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This course examines how architecture and urbanism is represented in film and investigates how film influences and constructs the architecture of the city. Emerging as a twentieth-century phenomenon, the modern metropolis is the site of the most radical experiments of architects and planners, and an active subject in the imagination and actions of its diverse inhabitants. Film has a close relationship with the city and its architecture. How does architecture use its structure, form, enclosure, floor plans, materials and lighting to produce effects, evoke emotions and influence everyday lives? Likewise, how does film use space, architecture and landscape to situate its characters, create dramatic action and emotions? Focusing on popular film genres of postwar modern industrialized Hong Kong and other Asia cities—the melodrama, noir thriller, monster movie, sci-fi dystopian fantasy, comedy and crime drama—the course offers a cross-cultural perspective on how films have envisioned urban transformation due to the flows of capital, people, ideologies and imageries. It attends to how movies produce and reproduce the image of the city, their effect on the built environment and how they impact everyday experiences and perceptions of the city they live in. Through in-class analyses and discussions of film clips and stills, city maps, building floor plans and texts, the course aims to deepen students’ understanding of how architecture and film influence each other, how they reveal social relations and construct narratives of modernity in the twentieth century. Class readings are drawn from film studies, urban history, globalization studies, and architectural history. The main objective of the course is to cultivate students’ ability to observe, read, document and analyze the contemporary built environment through the double perspectives of architecture and film, informed by a historical awareness of their respective and overlapping traditions and influences. Students will acquire new analytical skills to understand urban transformation in the dynamic development contexts of the world. They shall develop their visual, writing and critical-thinking skills through thematic lectures, discussion of texts, methods workshops and guided fieldwork. 1. What are the relationships between architecture and film? 2. What are their similarities and differences in the presentation of the city – its forms, spaces, processes and people? 3. How do films produce and reproduce the image of the city? 4. How do these films impact everyday experiences and perceptions of the city we live in? 5. How do cross-cultural perspectives influence how films have envisioned urban transformation due to the flows of capital, people, ideologies and imageries? 6. How has the global city been represented and imagined? Assessments include classroom participation in lectures and workshops with activity worksheets, critical writing responses to historical and theoretical texts, field trips with fieldwork exercises and an audio-visual essay and commentary. The course content is organized around sets of case studies, with each focusing on a specific theme that indicates particular continuities and congruencies between cities of different locations and time periods. The discussion throughout the course engages with questions related to contemporary urbanization and consider how historical knowledge may impart a better understanding of challenges we are facing in the global present. Assignments of the course include a series of exercises that combine historical research and creative writing. The formats of these exercises vary from year to year. The goal is to enable students to connect the tangible and intangible aspects of cities and the built environment and to strengthen their textual and visual skills. The course also includes a final project that involves an in-depth research of one city. Course Website: https://learning.hku.hk/cchu9048/ This seminar provides an introduction to the intertwined concepts of environment, community, and design and explore the contexts that shape their relationships in diverse localities. In contrast to conventional taught courses, significant emphasis of the seminar is placed on student-led activities designed to facilitate active learning through rigorous participation. Weekly seminar topics are structured to provide a systematic introduction to key debates over the ethics and social roles of design practice and explore the nature of emergent “design activism” in recent years. It also introduces students to different methods of studying the built environment and communities. Throughout the semester, focus is placed on connecting theoretical concepts with actual practices via close examination of international and local case studies. The ultimate purpose is to help students develop a critical lens for deciphering the complex forces that shape the built environment and the ethical challenges facing today’s design practitioners. Walter Benjamin’s spent much of the later part of his life as a German immigré in Paris. The city not only served as a place of refuge, but was also the material for some of his most important writing on subjects including art, politics, consumer society and the city. The unclassifiable nature of his work is attested to by his influence across academic disciplines, making him one of the most important figures of early modernism. Benjamin’s time in Paris culminated in an unfinished collection of notes and essays that has come to be known as The Arcades Project. Comprised of fragmentary texts from his research at the French National Library, The Arcades Project examines the material evidence of the forces (political, artistic, philosophical, urban, consumer….) that created “the capital of the 19th century”. In its unfinished, fragmentary state, The Arcades Project proposed a new way of reading the city whose form has been as influential as the arguments that ensue. The course takes The Arcades Project as a model for reading urban experience. Students will look closely at the text (including sources such as Baudelaire, Bergson, Proust, Corbusier and Giedion) and the themes that structure Benjamin’s work (flanerie, boredom, iron construction, the interior, advertising, photography, Baudelaire, etc.) with weekly discussion that examines his work against close readings of the texts that influenced him. Through this intertextual analysis, the course will look at how the modern city comes into being as a social, consumer and physical space. In parallel to this analytical work, and with the understanding it provides of the strategies employed by Benjamin to read Paris, students will undertake iconographic and textual research on contemporary Hong Kong guided by a precise thematic. This research (of sources gleaned from literature, politics, city planning, advertising, etc.) will lead to the compilation of a folio of fragments and original writing that proposes a reading of contemporary Hong Kong. Together the students’ contributions will make it possible to ask questions about the continuing relevance of Benjamin’s work — and of the 19th century European city — for urban experience in Hong Kong today. -Gaston Bachelard, Air and Dreams: An Essay on the Imagination of Movement (Paris, 1943; republished, Dallas: Dallas Institute Publications, 1988) This course explores the role of air in the history of modern architecture. Often overlooked as an influential factor within the design of architecture, air has long figured prominently in theorizations of architectural and urban form. As air has impacted architecture, so has architecture given shape to air. Air’s shifting meanings over time, and in relation to a range of different cultural, political, as well as social contexts, make it an important if overlooked force in how we understand architecture’s relationship to space, human activity, as well as the environment. Over the course of the semester, we will trace these shifts in the definition and understanding of air – as vapor, as matter, as atmosphere – and the impact of those shifts upon architectural design, discourse, as well as practice. Through our study of air, students will be introduced to a range of influential projects, writers, buildings, sites, and texts in the history of modern architecture. These examples effectively constitute a conceptual history of air that students will use as the basis for their own research projects.

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Once Upon a Time: Storytelling at the Heart of Early Literacy Development As early childhood educators, one of our many great privileges is to witness, guide, and celebrate children’s early literacy development. From sharing in the blossoming of spoken language in infancy to documenting their first experiences making marks on paper as young toddlers, to the beloved picture books read aloud in our preschool classrooms each day, we play an integral role in supporting children’s journey toward becoming readers and writers. Beyond discussions of kindergarten readiness, this process is – in the grandest sense possible – an essential part of our humanity. Based on decades of high-quality research, we know that our approach to early literacy instruction must strike a balance between offering opportunities to develop foundational knowledge and skills while striving to nurture children’s innate and deep love of learning. I believe that the younger children are, the more we need to emphasize the latter; in order to preserve and grow children’s curiosity about making meaning through written and spoken language, they need to experience the process as enjoyable, empowering, and connected to their lives. So our question as educators becomes: how will we support children’s natural interest in early literacy learning? At Wild Lilac Child Development Community, story circle is a core component of our early literacy curriculum. The aesthetic and rituals of our story circles are influenced by the Waldorf tradition of puppet show-style oral storytelling. It is a daily, community-building practice led by a teacher that helps create a culture of storytelling in our classrooms that is social and relationship-based. In the circle, story elements like plot, setting, character, narrative structure, and more are introduced. Children encounter and integrate these elements in their own stories long before they learn to write their names or decode their first words. While it’s perhaps best and easiest to learn about story circle by sitting in one yourself, here are some considerations to guide you. How is the space arranged? • Typically, a simple circle arranged around the storyteller. What materials do we use? • Fabric, felt, and silk scarves • Animals and people • Natural materials like pine cones, rocks, flowers, and sticks Where do the stories come from? • Original stories, as well as faithful and alternative retellings of folk tales, fairy tales, and stories inspired by children’s literature. How do children participate? • Before the story, children may help gather and set up materials and share ideas with the teacher. • During the story, children become an audience; the emphasis is on looking and listening closely. • Discussion about the story often takes place afterward, during breakfast or at morning meeting: “What do think the fox was feeling when she was excluded? How would you have solved the problem?” Creating a dedicated space to organize and display storytelling materials in your classroom, like a block shelf, offers children the ability to access them independently in order to tell their own stories. Frequently we see children retell the morning story throughout their days, but it doesn’t take long for children to share original tales as well. There are a great variety of ways children can help develop this part of your curriculum. Embarking on nature walks to collect materials they would like to add to the storytelling shelf, offering art materials like fabric, wood, or creative reuse items to build characters or props, and going on neighborhood walks to take photographs of places like local parks or businesses children may want to use as story settings are just a few of the interdisciplinary possibilities. The practice can also be used in very direct ways to support social-emotional learning in your classroom. At Wild Lilac, teachers often practice social storytelling where we offer a story about everyday conflicts like excluding in the context of a story that allows children to step back and engage in reflection, critical thinking, and collaborative problem solving both as they watch the story unfold and in the discussion that follows. Through this inclusive, accessible approach to oral storytelling, children develop self-confidence and quickly see themselves as authors at an early age. Story circle is a wonderful practice to help build a community of young storytellers; please reach out to us at Wild Lilac if you would like to learn more.

