body founded on a firm technical base.

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Helping toddlers move from one activity to another can be challenging. Very often, a toddler gets into what he's doing, and the last thing he wants to do is move onto another activity. With that said, you can make transitions for toddlers in the classroom or at home easy with a few tips and tricks. Time to Clean Up How do you persuade a child to clean up when he's totally engaged in what he's doing? Convince him to go along with your plan with some creativity. Classroom transition activities like these can also be used at home or in daycare settings. Let the Puppet Do the Talking If you already have the puppets out, why not make one of them help you with a little clean up time? Assign a name and a distinct voice for the 'clean up' puppet and pull it out one minute before an existing activity comes to an end. Use lines like, "Pinkie the piglet says it's time to clean up." While kids are cleaning up, 'Pinkie' can encourage them and give directions. If you use the same puppet every time children are to put the toys away, they will get into the routine of associating that particular puppet with clean up time, and will automatically know what to do. One-Two-Three, Pick Up Toys Place a timer within the room to catch the toddler's attention. Making it clear how long the activity takes place brings your child to thinking that you both have a goal of completing the task on time. Count one to three before starting the clean-up, so the child has ample time to prepare himself for the task at hand. Continuously refer to the timer when giving updates by saying things like, "Look, we still have three minutes left." If you are outdoors and no timer is available, use relevant references such as, "Five more turns on the slide and then we need to take a bath." Toddler transition songs help make transitions more fun and less stressful because they are still a form of play. Find a recording of a transition song such as the "Clean Up Song" from the TV show Barney. This three-minute song talks about everyone doing their part to help clean up after playing in a catchy way. When the song comes on, kids start cleaning up and try to finish before the song ends. Simple preschool transition activities like turning on a song associated witht the transition helps kids feel more secure because they know what to expect and they don't have to stop having fun. Color Coded Choices Giving toddlers the autonomy to choose provides them a feeling of control over their lives. It's also the best way to trick them into cooperating with your transition tactic. When picking up toys after play, give him the opportunity to pick which toy to pick up first. If he decides to pick up blocks, you're automatically picking up anything that's not blocks. Then it can be a competition to see who picks up the most or who picks up all of their toys first. Of course, you should let him win. He'll feel five feet tall after winning this battle against you. Praise him, and he'll transition to the next activity easily. Changing Gears at Mealtimes Toddlers can be picky when it comes to food. But knowing the right approaches before a tot transforms into his fight-or-flight mode can make feeding and snacking easier. When you've got a group of toddlers, classroom transition activities for preschoolers at mealtimes are a necessity. Beating the Red Light Not only do the traffic lights work on roads, but also as a way to transition your toddler. Buy a budget-friendly traffic light toy that functions like the real one. Explain to him that before the traffic light gets to red, he has to be done with his meal and ready to wash his hands. The visual cue is a concept that's easily understandable even by toddlers. By giving a visual cue, this helps your dawdling eater see how much more time he has and also gives him a visual cue (and warning) that he is about to transition into the next activity. Fancy Footwork and Hand Signals Get his attention in an instant and separate him from a current activity by doing a simple combination of movements with an insertion of the next activity at the end. For example, stomp or clap your feet rhythmically and say, 'mealtime.' The auditory signal, when used consistently, helps a toddler's brain automatically associate the sound with the idea that there is another activity, or a change in direction coming. The more you do it, the more he automatically begins to change gears. Too Cute to Eat Show off your artistic side with a variety of bento box lunch ideas. Who wouldn't draw his eyes to a cute and fun twist to a homemade meal? An artfully arranged, cow-looking, wheat-free meal while mimicking the animal sound helps incorporate play into his meal time. Your toddler will smoothly transition to eating a healthy lunch because of this attention-seeking, artsy trick. Dozing Off Tricks Because kids aged one to three years love to be active, plotting naptime and its previous transition can help your kids go into dream land. If It's Visual, It's Crystal Clear A predictable structure every night creates a routine that young ones memorize. Being consistent is key to implementing this technique and eventually succeeding in the transition. You can try a visual schedule or activity sheet showing each step the child has to undertake before going to bed. The schedule is composed of images of taking a bath in a tub, wearing pajamas, brushing teeth, children's books, and bed. This way, it's automatic for your toddler to follow the sequence and the transition to slumber is easy and painless. The trick here though is to be consistent and to make sure you address all your child's needs. Stories Before Sleeping While bedtime stories might seem basic, getting ready for nap time with a unique storytelling addition might help settle your active toddler. Reenact an indoor camping scenario by setting up a tent, taking a blanket and pillow, and draping the makeshift shelter. Use a flashlight to create shadow puppets while reading a story. This boosts the child's imagination while a quiet environment lures him to get drowsy. Soon enough you'll see heavy drooping eyes and improved sleeping habits. Sleepy Time Karaoke Singing songs before bedtime or naptime can help kids wind down in an engaging way. Let toddlers choose two to four songs you'll sing before they go to sleep each day. You can also find picture books of songs such as This Little Light of Mine by Raffi or Just the Two of Us by Will Smith to help you learn the lyrics and tunes of popular children's songs. Transition strategies for preschoolers at sleep times that involve action or fun make the transition feel less forceful and negative. Stuffed Animals for Hire Before being transitioned, kids love to take something with them from the previous activity to keep them energetic until the subsequent one. During down time, have your toddler bring a stuffed toy to bed, cover it with a duvet and pat its back until it also falls asleep. Through this, you help the child realize the connection of stopping an activity leading to the beginning of another one. It's a comforting and a calming activity. Consistency Is Key The real key to getting any transition to work is to make sure that you are consistent with your methodology. For every normal part of your daily routine, have a consistent way to transition out of the activity and into the next one. Transition activities are important for toddlers because they help your toddler begin to learn how to expect the transition which can minimize temper tantrums and toddler frustration.