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Types of Supporting Details Lesson Plan on How to Use Evidence in... What are supporting details? Evidence used in writing to support a thesis statement or topic sentence, or any other supposition. Different Types of Writing: The Many Forms Writing Can Take Writing can come in many different forms, and each one has different guidelines and a different purpose. Check out the different forms, and try some prompts. Genres of Writing : Writing Guide - A Research Guide for Students There are as many types of genres in writing as there are books, movies, and other publications. Types of Writing Writing Samples: Job Application Tips | Monster.com A lab report would work for a scientific research gig. An assignment from a business writing class would be appropriate for a management-trainee job. Are certain types of writing samples inappropriate? It's a bad idea to turn in a paper from school if you have been out of school several years. What Is Expository Writing? Expository writing is used to convey factual information (as opposed to creative writing, such as fiction). It is the language of learning and understanding the world around us. If you've ever read an encyclopedia entry, a how-to article on a website, or a chapter in a textbook, then you've encountered examples of expository writing. Incorporating Writing into the Content Area Classroom A few types of professionals evaluate kids who have trouble writing. Occupational therapists and physical therapists can test motor skills. So can specialists who work with kids who have developmental coordination disorder (DCD). Trouble with writing can be caused by other learning challenges, too. This type of writing that explains how and why something is done is called expository writing. Essays of this type include topics like “An important scientific discovery,” “Why computer and video games are popular,” “How to Writing support for MHC students from writing specialist Taryn Fritz. Writing support is a free support service offered to all MHC students and for all programs and disciplines. Writing techniques and guidance are often effective for These types of argumentative essays should start out by clearly stating the author's point of view and should use the evidence to support that point of view throughout. As different sides of the argument are discussed, the writer should refute these views in order to persuade the reader that his point of view is the right one. STAAR Writing and English I, II, III Resources | Texas ... There are four main types of writing: expository, persuasive, narrative, and descriptive. Expository - Writing in which author's purpose is to inform or explain the subject to the reader. Persuasive - Writing that states the opinion of the writer and attempts to influence the reader. Narrative - Writing in which the author tells a story. Services | Academic Support Programs and Services Tutors provide support for all types of writing in any and all disciplines. Students may make an appointment in GradesFirst via the mylasalle portal. Types of Dissertation Help We Provide at Our Writing Service Our writing service provides help with all types of dissertation writing. Feel free to connect with us when you need help: top writers, 24/7 support, modest prices Writing Archives - Types of Service Writing has been a job for intellectuals for the reason that very daybreak of civilisations of man. Man has all the time tried to write down down his emotions or his ideas and embellish it with decorative phrases or sounds.… CxC Writing Support The Types of Portfolios As more and more educators use portfolios, they increasingly recognize that the process has the power to transform instruction. Some teachers, however, are confused by the many types of portfolios, their different uses, and the practical issues surrounding storage, ownership, and the like. Five Basic Types of Curriculum | The Education Cafe

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The brain is the most complex organ in our body. Its intricate systems consist of millions of different neurons with just as many channels of communicating. How these neurons communicate controls everything about us, from our movements to our mental health. As a result, scientists have developed several tests that map and analyze our brains, each with their own purpose. Some tests measure how well the neurons in our brain are working, others measure the blood flow in our brain, and some measure multiple functions of the brain. Scientists need these tools and much more to understand neurodegenerative diseases, neurological disorders, behavior disorders, cognition, and many other factors that affect the way our brain and body function. Computed Axial Tomography (CAT) or Computed Tomography (CT) Computed Axial Tomography (CAT), now often referred to as computed tomography (CT), is an advanced type of X-ray that takes detailed images of the body. Although it is most often used to analyze the skeletal structure for injury or abnormalities, it can be used to detect tumors, infections, some injuries, and diseases in the brain. A CT scan is noninvasive, takes about 15 to 20 minutes, and transmits a 2D image onto a computer screen. It also provides more detailed information than a standard X-ray and is commonly used to analyze the brain from different angles which may aid physicians in understanding and treating abnormalities in the brain. A CT scan is often used in conjunction with other tests, such as a standard X-ray or MRI for a multitude of reasons whether it’s to better understand an abnormality or to track the progress of a brain tumor. Doctors may use a CT alongside other tools to guide them during extensive surgeries too. Magnetic Resonance Imaging (MRI) Magnetic resonance imaging (MRI) is one of the most common forms of evaluating soft tissue and organs. It utilizes a strong magnetic field and radio frequency to capture intricate images of the brain that are transferred to a computer screen. More specifically, The National Institute of Biomedical Imaging and Bioengineering explains, MRIs utilize power magnets that produce a strong magnetic field, forcing protons in the body to align with that field. When a radiofrequency current is pulsed through the patient, the protons are stimulated, and spin out of equilibrium, straining against the pull of the magnetic field. When the radiofrequency field is turned off, the MRI sensors can detect the energy released as the protons realign with the magnetic field. An MRI is used for multiple reasons which include, detecting tumors, cysts, bleeding, infection, inflammation, injury, and swelling; determining the cause of headaches or migraines, dizziness, impaired vision, and seizures; and to choose effective treatments for abnormalities and injuries of the brain. Functional Magnetic Resonance Imaging (fMRI) Functional magnetic resonance imaging (fMRI), is another test people are familiar with in regards to brain mapping and monitoring brain anatomy. Like MRI, fMRI uses a magnetic field and radiofrequency pulses to record blood flow in the brain. The results are then translated onto a computer screen. Unlike an MRI, functional magnetic resonance imaging analyzes how blood flow in the brain changes with different activities. The Center for Functional MRI explains the science behind an fMRI, “the nucleus of a hydrogen atom behaves like a small magnet. Using the phenomenon of nuclear magnetic resonance (NMR), the hydrogen nuclei can be manipulated to generate a signal that can be mapped and turned into an image.” In simple terms, scientists know when your brain responds to stimulation whether it be reading, watching TV, speaking, or doing nothing at all, neural activity increases in the areas of the brain that control these functions. As a result, your brain increases blood flow and oxygen to these areas, and fMRI shows which parts of the brain are being used the most during a given stimulation. This, in turn, allows the evaluator to differentiate between gray matter, white matter, and cerebral spinal fluid. Doctors and scientists use functional magnetic resonance imaging to evaluate the sections of the brain that are controlling essential functions and to analyze the extent of stroke, neurodegenerative diseases, injury, tumors, and disabilities. Doctors also use fMRI to determine the best therapy for a patient with brain issues or to plan risky surgeries involving the brain. An EEG measures neural activity generated by the numerous cortical layers of the brain. The test is either done by placing electrodes to the scalp or to an elastic cap depending on what portions of the brain need to be tested and how quickly those results need to be transferred to a graph or computer monitor. According to Johns Hopkins Medicine, an EEG is used to detect problems with the brain, such as: Seizure disorders like epilepsy, stroke, tumors or lesions (depending on the location and size of the lesion), Alzheimer’s disease, some psychoses, and narcolepsy. An EEG is also used to evaluate trauma, drug intoxication, the extent of brain damage, and used to monitor blood flow during brain surgeries. In addition, an EEG may be used to measure a patient’s response to certain conditions or stimulations and confirm brain death. The duration and process for an EEG depends on which type of EEG the patient needs. The most common EEGs are: - A Routine or Standard EEG: This EEG last between 45 minutes and up to 3 hours depending on why the patient needs testing. - An Ambulatory EEG: The patient wears a portable EEG recorder for 1 to 3 days, then documents their activities for the duration of the test. The evaluator compares the EEG’s recordings to each activity. - EEG-Video monitoring: An EEG-Video is conducted at specialty medical clinics, takes several days, and is often used to diagnose critical neurological disorders. Magnetoencephalography (MEG) is similar to fMRI in that records the magnetic field generated by neural activity, but it is a much more sensitive form of neuroimaging. MEG has a fast and high temporal and spatial resolution, giving evaluators images of direct neural activity within milliseconds. Furthermore, MEG is one of the most technologically advanced and recent forms of brain mapping that poses little risk to the patient. Its precision allows scientists to gain detailed information about sensory, motor, language, and memory cortex functions. According to MEGCommunity.Org, “MEG utilizes a superconducting quantum interference device (SQUID) technology, a sensitive detector of magnetic flux. ” MEG is used to evaluate neurons that are functioning adequately and those that are malfunctioning which leads doctors and scientists to diagnose neurological issues like epilepsy. It is also used to analyze how the brain responds to different forms of stimulation. What’s even more impressive is that MEG, MRI, and EEG can be used together to better understand the brain’s anatomy and function, leading doctors to more accurate diagnoses and treatment. An electrocorticography (ECoG) is a procedure that monitors cognition, sensory and motor responses in the cerebral cortex through electrodes that are directly implanted on the brain’s surface. Even though ECoG is an invasive procedure it has its purpose in the medical field. ECoG is commonly used to protect the brain as surgeons remove tumors or biopsy the brain. It also provides scientists with higher spatial and temporal resolution than some of the previously mentioned tests and scans. According to the Journal of Neuroanaesthesiology & Critical Care, “ is commonly used for localization of epileptogenic focus during surgical treatment of epilepsy.” However, the Journal of Neuroanaesthesiology & Critical Care further explains that epilepsy surgery is only successful when the entire epileptogenic zone is removed. ECoG can give doctors and scientists a more accurate image of the brain and how it’s functioning, but the risks of anaesthesiology and surgery make it a less than optimal procedure for evaluation and diagnosis. Positron Emission Tomography (PET) Positron Emission Tomography (PET) evaluates the brain’s blood flow, neurotransmitters, and chemical activity. It is often paired with CT or MRI scans to gain a full view of brain function. During a PET, the patient is given a mildly radioactive tracer (a dye when the brain is being monitored) which highlights activity in the brain. PET enables scientists and physicians to monitor changes in the brain for a period of time, informing them about the progress of a disease or how a patient is responding to a stimulant. They may also use PET to determine if a growth in the brain is benign or malignant. Through positron emission tomography, scientists are able to understand some of the most debilitating brain issues such as stroke, dementia, Alzheimer’s, and Parkinson’s Science has come a long way since we first began monitoring the brain and even though we still have much to learn, these tools allow scientists to understand brain function and anatomy. More importantly, these tools allow doctors to more accurately diagnose and treat brain abnormalities, diseases, and disorders. MA English Creative Writing | Southern New Hampshire University BS Health Administration | University of Phoenix More Related Articles:

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‘’Through education we build the foundations of society, the problem is that the foundations of the Dutch education system as well as the European education system are, at large, incomplete’’. This is how Karim Amghar opened his online workshop on interactive and creative teaching methods on Monday 29th of November 2021. In a two-hour session, Karim shared his vision and insights as a teacher, writer and documentary maker on the importance of equal opportunities for students within the educational system. He also talked about methods to address diversity, inclusivity and migration in the classroom. Apart from the TIES team members, high school teachers from across Europe were present. For Karim Amghar, addressing educational (in)equalities, diversity, inclusion in the classroom is the crucial starting point to teach larger societal phenomena such as migration, discrimination, racism and other axes of exclusion. Diversity is often thought of as being mainly about gender and ethnicity, while it also concerns more intangible aspects such as personal opinions, political standpoints, language skills, and socio-economic background. On a similar note, feeling included is often an emotional and intangible matter: inclusion is about whether one is able to be who one is – in the classroom but also in society at large. In this context, stereotypes and unconscious biases play a major role. By opening up the conversation about diversity in the classroom, discussions can then take place about larger societal issues and students’ opinions on sensitive topics. Karim made clear that most of the judgements and opinions we carry stem from unconscious and conscious stereotypes we hold about others: We all carry biases with us as individuals, including teachers! During the workshop we collectively brainstormed for example on common stereotypes about women in society. Karim stressed the importance of doing such exercises and summing up stereotypes in order to become aware of them and ultimately let them loose their grip on our daily interactions. Stereotypes about others are embedded in our unconscious biases from which a lot of our daily actions emerge, while we might assume that we are aware of our value and judgement systems. Social media and influencers also play a major role in building students’ unconscious bias, especially as the ‘social’ part of our brain is most active until the age of 23. Making students aware of their stereotypes and unconscious judgements allows to open up the conversation and cultivate more diverse and nuanced outlooks on different groups of people in society. Such conversations are likely to create some discomfort but, according to Karim, this is not problematic as such as discomfort actually triggers behavioral change, as long as it takes place within spaces which feel safe to all participants. A key point here is to start addressing diversity as something powerful and positive rather than regarding it as a problematic or difficult subject. ‘Making students aware of their stereotypes and unconscious judgements allows to open up the conversation and cultivate more diverse and nuanced outlooks on different groups of people in society. Such conversations are likely to create some discomfort but, according to Karim, this is not problematic as such discomfort actually triggers behavioral change, as long as it takes place within spaces which feel safe to all participants. A key point here is to start addressing diversity as something powerful and positive rather than regarding it as a problematic or difficult subject. One way to do so is through a dialogue-centered teaching method called the ‘Talking Stick Method’. You can find the video and accompanying instructions shared by Karim on how to use and facilitate this teaching method in your classroom HERE. Building on these insights, here are 10 strategies for teachers on how to allow for constructive discussions on diversity and topics related to migration and discrimination in the classroom: - Build safety by opening up a dialogue (letting students speak from their perspectives) rather than by value judgments (presenting facts and then indicate the right/wrong side of the debate). - Invest in fruitful dialogue during ‘peaceful times’, when the atmosphere in class is positive and calm, rather than starting a dialogue when something went wrong – practice in good times, use in bad times. - When engaging in a dialogue with students, acknowledge at the beginning that feelings are important. Start by asking students about their feelings concerning a topic at hand. In general, people are more comfortable starting a conversation from their own perspectives than from facts. - Sharing how you as a teacher feel at the beginning of a session can help students to relax. Share something about your morning/day, open up and be vulnerable in sharing personal stories. - When addressing stereotypes, ask students to give practical examples in order to confront them later. Know that it is alright to feel uncomfortable in the classroom. Remind yourself that discomfort is one of the main triggers for behavioral change. - Remember that the virtual space is part of your students’ daily lives. Ask your students how they are – offline and online: How was your day today? How was your day on social media? This will offer new opportunities to open up conversations about students’ opinions and experiences. - Address diversity as something beautiful and positive rather than something difficult or problematic. - Provide stories of positive, empowering and diverse role models who can influence students’ outlook on themselves, each other and society as a whole. - Arts-based methods such as storytelling, theatre, arts, and music are great ways to address inequalities in the classroom as access to cultural activities is more difficult for children from lower socio-economic backgrounds. These methods are also often particularly effective in addressing social exclusion and other sensitive topics. - Be aware of your own unconscious bias as a teacher. Reflect on the following questions: Do you unconsciously address certain students differently than others? Do you have low or high expectations of specific students? What does this do to your assessments/grading/feedback?

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The comma, according to Lynn Truss, clarifies the grammatical structure of a sentence and points to literary qualities such as rhythm, pitch, direction, tone and pace. Truss says that careful use of the comma announces ‘an ear for sense and rhythm, confidence in your style and proper respect for your reader’ (p.70). The title refers to a well-known joke, which plays on the ambiguity of ‘shoots’ and ‘leaves’ as homonyms. To the ear and eye these words appear the same, but in different contexts their meaning changes. So, in the joke, ‘A panda walks into a bar…’, contexts collide, meanings are superimposed, but the punctuation rescues the reader. This shows us exactly why reading for meaning is a multi-layered affair. To read the phrase ‘eats, shoots and leaves’ with understanding involves observing the comma as a formal separation of the first two verbs in a series of three, as well as inhibiting a miscommunication of meaning. From a rhythm-based perspective, the comma prevents ‘eats shoots’ from being read as a verb-noun pair. Verb-noun pairs are rapidly processed, high-frequency phrases that provide immediate understanding, such as ‘drives cars’, ‘writes books’, ‘plays games’ and ‘buys drinks’. Remarking on the similarity between punctuation and musical notation, Truss observed that ‘punctuation herds words together, keeps others apart’ (p.20). Although there are different patterns of emphasis (prominence or stress) in different languages, dialects and indeed regional variations of any given language, what is important is that rhythmical cycles operate at several levels in both language and music. Remarkably, we generate these highly organised, intricate and geometric relationships of time and meaning automatically at a subconscious level of awareness. At a conscious level, we are more likely to realise how involved or engaged we feel with the meaning of the story or song. Once our attention has been captured, we as an audience can become phase-locked into an experience of heightened awareness, which is effortlessly stored by the memory. In fact, laws, myths, legends and cultural histories have been preserved across generations in this way. This form of group learning via listening feels somewhat mysterious and therefore has often been vaguely described in phrases such as, ‘you could have heard a pin drop,’ ‘having the audience in the palm of your hand’ or ‘sitting on the edge of your seat’. The phase-locked experience is not unique to humans as most living things synchronise with cycles of light intensity. There are also patterns of synchronised sound among insects and synchronised movement in flocks of birds, shoals of fish and herds of cattle. Through language and music our collective response to sounds (in the air or on the page) naturally predisposes us to become attuned to the recurring cycles of phrases, patterns within phrases and the overarching structures within which phrases are meaningfully grouped. I am not suggesting that we humans are mindless creatures, intrinsically satisfied by the hypnotic pull of recurring rhythmical patterns. No, we are very complex and capable of a vast range of behaviour from incredible subtlety in our rhythmic awareness to tremendous violations of natural rhythmical cycles. In general, our desire for novelty and our urge to create, to surprise, to shock, to satirise and push against outdated institutions, is expressed through rhythm. We have archived our experiences through storytelling and music with the resonance of an authentic human voice. The elasticity of congruent rhythmic structures accommodates newly-combined patterns, reminding us that far from being hypnotised by our own sounds, we are dynamic communicators with the ability to express, create, share and reflect upon our experiences. Truss, L (2003) ‘Eats, shoots & leaves: The zero tolerance approach to punctuation’ Harper Collins

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Electricity CPD videos CPD for 11-14 14-16 16-19 Electrical circuits are essential in everyday life, but students often find them challenging. In these videos, we look at ways to make links between the microscopic level of charged particles and macroscopic observations. We use several models of electric circuits, highlighting where care is needed and these models break down. Learning about electrical circuits is a highly practical activity. We provide tips to trouble-shoot tricky circuits and ideas for purposeful practical work. There are also suggestions for more successful setups when investigating complex circuits. Through models and practical work, we discuss how to introduce the relationship between voltage, current and resistance in a quantitative way. Finally, we delve more deeply into some of the other mathematical concepts needed from 14 years onward including internal resistance and potential dividers. The short CPD videos below can be used alone or as preparation for a session in our online IOP DOMAINS CPD Programme. Meet the presenters (Left to right, IOP Coaches) Alan Denton, Carole Kenrick, Dan Cottle, Eleanor Wylie, Jessica Rowson, John Parsons, Mark Whalley, Niloufar Wijetunge, Terri Ghoneim. - Charge and static (11-14) - Using models to explain simple circuits (11-14) - Exploring circuits practically (11-14) - Storytelling: the people behind the physics (11-19) - Factors that affect resistance (14-16) - Circuit equipment and I-V graphs (14-16) - Electricity Equations (14-16) - Potential dividers (16-19) - Internal resistance and EMF (16-19) - Links to teaching resources Carole explains why it’s helpful to teach about charge and static before we teach simple circuits, and she demonstrates the use of visual representations for developing students’ understanding. In this video Dan, Niloufar and Carole demonstrate a range of teaching models that can be used to help students understand simple circuits, and consider the benefits and limitations of each. Eleanor and Jessica discuss the importance of practical work in circuit pedagogy and suggest some tips for purposeful practicals. Carole shares fascinating stories about the people behind the physics we teach, demonstrating some historical experiments, and she highlights the importance of considering representation when we chose which physicists we teach students about. Jessica looks at the factors that affect the resistance of a wire and discusses some practical setups for investigations in the classroom. Terri and John take you through the key issues in investigating I-V characteristics for resistors, filament lamps and diodes. In this series of three combined mini-videos, Mark looks at some of the electricity equations and how they're related (0:00-16:49), a framework for challenging questions (16:50-24:18) and goes through some worked solutions (24:19-39:16). Alan shows a way of teaching potential dividers using mini-whiteboards that can help students to answer challenging qualitative questions. Alan looks at how we can calculate experimental values for EMF and Internal Resistances, and how students can understand the equation.

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An excellent opportunity to learn about Transmedia Navigation, Digital Literacy, New Media Literacy and Technology Integration that students actually love! Thank you to Tuesday’s Guest Expert Amelia Wildman! Thank you Amelia Wildman!! It’s imperative that classroom design is driven by the desire to create personal and authentic learning. ~ Tom Murray, co-author of Learning Transformed: 8 Keys to Designing Tomorrow’s Schools, Today Guest post with Amelia Wildman, MEd and current doctoral student at the College of William and Mary. The responses to our recent presentation at the CCE Symposium in Finland was so kind. Many in attendance requested additional information on specific implementation of How-focused questioning. Also requested were effective question stems for How-Focused Questions. Amelia writes, “At its core, creativity involves thinking about something in a meaningful, original way. Strategies that develop students’ abilities to think creatively can also serve the purpose of helping them build skills in analyzing and evaluating what they read.” How-Focused Strategy: A specific how-focused strategy for strengthening students’ creativity is metaphorical thinking. Metaphorical thinking is about connecting different ideas in order to develop a new perspective or understanding: the qualities and contexts of one idea are paired with those of another in order to make connections. Incorporating metaphorical thinking activities can promote students’ fluent thinking – generating many ideas; flexible thinking – considering different perspectives; and original thinking – developing insights that are unique and complex. Specific strategies for incorporating metaphorical thinking activities into the classroom will be discussed, with a specific focus on metaphorical thinking and developing skills in writing.” Research-based instructional component (IC): How-focused questions components are integral to students’ content acquisition. How-focused questions are part of questioning for: 2. Probing Assumptions 3. Probing Rationales 4. Questioning Viewpoints 5. Probing Consequences 6. Questions on the Question How-focused questions are a component of an effective Socratic questioning approach. Here are a few Question stems featuring a Socratic assertion. From these seven stems a complete questioning curriculum in any content area is possible. Watch this video that addresses deterrents to poor questioning. Berger, W. (2013). What Kills Questioning? (Book trailer for A MORE BEAUTIFUL QUESTION by Warren Berger). Youtube. Available online at this link: https://youtu.be/dey1Rm5gUxw Bélanger, Annie and Rao, Preethi, “The Art of Questioning: Using Powerful Questions and Appreciative Inquiry Conversations to Understand Values and Needs” (2019). Presentations. 79. PLEASE NOTE: This post original published February 28, 2019. Updated May 30, 2019 with additional citation information. Today at 11:30am, our Creative Classroom Presentation Features a “How-Focused” approach to Digital Storytelling and its implementation in your classroom. The location is the Library at the Tampere University of Technology (TUT). The main idea of our presentation: This presentation has instructional and pedagogical application for K-12th grade. It is scalable for global audiences, which is good because our venue, #CCEFinland features participants from 21 countries. PBS Learning Media has thousands of lesson plans that embed creativity and digital technology. Go to https://www.pbslearningmedia.org/ to explore the full library of lesson plans and resources. Confined on the XR train traveling to Tampere? Stuck in the States without a travel budget? Follow our presentation via QR Code or shortened link: A question and answer session will follow. Questions from the onsite audience and via the #HarnassingImagination hashtag will round out our session.