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Scientists have developed a new device that makes it easier to measure our brain activity when we communicate, finding evidence of how our brains 'align' when we share information. By spotting when and how different people's brain activity syncs up during communication, the researchers hope to better understand how information can be conveyed more effectively, and why some messages get lost in translation. The analysis is made possible by a special wearable brain-imaging device, developed by researchers at Drexel University and Princeton University, which uses a system called functional near-infrared spectroscopy (fNIRS for short). fNIRS uses light to measure brain activity through oxygen in blood cells, and because the device can be worn easily, subjects are monitored as they interact face-to-face – something that's not possible when people have to recline inside bulky fMRI scanners. "Now that we know fNIRS is a feasible tool, we are moving into an exciting era when we can know so much more about how the brain works as people engage in everyday tasks," says one of the team, Banu Onaral from Drexel University. In other words, this scanner could tell when you really are tuned in, and when you've zoned out. To check the potential of the fNIRS headband, the researchers had a native English speaker and two native Turkish speakers each wear one of the devices, and tell an unrehearsed, real-life story in their native language. Those stories, plus another recorded at a live storytelling event, were played to 15 English-speaking listeners, who were also wearing fNIRS headbands. As expected, the brain activity of the listeners only matched up with that of the storytellers when the English stories were used – the stories the listeners could actually understand. Through the fNRIS scans conducted from the headband, the team noted matching patterns in oxygenated and deoxygenated haemoglobin concentrations in the brains of both the speakers and the listeners. While we don't fully understand how these areas of the brain work, the fact that matching patterns were shown in the listeners after a short delay strongly suggests that some kind of message decoding is taking place. What's more, the study results matched up with previous work on speaker-listener relationships done with fMRI scans – where similar correlations were spotted – establishing a new and reliable way of measuring brain coupling during social interaction. It's only a preliminary study, with more detailed analyses to come, but at least now we know that this method for monitoring synced brain activity actually works. In the future, the researchers say similar systems could be used to measure how well doctors communicate with their patients, the impact of different teaching methods, or how people react to television news. "Being able to look at how multiple brains interact is an emerging context in social neuroscience," says one of the researchers, Hasan Ayaz from Drexel University. "Now [we] have a tool that can give us richer information about the brain during everyday tasks – such as natural communication – that we could not receive in artificial lab settings or from single brain studies." The findings have been published in Scientific Reports.

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Write a 750-1000 word essay which demonstrates how your novel follows the steps of narrative structure (exposition, rising action, climax, falling action, resolution/denouement). - Include an outline and Works Cited page where you will list the novel you are discussing. - You must use MLA format, but you are not to use outside sources for this paper; this is your own analysis. - Cite examples from your text in support of your argument, either as direction quotations or paraphrases. - This is not simply a summary of the story. Instead, you should identify how each part of the narrative structure develops in the story. Do not confuse this essay with your research paper. This essay is totally your own thinking from studying the steps of narrative structure and reading the novel. Your research paper reflects the conclusions you draw from information gleaned in your research and is on a selected topic other than narrative structure. The Freytag Pyramid Understanding the plot on a deeper level can help you interpret a work as well. Many stories (including movies, television shows, drama, and narratives) follow the below organization, otherwise known as The Freytag Pyramid. Although understanding these terms can help you break down a work, you generally should not discuss the pyramid in an essay, for this focus is on the plot. Always remember: your reader knows the plot. Your goal is always to discover a deeper meaning of a work of literature. This functions as an introduction. It brings readers into the world of the story and introduces them to the main character. The exposition will often give background information and any necessary information about the setting as well. The rising action is where the story gains a direction, changing from providing information to getting into the meat of the story by introducing a problem or conflict that must be resolved. The rising action brings readers into the main body of the story and gets the action going. The climax is where the increasing tension caused by the problem/conflict comes to a head and must be directly confronted. Often, in this part of the narrative, the main character or protagonist will face an important choice, and often the response to this choice dictates how the rest of the story will go. Note that during this part of the narrative, the confrontation between protagonist and antagonist (the character or object most directly in opposition to the protagonist’s goals and desires) begins but is not resolved. The falling action continues the confrontation between the protagonist and antagonist. At this point, we will find elements such as the ritual death, which is the part of a story in which everything seems to be going wrong for the protagonist, and the antagonist seems to be about to win. During the falling action, readers will often find themselves wondering how things could possibly work out for the protagonist. Finally, after increasing tension and conflict, the narrative will hit a tipping point, and either the protagonist or antagonist will triumph, and the plot will move from its main body into its conclusion. Resolution here refers to the resolution of dramatic tension as the story takes us one way or another, and events are wrapped up, though not necessarily in a satisfying manner. Don’t ignore the concluding sentences of short fiction; there are often important ideas included there that can strongly shape how you read the rest of the story. Book – Heart of Darkness by Joseph Conrad Heart of Darkness Download Free at Planet eBook What Students Are Saying About Us Customer ID: 12*** | Rating: ⭐⭐⭐⭐⭐ “Honestly, I was afraid to send my paper to you, but you proved you are a trustworthy service. My essay was done in less than a day, and I received a brilliant piece. I didn’t even believe it was my essay at first 🙂 Great job, thank you!” Customer ID: 11***| Rating: ⭐⭐⭐⭐⭐ “This company is the best there is. They saved me so many times, I cannot even keep count. Now I recommend it to all my friends, and none of them have complained about it. The writers here are excellent.” “Order a custom Paper on Similar Assignment at homeworksmith.com! No Plagiarism! Enjoy 20% Discount!”

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On Juneteenth, African Americans celebrate emancipation from slavery. On this day we at the Greater Good Science Center would like to share some of the tools we’ve published through the years that attend to the well-being of African Americans, and tools that others can use to work toward dismantling racism. These are tools of confrontation, compassion, listening, understanding, and hope that might move us all toward more fully claiming our humanity. Right now, many of us are weary of using these tools on our own. Those who are suffering from racialized violence, who are seeking justice, need for all of us to share the load. On Juneteenth, we’re taking this opportunity to ask our more privileged readers to listen deeply to voices of difference and thoughts that make you uncomfortable. We’d like to ask you to reckon with your own mistakes and hurts, and please help with the work of building a society where everyone’s humanity is recognized and upheld. - From Othering to Belonging: In a Science of Happiness podcast, we explore racial justice, well-being, and widening our circles of connection and concern. - Thoughts on Awkward Relationships and Bridging Divides: In a Science of Happiness podcast, comedian W. Kamau Bell discusses the challenges of finding common ground, even with people in your own family. - Why Telling Our Own Story Is So Powerful for Black Americans: Andrea Collier reflects on the role of storytelling in black American history—and in her own life. - How the “Strong Black Woman” Identity Both Helps and Hurts: Being a “superwoman” could help African American women cope with racial discrimination—but it may have some drawbacks. - How Adults Can Support the Mental Health of Black Children: Psychologist Riana Elyse Anderson explains how families can communicate about race and cope with racial stress and trauma. - How Can I Stay Positive for My Kids When I’m So Overwhelmed?: Even for a psychologist who studies how kids understand racism and violence, talking to her own children about it is difficult. - How to Talk with Your Kids about Donald Trump: Trump is creating fear and confusion in children, especially kids of color. Here are three suggestions for talking with kids about race and racism in the media. - Why Marginalized Students Need Hope to Succeed: Researcher Dante Dixson is developing programs to help disadvantaged students envision a brighter future for themselves. - How to Change the Story about Students of Color: Dena Simmons explores how educators can inadvertently harm students of color—and what we can do to bring out their best. - Why Storytelling Skills Matter for African-American Kids: For black students, storytelling skills directly predict their early reading skills. Discover more anti-racist resources from the Greater Good Science Center.