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Creating educational posters for your classroom is a great way to engage kids and remind them of the lessons you’re teaching. As a teacher, you’ve already got a lot on your plate – planning lessons, marking work, and the day-to-day teaching of young minds. That’s why we’ve created 10 downloadable classroom wall posters for kids in the UK, so you’ve got one less thing to think about! 1. Times Table Poster This first printable poster for teaching shows basic times tables up to 12. This tends to be the highest times table number children learn, as we still count many things in dozens, so this still has lots of real-life applications. It’s also what UK pupils are tested on in their SATs, so memorising them with this handy poster will help solidify their learning! 2. Adjectives Poster When it comes to creative writing, adjectives are essential for creating an exciting story. Give children some inspiration with this adjectives list classroom poster, perfect for key stage one and early key stage two kids alike. 3. Learn the Alphabet Poster Learning the alphabet is one of the very first stages of literacy. One of the best ways to teach it is using words children already know and love – like the names of their favourite animals! This educational poster uses cartoon animals and shows the letters of the alphabet in both upper and lowercase to embed the shapes of these letters in young minds. 4. Colour Wheel Poster Art lessons are a fantastic way to encourage children to express themselves and get creative, as well as learn different colours, how to mix them and the effects they have. This bright colour wheel poster for kids differentiates between primary, secondary and tertiary colours. It also explains how to choose complementary colours and identifies which colours are warm and cool. 5. Decimals, Percentages & Fractions Poster Decimals, percentages and fractions all tie in together, so teaching them all at once is a great way to create a link in children’s minds between them. This useful poster for teaching demonstrates how each topic links together, showing the same value as a decimal, percentage and fraction. It uses basic values that many children will already be familiar with by the time they reach key stage two, such as halves and quarters. 6. Number Grid 1-100 Poster Number grids have multiple uses: they can help children count, use multiplication, work out differences and add and subtract. This number grid educational poster features numbers 1-100 and is best suited to key stage one maths learning walls. 7. Place Value Poster This place value chart shows the value of a unit depending on where it’s placed in a number. To simplify this, the decimal place separates the ones from the tenths and a comma separates the hundreds from the thousands. Quick tip – print of a few of these learning posters and have them laminated so that your pupils can write straight onto them with markers pens. 8. Primary and Secondary Colours Poster This educational classroom poster is a simplified version of our colour wheel chart, and it’s better suited to younger children who are still getting to grips with creating colours. The fun paint splodges are an attractive and simple way to show what happens when you mix different coloured paints together, encouraging pupils to get creative with their own painting skills. 9. Punctuation Poster This bright multi-coloured classroom poster brings punctuation to life! Different features of punctuation are explained here, with the wording making this a perfect learning resource for older pupils in the later key stage two years who are preparing for their SATs. 10. Shapes Poster Learning basic shapes is an essential maths lesson. Make it easier for kids to visualise each shape by hanging this educational poster on your classroom wall. The poster shows common 2D and 3D shapes, making it a great option for a range of age groups. How to Use Our Free Educational Classroom Wall Poster Designs Once you’ve chosen which UK classroom poster you’d like to print from this page, click the download now link. Then head over to our poster printing page and pick which size you'd like to print. Once you're happy with your selection, add it to your basket. Follow our printing journey and we’ll guide you through the rest of the journey, including uploading your chosen design. We recommend getting these educational posters for teaching printed on A2 size 170gsm silk. This is an affordable option with a slight sheen that makes colours pop. If you’d like some more help with your primary school learning wall posters, or if you want to suggest some more poster ideas to our team, feel free to get in touch.

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Check in each week at Science Buddies this summer for our Awesome Summer Science Experiments series! Each week, we’ll highlight a few activities for awesome science and engineering kids can do at home. We’ve got a whole summer of fun STEM themes lined up for kids of all ages — for free. This week: awesome summer science experiments in the kitchen! Awesome Kitchen Science Concoctions Head to the kitchen this week for science you can eat! Many of the activities featured this week involve the science of freezing and the role salt plays in making favorite summer treats like ice cream. There is a good bit of shaking going on to turn simple ingredients into yummy foods, too. For kids planning a lemonade stand, exploring the relationship between taste and color and whether or not things can be too sweet or sour can be a lot of fun. EXPERIMENT: Kitchen Science Activities If they both use the same lemonade, is turquoise or purple “mermaid” lemonade tastier than yellow lemonade? If given a choice, would you pick the red slushy, the orange one, or the brown one? Does the color of food make a difference in how you think it tastes? Maybe! Try the Color Taste Test—Do You Taste with Your Eyes? activity to see how color fits into your response to foods and drinks. For added taste-test fun, try the How Sour or How Sweet is Your Lemonade? experiment to see what ratio of vinegar to sugar might taste best in your next batch of lemonade (and how using a scale rather than a measuring spoon can be really important for making sure your batches of lemonade all taste the same)! Once your kids realize how easy it is to make homemade ice cream, this kitchen science experiment might become a summer favorite! Use the Make Ice Cream in a Bag activity to make ice cream in a plastic bag and explore the role of salt in the process. This activity is great for making individual or small servings. Homemade ice cream doesn’t have to be basic though! See how these kids tried to recreate some of their favorite gourmet flavors. (Reality check! This activity only takes about 20 minutes. Science is that cool!) Shaking up homemade butter in a jar is a classic kitchen chemistry activity. Kids will love the challenge of shake, shake, shaking until the butter forms, and the ingredients are super simple—whipping cream and a small jar (and maybe a pinch of salt). This is perfect “experiment to table” science. After shaking up some butter, kids can experiment with using their homemade butter to make flavored butters, like adding honey or cinnamon. (Pssst: You’ll see whipped cream form before butter, but keep shaking!) In the Homemade Slushies activity, kids can shake up their own flavored slushies using a special ice mixture they make first with salt and water. Try this activity with different colors of juice or beverages, or add a bit of food coloring, to make awesome variations. Rainbow slushies, unicorn slushies, mermaid slushies, superhero slushies. What color combinations will your kids try? (Tip! You’ll want to plan to do this in two stages. Kids can mix up the colored salt-water ice and then put it in to freeze. A few hours later, they’ll be able to do the shaking part to make their slushies!) Ice cream is an awesome summer treat, even when it’s baked inside a cake! Use the Bake Your Ice Cream activity to make this unusual dessert and see how meringue is used as an insulator. (Reality check: Yes! The ice cream stays frozen inside the cake!) Use these questions to prompt conversation and reflection about the science behind this week’s Awesome Summer Science Experiments activities: - Why might vinegar be used in a food or drink that is sweet? - How does salt help speed up the process of freezing water? - Several of these activities involve shaking ingredients. What does shaking do to them? - Is making butter faster if you use room-temperature whipping cream? EXPLORE: STEM Careers After trying this week’s summer science experiments, kids can learn more about related science and engineering careers, like: Pair food-themed story and chapter books like these with this week’s Awesome Summer Science Experiments explorations. Picture and Early Reader Books For more suggestions for science-themed summer reading, see our Summer Reading List. Also, don’t miss this roundup of creative STEM activities for storytelling and imaginative play. Bookmark Awesome Summer Science Experiments Week 2: Kitchen Concoctions 10 Weeks of Awesome Summer Science Experiments Follow the full summer series on the Awesome Summer Science Experiments page! You Might Also Enjoy These Related Posts:

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Stone Age Housing - Info for Keystage 2 Updated: Mar 2, 2021 The term “caveman” is thrown around a lot when it comes to studying the Stone Age and it can be quite misleading. By calling early Stone Age humans “cave-people” we are suggesting that they lived in caves. Which is true, Stone Age people did live in caves – but only sometimes. Confusingly, “cavemen” didn’t always live in caves. Weird, huh? I suppose “half-cave-man-and-half-basic-shelter-made-out-of-sticks-and-animal-hides-man” was a bit too complicated a name. So where did Stone Age people actually live then? The answer to this question depends on what period of the Stone Age we are talking about. The Early & Middle Stone Age In the early and middle Stone Age (Palaeolithic and Mesolithic), humans travelled a lot to find food. This meant moving house a lot too. As these hunter-gatherer humans followed animal herds across the land or searched for greener pastures for foraging, they set up temporary shelter for themselves. Caves were a quick and easy place to shelter. Humans would ensconce themselves in the mouth of the cave; where it was cool during the summer but warm and dry in the winter. They created grass bedding for themselves and decorated the cave walls with Cave Paintings. If there were no caves nearby (or worse, it was inhabited by a cave bear or a pack wolves!), then Stone Age humans would create temporary structures by making a frame out of branches, animal bones or tusks and then covering it with animal hides. Some of these temporary shelters were also easily portable, meaning people could pack them up and carry them on their travels, a bit like modern day campers do with tents. The New Stone Age It wasn’t until the new Stone Age (Neolithic) that humans began to settle in one place. By this time, they had taken a serious interest in farming which meant they didn’t have to chase herds of animals around the country. Instead, they could raise their own livestock or grow their own crops, all from the comfort of their own home. They would often base themselves near rivers, that way if the crops didn't grow or the livestock died, then they could still fish for food. At this time, humans created stronger, permanent shelters, often made from timber, stones or wattle and daub (a frame of sticks coated with mud or clay). The roof would have been made from straw layered across the top of the structure. Stone Age houses in settlements such as Skara Brae even had furniture! Are you a teacher? Yes? Then you'll definitely want Imagining History to bring their 'A Handy Guide to Survive the Stone Age' Interactive workshop to your school. Our Award-Winning sessions combine role-play, storytelling, demonstrations and drama and performance to bring history to life for your students.

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Thomas Jefferson was an American statesman, diplomat, lawyer, architect, philosopher, and Founding Father who served as the third President of the United States and a slaveholder who signed the Declaration of Independence, declaring that all men are created equal, possess 600 slaves. One of the famous stories about Jefferson concerns a controversial relationship with one of his slaves, Sally Hemings, who was also his sister-in-law. Hemings’ mother was of mixed race and Sally’s father was John Wayles, the father of Jefferson’s late wife, Martha. Sally was a half-sister to Martha and considered three-quarters white. The historical debate over whether or not there was a sexual relationship between them continues; however, most 21st century historians agree that Jefferson fathered one or more of Sally’s children. One of these children is the central theme of the play by playwright Charles Smith, The reconquest of Madison Hemings. We had the pleasure of traveling to Indianapolis to see this play again at the Indiana Repertory Theatre. The world premiere of The Reclamation of Madison Hemings is the story of one of Sally Hemings’ children named Madison, who refused to accept her father’s surname, Thomas Jefferson, – choosing instead to be called Hemings. Although slavery was abolished in America, many slaves never felt the true meaning of freedom. Madison returns to neglected Monticello after the Civil War ends in 1866. He struggles with anger and resentment at being seen as a Jefferson. I only ever knew one white man named Hemings, he recalls. His friend and former slave footman, Israel Jefferson, also known as Israel Gillette (slave parents Jane and Edward Gillett), returned to Monticello (“Little Mountain”) in search of his brother, Moses. Israel bought his freedom from Thomas Walker Gilmer and took Jefferson’s surname at the suggestion of the clerk when registering his freedom. Seeing the Monticello, Madison’s bitterness grows as he recounts the days of his youth, imagining how he, along with his brothers, Beverly, Eston and sister Harriet, were never allowed to live in the mansion . Yet at the same time, his old friend Isreal, whose fond memories reflect more honor and family, neutralizes his horrific time in servitude. At the start of the play, Isreal inquires whether her brother Moses was buried in the field among the hundreds of slaves who lived and died at Monticello, but when night fell they sought refuge. Madison decided he wanted to sleep in the vacant Monticello mansion, but Israel was against it. Israel felt honored to have Jefferson’s surname, did not want to dishonor the estate by trespassing, fearing serious inconvenience. Madison, who was still harboring, resented as an unwanted bastard child of Jefferson, was determined for revenge, entered the house, stealing whatever inheritance he could. As they both battled feelings from the past, their lives became the backdrop for a story few knew existed. And those in power, who wrote the stories of our history, chose to ignore them. Part of the IRT’s INclusion series: Celebrating the diversity of narratives, The Reclamation of Madison Hemings is the story of two formerly enslaved Black Americans and explores the brutal history of slavery in the United States. This two-person play features David Alan Anderson and Brian Anthony Wilson. Anderson, a native of Indianapolis, where his association with the Indiana Repertory Theater began in 1990, has performed at Chicago’s Writers Theater (Stick Fly) and The First Deep (Victory Gardens Theatre). He was superb as upper-class aristocratic Israel Jefferson, a black man who never felt his owners respected his pedigree or his Jefferson name. Instead, he was a black man who understood the facade given to him as a man in charge of other black people, but never his freedom. Another fantastic performance was given by Brian Anthony Wilson, who played Madison Hemings, the son of Sally Hemings, who was furious with feelings of hatred towards Jefferson after hearing his mother being attacked by him when she was a teenager. Jefferson was in his forties. Anderson and Wilson’s chemistry on stage was amazing, making this premiere a must at the Indiana Repertory Theater. In Chicago, Ron OJ Parson is synonymous with directing exceptional plays. Parson is a master in his field and brings out the realism in his characters, which keeps the audience captivated by every performance, making it the best in theater. Playwright Charles Smith, originally from the Southside of Chicago, started at the Victory Gardens Theater in 1985, as an intern. Many of Smith’s plays discuss various historical contexts to explore contemporary issues of race, identity, and politics in America. The rehabilitation of Madison Hemings is another great example of his superb storytelling skills. Madison’s reclamation is a fascinating historical story that America needs to hear. Our history is filled with adverse incidents where enslaved children were fathered by white slaves who were not recognized as legitimate offspring worthy of family honors and privileges. Playwright Charles Smith does a masterful job of sharing this untold American story of a black child who never felt wanted by his famous white father – a hidden story of our society, which must be passed down to cure the ills of the ‘humanity. In 1873, Madison Hemings, at age out of 68, dictated his memoir about his mother Sally Hemings to an Ohio newspaper called the Pike County Republican, which published a series titled “Life among the humble. The Pike County Republican also included Isreal Jefferson’s memoir published the same year as a Madison Hemings memoir, claiming Madison’s account that Thomas Jefferson fathered Sally Hemings’ children. The Indiana Repertory Theater is an incredible building, and this play is just the fabulous premiere of its 2021-2022 season. Costume designer Dana Rebecca Woods did a great job creating the period attire for “The Reclamation of Madison Hemings,” which helped pull together the visual setting of 1866. Thank you for the warm welcome given to us by Kerry Barmann and Danielle Dove from the IRT. Let’s Play recommends The Claim by Madison Hemings at the Indiana Repertory Theatre. Indiana Repertory Theater The reconquest of Madison Hemings Written by Charles Smith Directed by Ron OJ Parson From March 23 to April 16, 2022