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New demands for literacy instruction require an emphasis on both literature and informational text. But student work with informational text doesn’t have to be a dry regurgitation of facts. In fact, putting a creative spin on student performance tasks can turn informational text projects from ordinary into extraordinary. You don’t have to undertake a massive instructional shift to keep students from rote work and a simple copy and paste. Here are some ideas for unique and creative projects and products that get students thinking about the content they are reading. Trading cards are a form of informational text that even young students are familiar with, even if they aren’t baseball or Pokémon fans. Creating a classroom set of trading cards for historical figures, rainforest animals, or even elements on the periodic table, provides a fun way to learn, and review, information about a topic you are studying. The first time a child gets a pack of trading cards, they may read each one top to bottom and right to left; but once they start a collection, they learn to use the features of nonfiction texts to quickly find information. Asking them to create their own trading cards, builds their fluency in utilizing headings, labels, and images as they use informational texts in the future. Because trading cards are small, students must also carefully choose which information they need to include for their user. As they work to summarize, students must evaluate information and determine its importance, improving their comprehension of the topic. The process of creating a trading card, printing it out, and sharing it with classmates, also helps students connect the work they are doing in the classroom with their lives outside of it. Like trading cards, students are seeing more and more people outside the classroom reading electronic books and may even be using a digital textbook at school. Students are motivated to create and publish their own eBooks, and see their efforts as valuable; especially when the intention is to publish them for an audience outside of the classroom. Emerging readers and writers may need to scaffold their research and writing with worksheets that outline what they should include, but older and more experienced learners may need to be pushed so that they don’t simply copy and paste information directly from their research into their eBooks. You can avoid this problem by asking them to create books in ABC, Associative Letter, or even Fact or Fiction style. The content in an ABC book is organized around the letters of the Alphabet. For example, an ABC Book on the Desert of the American Southwest might include pages like: A is for Armadillo, B is for Bighorn Sheep, and C is for Coyote. The example below highlights the ocean environment. You might also try an associative letter project. In this format, all information is organized around a single letter. For example, an associative letter report on the Revolutionary War might contain pages like: Militia, Massacre, and Midnight Ride. Fact or Fiction? In this format, students craft individual statements about their topic followed by the words “fact or fiction?” on a page. Then, they write the answer (fact or fiction) and provide evidence to support their conclusion. Creating a comic strip is also a great way to get students thinking about the informational texts they are reading. Like trading cards, the limited amount of space in a comic’s panels requires students to choose the most significant points in a text or story. This summarizing, combined with the extensive use of nonlinguistic representations in comics, improves student comprehension. Great writing combines all three forms of written communication expressed in the Common Core State Standards; narrative, informational, and argument writing. Creating comics based on informational texts helps students more easily connect this information as they develop narratives to share information or arguments to raise awareness and change behavior. Sequencing and logic are crucial to good storytelling, and students quickly learn that they can’t simply jump forward in time or around in space. Creating a Wanted poster for a person, place, or thing is a highly engaging performance task that requires students to think but doesn’t require a lot of technical expertise to create. Students can begin Wanted posters with simple identifying physical features and then move further to include information about qualities that make an object or person unique and connect to its time and place in the world. For example, asking students to identify a “last seen” or “often found in” location provide an opportunity for them to demonstrate what features and characteristics look like in action. While infographics are popular in the media right now, they are more than just a passing fad. These visual representations of knowledge and information make complex ideas and large amounts of data easy to understand and have quickly become a powerful form of digital-age communication. Crafting an infographic to help convey the important information and ideas is a great way to get students thinking more deeply about the information they are reading. To craft an effective infographic, students must identify: Yes, infographics can be highly complex if they are based on large amounts of complex data. But infographics can also be clear statements of priority and action, like a Top Ten list. Science and social studies are filled with big ideas and concepts, not to mention remote time periods and locations. To help students make sense of some of these concepts, ask them to craft an interview with a connected object. For example, students could interview: Crafting a fictitious interview can help bring abstract scientific concepts to life and make history more personal. It also helps students learn how to ask questions. Their formulation of the questions also helps you better evaluate their comprehension of big ideas behind the facts they find. Because they are written in first-person perspective, students must empathize with their subject and can’t simply copy and paste information or regurgitate facts. Interviewing helps students identify the perspective of a historian or scientist as they personify the object with gender and other human characteristics. News broadcasts are much more sophisticated and time consuming but make for a great culminating task in the content classroom. Before an end of the year review, or even exam, ask teams of students to choose a topic you studied and share their knowledge in this engaging format. Like comics, writing a News Broadcast requires students to use narrative writing techniques to deliver information. Crafting a News Broadcast helps students think about techniques the media uses to attract viewers and keep them watching, building essential media literacies. Many important issues today, like climate change and health, can help you connect your students to the content they are learning in science and social studies. Asking students to craft a public service announcement (PSA) to raise awareness or change behavior, lets them know their work and efforts are valuable and can have a real impact on the world around them. Science, with its connection to issues that many students are passionate about, is a great place to ask students to develop public service announcements. Creating a PSA is also a powerful performance tasks for social studies and requires students to practice skills in all four dimensions of the C3 Framework for Social Studies State Standards. Developing PSAs provides a great connection to skills learned in English Language Arts classes as well. Students must research deeply, identify fact versus opinion, develop claims and the evidence to back them to write an effective argument. Choose the product or performance task that you think will work best in your classroom with your students and which most effectively provides them with an opportunity to practice reading and writing in real-world situations, with a real-world audience. Creative performance tasks like these products not only lets students know their work has value and meaning it provides an opportunity for students to ask their own questions as they make sense of content and find meaning in the curriculum, not just provide a “correct” answer. Create custom rubrics for your classroom. Write, record, and illustrate a sentence. A curated, copyright-friendly image library that is safe and free for education.

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Editor’s note: Not long after Amanda Gorman recited one of her poems at the inauguration of President Joe Biden on Jan. 20, three of her forthcoming books skyrocketed to three of the top four spots on Amazon. She was also selected to recite an original poem for Super Bowl LV. Here, three scholars of poetry explain why the writings of the 22-year-old Gorman – who became the country’s national youth poet laureate at age 17 – and her rise to fame represent a prime opportunity for educators to use spoken word poetry as a lively way to engage students. Wendy R. Williams, assistant professor of English at Arizona State University During my research studying a diverse group of spoken word poets in Arizona, I learned that adolescents improved their writing skills, academic performance, confidence and social skills through writing and performing spoken word poetry. The poets used this medium to heal, advocate for change and imagine new futures. I noticed that these brave young writers often delivered stunning lines, such as, “If I sit long enough in a dark room will I develop like film?” They used poetry to talk back to those who wronged them. And they used this medium to speak out about injustice. As one adolescent poet in the study wrote, “We live in a first-world country, yet inner-city kids still go hungry.” Although spoken word poetry can benefit adolescents in many ways, K-12 education has been relatively slow to embrace this medium. This is unfortunate, because spoken word poetry and other creative forms of writing such as songs, short films, animated works and comics can help young people gain important skills necessary to do college-level writing. Spoken word poetry has enormous potential in K-12 education. Teachers can use this medium to honor students’ languages and cultures, encourage authentic writing and build community. Spoken word poetry also aligns to many of the writing, speaking and listening goals that are outlined in the Common Core State Standards, a set of learning goals for K-12 students. For example, writing and performing spoken word poetry aligns to the goal to “write…for a range of tasks, purposes and audiences.” Bringing spoken word poetry into the classroom does not need to be difficult or time-consuming. Teachers could start by showing short videos of works by Amanda Gorman, Jamaica Osorio, Prince Ea and other ethnically diverse spoken word poets. After listening to and discussing some of these poems, students could write about their own concerns and hopes for the future. They might also have the option to perform in a small poetry slam. At a slam, poets perform with attention to volume, rhythm and gestures while audience members respond with supportive snaps and comments. Many adolescents enjoy performing their poetry, as competitions such as Louder Than a Bomb and Brave New Voices demonstrate. Young people have important ideas to express. They need to be taken seriously as writers and given the support, tools and platforms necessary to make their voices heard. Kathleen M. Alley, associate professor of literacy at Mississippi State University When I heard Amanda Gorman recite her poem, “The Hill We Climb,” at President Biden’s inauguration, I instantly decided to throw my plans for the week out the window. I hope teachers throughout the nation will similarly be willing to put their regular lesson plans aside in order to seize the opportunity to use the poetry of Gorman to engage with students who are not much younger in age. I am a teacher-educator, which means I help prepare the teachers of the future. My students are on track to become elementary and middle school teachers in about a year. The first thing I did with my students was to simply savor Gorman’s words. I wanted my students to think about what those words meant to each of us personally, and to use them as a vehicle for conversation about writing instruction. Her poem is an incredible example of spoken word poetry – a form of poetry that is rooted in oral traditions and performance. Spoken word encompasses elements of rap, hip-hop, storytelling, theater and more. It is characterized by rhyme, repetition, word play and improvisation. It often touches on issues of social justice, politics, race and community. It holds the promise of helping young people to connect with ideas as well as providing a means to deepen comprehension and develop understanding and empathy, which can then be applied to real-world situations. One of the most powerful things poetry can do is to refocus, if not transform, people’s point of view. In my class, after sharing a video of Gorman reciting her poem at the inauguration, I asked my students to consider how they’d discuss the poem with elementary and middle-grade students. How would they “teach” this poem? We discussed how we could help students make connections between this moment in history, the poet’s message and their