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Conversational solfege is a curriculum for teaching music literacy developed by Dr. John Feierabend. It is a literature based curriculum that is grounded in Music Learning Theory and the Kodaly philosophy for music education. It is not a method that one uses to the exclusion of all others, but rather an effective way of teaching tuneful singers to read, write, and create music. Given that Conversational Solfege (CS) was developed during a time when music educators were using the original NAfME (MENC) content standards and before the introduction of the National Core Arts Standards (NCAS), it is natural to ask if CS is conformed to the NCAS. Here, I will discuss the performing and creating artistic processes included in the NCAS, and how well CS articulates the NCAS for each of those processes. Music teachers should begin Conversational Solfege only when students are able to sing in tune by themselves. For most children, this occurs at at or close to 7 years of age, second grade in school; so we must begin by limiting our discussion to the NCAS for second grade and above. For performance, according to the NCAS, second graders when analyzing music will “demonstrate knowledge of music concepts (such as tonality and meter) in music from a variety of cultures selected for performance.” They will also “read and perform rhythmic and melodic patterns using iconic or standard notation” when “analyzing selected music.” The term “demonstrate” is to “show musical understanding through observable behavior such as moving, chanting, singing, or playing instruments.” When interpreting, second graders will “demonstrate understanding of expressive qualities (such as dynamics and tempo) and how creators use them to convey expressive intent.” Expressive intent is “the emotions, thoughts, and ideas that a performer or composer seeks to convey by manipulating the elements of music>” Finally, after repeating repertoire during the coarse of instruction and rehearsal, the second student grade student will “perform music for a specific purpose with expression and technical accuracy.” It is interesting that the only mention of reading music notation in the NCAS is for the purpose of analyzing. Nowhere in the standards is reading music included in connection with actually performing or rehearsing music. This would seem to be a major omission in the standards, and would position Conversational Solfege to go beyond the standards in developing literacy as part of musicianship. At the same time, because CS is essentially an application of the Kodaly philosophy for music education, singing remains the primary means by which students learn to read and compose music. Being able to sing tunefully, beatfully, and artfully, which is the goal of Dr. Fierabend’s First Steps in Music, the preparatory curriculum for CS, is necessary in order to be able to demonstrate understanding as it is defined in the NCAS. So in that sense, we could say that CS makes assessment of performing under the NCAS possible. The other piece to music literacy in addition to reading is writing. For this, we must consider the NCAS for creating. Here we find many parts of CS, and of First Steps in Music. To begin, we find in the NCAS that second grade students shall “Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.” In CS, “students begin developing improvisation skills which will enable them to later compose. Creating aurally “develops the ability to think and bring musical meaning to original musical thoughts. Students create original rhythm or tonal patterns or melodies using rhythm or tonal syllables.” Take particular note of this next statement. “Reading notation should not be introduced until students have achieved success at this.” This is often expressed in the phrase “sound before sight” yet it is so often violated in the common ways in which music is taught. Later in the NCAS for creating, we find that a second grade student will “convey expressive intent for a specific purpose by presenting a final version of personal musical ideas to peers or informal audience.” Here we come to the area of interpreting music; what Feierabend refers to as “artful” singing. Dr. Feierabend wrote that “one of the mysteries of notation is that the subtleties of expression cannot adequately be represented in notation. It is the inherent expressiveness, however, that is the art part of music. What appears in notation is merely the skeleton of the music. The interpreter of the notation must breath life into the skeleton. This expressive sensitivity development must be assimilated from good musical models and from quality literature that embodies expressiveness.” So just as reading and writing must be preceded with aural experiences with musical ideas, so to the ability to interpret music expressively must be preceded with models of good musical expression found in performances by great musicians. In responding to such performances, students learn what musical expression is, and what can be expressed with music. They then assimilate those experiences with hearing the models into musical expressiveness of their own. Once again, CS provides the means for teaching students how to accomplish what is called for in the NCAS. This impacts responding as well. The NCAS includes a standard concerning interpretation. Second grade students will “demonstrate knowledge of music concepts and how they support creators’/performers’ expressive intent.” We have seen that demonstrating understanding is done through moving, chanting, singing, or playing a musical instrument. This is in fact how we would present models of artful musical performance. By responding to expressive music with movement, or by imitating artfully performed musical phrases or ideas, students acquire the knowledge of music concepts, and how those concepts are manipulated by performers and composers, to create an interpretation that is expressive. Just as music can be read and heard through inner hearing, music can also be interpreted through inner hearing using notated music. Dr. Thomas Duffy, Director of Bands at Yale University, stated that, and I paraphrase, when sight reading, everything must be included, not just pitches and rhythms. All expressive markings must be included. The musically literate person can silently read a musical score with all the expressiveness that is notated and with the additional expressive nuances that are suggested by the musical context but which are not explicitly notated or able to be notated by the composer. For the artistic process of connecting, we find in the NCAS that second grade students will “demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.” The literate students, trained in Conversational Solfege, is able to experience and understand music in written form as the conveyance in that form of ideas preserved in music for their benefit, in the same way that a poem, novel, play, short story, or piece of non-fiction is a written record of ideas preserved in language. Music literacy and therefore Conversational Solfege makes possible connecting music with language arts. Music literacy also builds connections to visual art, as concepts common to both are interpreted from examples of both. And of course, the very interpretation of music brings into play dance, storytelling, and drama; interpretations that often are only possible from written music, and that require musically literate interpreters. Taking all of this into account, it becomes clear that Conversational Solfege is both the development and at the very core of the National Core Arts Standards.

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An In-Depth Guide for Any Novel, Years 6-Up Read through any current curriculum documents and you will find that the work expected of students is expressed using such academic terminology as describe, determine, develop, support and cite. Requirements such as these cannot be met via the comprehension-question worksheets and culminating quizzes that have long been the staples of literature guides designed for classroom use. The primary objective of those traditional activities was to make sure that students were keeping track of what was happening in the section of the novel that they had just read. Very little rigour and synthesis was asked of students – and usually none until the entire novel was read. From a teacher’s standpoint, this style of classroom analysis misses multiple opportunities to delve deeply into the details that make a specific piece of literature a classic; from a student’s standpoint, this way to reflect on literature is monotonous and inflexible, and it fails to nurture the momentum experienced when one is invested in a compelling work of art. That is why the in-depth guides in the Rigorous Reading series aim to do much more: they aim to transform the reading of a great novel into a journey of discovery for students. Instead of merely asking students what happened in any given section, this resource asks questions that require closer reading and deeper analysis – questions such as “Why did the author choose to include this information?” and “How does this information further the plot or offer more insight into the themes, characters, settings, etc.?” And instead of waiting until the end of the novel to put the pieces of the puzzle in place, students will learn to add to and alter their understanding of the novel as they are reading it. The various activities in this resource prompt students to consider and appreciate the many ingredients the author has combined to form the novel as a whole. Transform the reading of a great novel into a journey of discovery. This customisable resource offers incredible flexibility as you share and explore great literature with your students. The guide is organised by literary elements and includes Teacher Instructions that provide activity overviews. Student activities feature text-dependent questions that encourage close analysis and call for evidence to support claims. This resource also includes suggestions for creating and maintaining Interactive Novel Logs to provide students with a place to connect with the literature in ways of their choosing. Pre- and Post-Reading activities are included as well as suggestions for pairing texts to expand the understanding of themes and topics. |Publish date||2017-09-05 00:00:00| |Partner Name||Teacher Created Resources| |Key Learning Area||English|

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The TAT test was developed in the 1930s by psychologists Henry A. Murray, Christiana D. Morgan and other colleagues at the Harvard Psychological Clinic. The TAT Test or Thematic Apperception Test is a projective psychological test used to explore the unconscious of an individual in order to reveal the underlying parts of personality, internal conflicts, motives and interests. It has been one of the most widely used, taught and researched of tests of its kind (Combs, 1946). The test evolved over approximately a decade in the 1930’s and 1940’ after a rocky start and three distinct revisions. An earlier manuscript titled “A Method for the Investigation of Unconscious Phantasies”, that was submitted in 1934, was rejected for publication by the editor of the International Journal of Psycho-Analysis by Ernest Jones. Two important influences in the creation of this test were thought to be an undergraduate student, Cecilia Roberts and the American author Thomas Wolfe. Cecilia was one of Murray’s students and was having difficulty in a study she was conducting comparing fantasies of blind people and sighted people. She tried to get her son to tell him her fantasies but he thought it was silly until she asked him to make up a story about a picture. When Cecilia talked to Murray about the vivid imagery in the story her son told her about the picture, Murray started working on the TAT (Morgan, 2002). Thomas Wolfe’s book ‘Look Homeward, Angel: A Story of the Buried Life’, was read by Murray as he was seen carrying the book to several lectures by a student, Nevitt Sanford. Sanford studied and worked at the Harvard Psychological Clinic and contributed to the TAT. When he read the book himself, he believed that there was an episode in the book that suggested the TAT method to Murray (Morgan, 2002). While there has not been as much standardization and objective analysis on the TAT as other References: Ávila-Espada, A. (1996). Objective administration and scoring for the TAT. Salamanca, Spain: Departamento de Personalidad, Evaluación y Tratamiento Psicológicos. Combs, A. W. (1946). A method of analysis for the thematic apperception test and autobiography Cramer, P. (1996). Storytelling, narrative, and the thematic apperception test. New York: Guilford Press. E.M. Squyres, &. R. (1982). A Measure of Time Perspective with the TAT and Some Issues of Reliability Lundy, A. (1988). Instructional Set and Thematic Apperception Test Validity. Journal of Personality Assessment , 52(2), 309. Morett, E. R. (1997). Thematic apperception test (TAT) interpretation: Practice recommendations from a survey of clinical psychology doctoral programs Morgan, W. G. (2002). Origin and history of the earliest thematic apperception test pictures