own lives. We talked about how elementary and middle school students might use Gorman’s poem as inspiration to write their own poems of place and time. Mukoma Wa Ngugi, associate professor of literatures in English at Cornell University Jonathan Kozol in “Savage Inequalities: Children in America’s Schools,” narrates how, as a newly minted teacher working in a poor, inner-city, mostly Black school in the 1960s, he taught Langston Hughes’ poem “Harlem” and how one of the children “began to cry” when she first heard the line, “What happens to a dream deferred?” Does it dry up like a raisin in the sun? He writes, “The next day, I was fired because Hughes was regarded as ‘inflammatory.’” I often go back to that moment when I think of poetry in a classroom and the power of words. What is it that the young girl heard in the poem that moved her to tears? As educators, sometimes we kill poetry as we tease out metaphors, symbols and line breaks. But at best, poetry in a classroom gives us a way to reflect and be in the world at the same time. It gives emotional backbone to the intellectual. If a country were a classroom, even when a poem might not heal it, it can suture it. It can be balm, waiting to heal, if only we can listen. A good poem understands that is not going to happen today, it says – listen! And it regrets its necessity, that its hunger is both promise and regret. How does a poem hope, dream and speak to a country built on an original sin of slavery?

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Inseparable from ceremony, ritual, rhythm, and music, traditional African dance styles are as much a cornerstone of Sub-Saharan and West African cultures as they are a powerful and unique facet of the dance world. Not only is African dance a powerful experience for the spectator, but it is also a symbol of solidarity and an important means of communication for the performers and their community. While its influence in the West can be seen mostly through contemporary and hip-hop dance forms, it is fortunate for researchers and dancers alike that African dance still exists internationally in its purest forms. Shared QualitiesThough there are innumerable variations within the West African dance traditions which would be impossible to discuss exhaustively, there are some elements which many African dances share. First, the body of the dancer is polycentric, or segmented. This means that movements tend to be concentrated in a portion of the body, be it the hips, legs, arms, etc. The separate regions of the body are recognized and utilized either individually or simultaneously, rather than moving as one limited unit. There are other elements as well which unite most ritualistic African dances, such as the importance of bare feet, shuffling steps, improvisation, the core nature of the hips, and pounding rhythm. Most African dances rely upon the beat of drum music and sometimes, the accompaniment of singing. One deeply important quality of African dance is the ability of the individuals taking part to express emotion and personal style. With each dancer relying upon the movement style of his or her own body, the improvisational portions of the dances become unique and inimitable. Similarly, the emotional power each dancer brings to the dance will be different. As such, the movements in the dances are as much dictated by 'internal movement' as external. In other words, ritualistic dances are often driven by movements which originate inside the body and work their way out, rather than adopting the Western style of moving the body as a whole through space. Ceremony and RitualThe most important thing to recognise about traditional African dances is their inextricable link to the social practices of the community from which they originate. More than a form of entertainment, dance, in African cultures, proclaims any moment of great importance within a group or society. Never standing alone, the dances are part of a much larger ceremonial practice. More than performance, it is ritual. With a shared movement vocabulary, the individuals within African communities celebrate and communicate using song, dance, costume, and narrative. Such ceremonies might take place to mark weddings, deaths, births, the naming of a child, the healing of the sick, the changing of seasons, a major change within the landscape or the society, occasions for storytelling, the coming-of-age of an adolescent, a spiritual plea, or a declaration of war or peace. Additionally, the dancers themselves will vary depending upon the occasion. Some dances are performed only by certain members of the community who possess a certain status or occupation. These individuals, such as healers or warriors, might have more dance training than those who hold other positions in the village. Other dances and rituals, however, include everyone and can be done by forming a ring in which solo dancers can enter, a serpentine formation, or two teams.

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( http://en.wikipedia.org/wiki/African_dance ) Traditional African Dance mostly used the African voice instead of the more current drums and other instruments. Although nomadic groups such as the Maasai do not traditionally use drums; in villages throughout the continent, the sound and the rhythm of the drum express the mood of the people. The drum is the sign of life; its beat is the heartbeat of the community. Such is the power of the drum to evoke emotions, to touch the souls of those who hear its rhythms. In an African community, coming together in response to the beating of the drum is an opportunity to give one another a sense of belonging and of love. At the time slaves were still legal in the south; therefore the act of of helping them escape to freedom was illegal. The appeal for freedom was very strong and there were many blacks speaking out on the issue. On unique piece of reading was the “Appeal to the Colored Citizens of the World”, by David Walker. Walker was born free in North Carolina but still saw a better end for his brothers in the south. His writing was an appeal to the injustice of slavery in the Southern states, using political and religious means to convey his ideas. Residing in Africa, before the belief of Islam was revealed to exempt individuals from taxes, were the believers in ancestral veneration. These people followed numerous rituals in order to please not only their ancestors, but also the greatest creator of all, which varied from one society to the next. The people’s worship towards their deceased ancestors was quite the opposite of Irony is embodied largely in the justification of slavery through religion, as well as in the obliviousness of the slaveholders to the same, if not harsher, oppression they motivated after having fought against it in the American Revolution only decades before. Douglass’ diction is important to the readers understanding of the events in the story and the severity surrounding them. It also makes the whole engagement more enticing not only because it elucidates and canonizes emotions in the novel, but also because it helps to create imagery in the readers mind. He is also able to use diction and imagery to construct eloquent passages that are at the same time punctual and yet have deep emotional tolls on the reader. One such example is embodied on page in the text, “Mr. Dundas was removed for mismanagement of funds, which benefited Wilberforce; he was able to continue with his speeches and acts without interruption. Also, revolutionary acts were made in the West Indies by African slaves. By 1820, Caribbean islands were African slave dominated; whites were living in a constant fear, Even though both arguments are very strong in their own right, I feel that from what I already know about the slave trade and Carney’s evidence I am going to have to side with her in the argument on the African roots of American rice. We all already know that slaves were sold and purchased in different regions of the Americas for their different skills. On the sugar plantations in the West Indies, the plantation owners wanted strong fit young men who could work long hours and do heavy manual labor. It did not matter where they were from, as long as they could work long and hard. When it came to places such as Charlestown, South Carolina it did not matter how big or how strong a slave looked, all that mattered is where he or she came from. Alexis Lopez Lopez1 Nina Stojkovic Contemporary Music 11/26/12 Bob Marley’s Social Message Bob Marley was a moral and religious figure that touched many people’s lives through his music. The message he shared impacted societies in ways that had never been seen before from artists. Marley’s music was inspired from social and political issues of his homeland. A lot of times his music was connected to social injustice and politics. Bob’s music was sometimes his attempt to portray a message of peace. African American Music History FROM SLAVE FIELDS TO RAP SKILLS: A Journey Through Black American Music The Africans brought with them sounds of their ancestors as they came ashore to this country. Polyrhythms and work songs were parts of their heritage. As slaves labored in the fields, the music became a way of adapting to a new language, a new religion and a new, but difficult way of life. Often times the songs were a means for them to communicate with each other and express their troubles and hopes for a better life. It has also been said that some songs were used to signal the flight to freedom. Way of Communicating There is a rich, fertile legacy of folklore from Africa. On this vast continent, folk tales and myths serve as a means of handing down traditions and customs from one generation to the next. The storytelling tradition has thrived for generations because of the absence of printed material. Folk tales prepare young people for life, as there are many lessons to be learned from the tales. Because of the history of this large continent, which includes the forceful transplanting of the people into slavery on other continents, many of the same folk tales exist in North America, South America, and the West Indies. As the African- American people who were enslaved gained literacy and began to write about their experiences, they incorporated figures from oral tradition into their written creations. These stories spread and became folklore in America; however, these also existed in Africa as well. These tales were also important in Africa as well because when most were not able to perfectly remember their culture, these stories helped represent African cultures and traditions. , "The Jackal and the Leopard," featured in Black folktales by Julius Lester underscores the importance of honesty, fairness, wisdom, and courage as qualities that are essential for creating stable communities and governments everywhere in the world. The animals featured in this story were once found throughout most of Africa.

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1-5 Developing and sustaining foundational language skills 1 Listening, speaking, discussion, and thinking--oral language. The student develops oral language through listening, speaking, and discussion. A listen actively, ask relevant questions to clarify information, and make pertinent comments; B follow, restate, and give oral instructions that involve a series of related sequences of action; C speak coherently about the topic under discussion, employing eye contact, speaking rate, volume, enunciation, and the conventions of language to communicate ideas effectively; D work collaboratively with others by following agreed-upon rules, norms, and protocols; and E develop social communication such as conversing politely in all situations. 2 Listening, speaking, reading, writing, and thinking--beginning reading and writing. The student develops word structure knowledge through phonological awareness, print concepts, phonics, and morphology to communicate, decode, and spell. A demonstrate and apply phonetic knowledge by: i decoding multisyllabic words with multiple sound-spelling patterns such as eigh, ough, and en; ii decoding multisyllabic words with closed syllables; open syllables; VCe syllables; vowel teams, including digraphs and diphthongs; r-controlled syllables; and final stable syllables; 4 Listening, speaking, reading, writing, and thinking--fluency. The student reads grade-level text with fluency and comprehension. The student is expected to use appropriate fluency (rate, accuracy, and prosody) when reading grade-level text. 5 Listening, speaking, reading, writing, and thinking--self-sustained reading. The student reads grade-appropriate texts independently. The student is expected to self-select text and read independently for a sustained period of time. 8 Listening, speaking, reading, writing, and thinking using multiple texts--literary elements. The student recognizes and analyzes literary elements within and across increasingly complex traditional, contemporary, classical, and diverse literary texts. A infer the theme of a work, distinguishing theme from topic; D explain the influence of the setting on the plot. 9 Listening, speaking, reading, writing, and thinking using multiple texts--genres. The student recognizes and analyzes genre-specific characteristics, structures, and purposes within and across increasingly complex traditional, contemporary, classical, and diverse texts. A demonstrate knowledge of distinguishing characteristics of well-known children's literature such as folktales, fables, fairy tales, legends, and myths; B explain rhyme scheme, sound devices, and structural elements such as stanzas in a variety of poems; iii identifying the intended audience or reader; and F recognize characteristics of multimodal and digital texts. 10 Author's purpose and craft 10 Listening, speaking, reading, writing, and thinking using multiple texts. The student uses critical inquiry to analyze the authors' choices and how they influence and communicate meaning within a variety of texts. The student analyzes and applies author's craft purposefully in order to develop his or her own products and performances. A explain the author's purpose and message within a text; 11 Listening, speaking, reading, writing, and thinking using multiple texts--writing process. The student uses the writing process recursively to compose multiple texts that are legible and uses appropriate conventions. A plan a first draft by selecting a genre for a particular topic, purpose, and audience using a range of strategies such as brainstorming, freewriting, and mapping;

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Fun Facts About the California Gold Rush What started as a discovery of Gold nuggets initially in the Sacramento Valley in 1848 became one of the most significant events to shape American history during the first half of the 19th century. The California Gold Rush was a significant event because it helped usher in an era that greatly expanded the West and built an economy. Thousands of prospectors came by sea and land to get their hands on the riches that were so abundant in the northern California region. Once rumors spread about the discovery of the nuggets, it took little else to gather the masses. There are many tales about the California Gold Rush. While some may be true, others are exaggerated for the sake of show and storytelling. FUN FACTS ABOUT THE GOLD RUSH - It all started with a man named James Marshall. When working as a carpenter, Marshall discovered Gold flakes at the base of the Sierra Nevada Mountains. The mill he was working in at the time was owned by John Sutter. Despite trying to keep the news of Gold on the property a secret, word leaked out and the masses came running. - The Gold Rush caused the largest migration of people to one location ever documented. Prospectors and business owners came from as far as China to explore the rumors of Gold. After the Gold Rush died down, it was estimated that 100,000 non-Californians settled there. Because of the migration, San Francisco became a forefront of a bustling economy and a shining light on the new frontier. - California was admitted into the Union in 1850, becoming the 31st state, in response to the Gold Rush. The United States had obtained California as a free state after being ceded by Mexico after the Mexican-American War in 1848. Little did anyone know the Gold Rush would put California on the fast-track to officially becoming a state. - The California Gold Rush was a short-term event in relation to years. From 1848 to 1857, Gold was mined and excavated in force. Millions of dollars in Gold were either pulled from the ground or deposited due to blast mining and surface excavations. The largest haul in one year was $81 million in 1852. - There were no banks in California in the early parts of the Gold Rush. California passed a constitution in 1849 that prohibited creating state or commercial banks. Banking was conducted by private individuals who could set their interest rates and loan amounts. Free of government regulation, these bankers could also change Gold into currency. - Merchants made more than some miners. Because it was vital to provide a support hub to miners, merchants and business owners opened shops to feed and clothe the miners and supply the necessary materials for excavation. Many merchants made a fortune offering support to the miners and after the Gold Rush many stayed in the area to conduct business. - Ships played an important role in building San Francisco. Even though there were settlers and miners who came in on wagons and foot, some came through the ports of San Francisco. Many ships were abandoned while others suffered greatly on their way into harbor. The ships were either repurposed as hotels or shops while others were torn apart for lumber. The ships incidentally provided San Francisco much needed and important supplies. The California Gold Rush offers many important historical narratives. Most importantly, it shows the importance of Precious Metals and the role they play in an economy. Gold would soon become an important part of cultural and financial lore.

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