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Discuss the idea(s) developed by the text creator in your chosen text about how acts of courage develop and nurture personal integrity. Nurture Through Courage Courage brings forth with it the ability for an individual to demonstrate their message. In the novel, To Kill a Mockingbird, written by Harper Lee, Scout’s actions and the words that are spoken to her help in developing her personal integrity. Scout’s confidence also describes how confidence is tied to the growth of self-honesty. Harper Lee portrays how being courageous creates personal integrity as through defying others, a person grows to realize that should they desire to get their message across, they must have confidence within themselves. Having this confidence ensures that they follow through with their message. Being courageous and stating your thoughts brings about a time of self-reflection, aiding the notion that courage nurtures personal integrity. During class one day, Scout is told by her teacher, “You tell him I’ll take over from here and try to undo the damage-” Scout then attempts to correct her only for her teacher to respond with, “Your father does not know how to teach. You can have a seat now.” That situation concluded with Scout doing the following, “I mumbled that I was sorry and retired meditating upon my crime.” (Page 18, Ch 2) In this event, Scout was attempting to stand up for what she believed in: that her father had done nothing wrong. Although Scout knew that Miss Caroline has authority over her, Scout remains confident with her views. After that, Scout finds herself reflecting upon what just happened. Her period of reflection helped develop personal integrity as this was one instance of Scout having courage. With this, it can be shown that having the confidence to follow through with your beliefs nurtures self-honesty. Continuing to keep your stance on something, regardless if the conversation is positioned in your favour, guides a person towards character development within themselves. After Mrs. Dubose’s death, Atticus spoke to Scout as well as her brother, “I wanted you to see what real courage is, instead of getting the idea that courage is a man with a gun in his hand. It’s when you know you’re licked before you begin but you begin anyway and you see it through no matter what.” (Page 115, Ch 11) Scout here is told that courage is standing for what you hold true, even if the opposition already has you cornered. This reinforces the concept that confidence within yourself is critical to demonstrating courage. Through demonstrating courage, self-integrity is improved as standing for your message requires trust with your thoughts. Scout being reminded of this gave way to the idea that courage originates from a person and not from an object, such as a gun. To have the ability to follow through with your beliefs regardless of the outcome of the situation fosters bravery. This leads to an improved sense of personal integrity. To get a message across, confidence must be present, urging towards the nurturing of an individual’s integrity. After Scout and her brother defend their father, Atticus, from a mob, he spoke, “So it took an eight-year-old child to bring ‘em to their senses, didn’t it?” said Atticus. “That proves something—that a gang of wild animals can be stopped, simply because they’re still human… you children last night made Walter Cunningham stand in my shoes…” (Page 159, Ch 16) Here, Scout demonstrated courage and what her father said helped to point out that belief in yourself is a great force to be reckoned with as it stopped a group of men. Seeing this, it can be seen that being courageous speaks volumes as Scout defending her father was enough to make the others realize the power she has. With her showing courage, she had to have conviction with her views. Confidence held within an individual’s views ensures that their message will be heard by those it is being addressed to. That is shown as Scout and her friends brought a group of men to their senses. The development of personal integrity relies on the confidence a person holds, as well as the conviction they hold towards the beliefs they are trying to push forth. Harper Lee’s novel, To Kill a Mockingbird, portrays the connection between courage and the nurturing of personal integrity using the actions of Scout. Reading about Scout’s actions, the idea that regardless of the circumstance, demonstrating courage and confidence builds the foundations of personal integrity. Personal integrity, along with confidence illustrates how personal honesty is nurtured and developed. A person’s actions and confidence ultimately set the path for the amount of development they can take out of a given situation. References: Featured Image

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About this course The English Language A2 programme follows on from AS English Language and should be taken in conjunction with two or three other subjects and the Welsh Baccalaureate. At A2, students will be expected to show deeper understanding and knowledge of phonology, orthography, etymology, lexis, semantics, morphology, grammar and discourse. What you will study There are three units for A2 English Language. Two of the units are written examinations and one unit is an independent investigation. All units must be undertaken. Candidates will gain an appreciation of language over time, whilst gaining knowledge of child language acquisition and phonemic symbols. Unit 3: Language over Time (written examination) 1hr 30m (20%) This unit is based on the study of unseen written texts from different periods, linked by genre. There will be three texts, none earlier that 1500, and students will be expected to answer two questions: Question 1: Candidates will answer several short questions based on archaic language features from the texts. Question 2: Candidates will write an extended response (essay) in which they explore, analyse and evaluate the contextual factors through close reading of the texts by describing the key features of language change, using associated terminology accurately and making connections across the texts in light of a given focus. Responses will need to demonstrate the candidate’s own use of coherent written expression and their use of apt quotation to fully support the interpretive points they make. Unit 4: Analysing spoken language (written examination) 2hrs (20%) There are two sections of equal weight, with one question in each section. Both sections are compulsory. Section A: Analysing spoken language Candidates will use their knowledge of the spoken language mode in a variety of contexts, which cover a range of situations in order to closely read spoken language transcripts to produce an extended analytical response in which they explore the speakers’ use of language and its effects, given the context and genre. Candidates will need to use apt quotation, apply appropriate linguistic and theoretical knowledge and will need to demonstrate coherent written expression. Section B: Creative re-casting This question will allow candidates the opportunity to demonstrate their creativity in presenting material in a different form and for a different audience and purpose. Candidates will produce an original piece of writing, which is linked to one or both of the transcripts in Section A. Unit 5: Language and Identity (non-examination assessment 2500-3500 words: 20%) This unit gives learners the opportunity to undertake a language investigation independently through research, data collection and interpretation. Learners have a choice of four areas from which they can select a topic: - Language and self-representation - Language and gender - Language and culture - Language and diversity NB: Learners should select material that is culturally, personally and academically of interest to them. Course fee per year Part-time enrolment fee: £0.00 Successful completion of AS programme including satisfactory attendance and tutor recommendation. Teaching and assessment One written exam and coursework - The College welcomes contact with parents/guardians of students who are under 18. - Additional support is available for students with learning difficulties and disabilities. - Cardiff and Vale College is committed to inclusion and values diversity. We are determined to promote equality of opportunity and to treat everyone fairly and with respect. - Cardiff and Vale College reserves the right to make changes to this course without prior notice. - Course fees are subject to change. Your fee will be confirmed prior to enrolment. - All courses are accurate at the time of upload or print. - Courses can only run if there are sufficient numbers. - Please note, if you choose three or more course choices, then you may be referred for a careers appointment first. This does not apply to A Level or GCSE choices. Time of day I came to the College as I wanted to travel and become more independent – it’s so modern and looks amazing. When I saw the library I was sold. Honestly the library was my main pull, there are so many books I loved it. Someone came in to speak to us about the Sutton Trust, which gives students a taste of life at American universities. I applied - it was really competitive but I got in. We went to a different state every day, and we went to different colleges including Princeton and Harvard. I also had a week at Warwick Uni and a week at Nottingham Uni. It was so good – I just loved it. You have a lot of support at the College, especially from the Careers and Ideas team. I think there are a lot more opportunities here as it is such a big college with so many resources. Career prospects & further study On completion of the A Level programme, the majority of our students progress onto universities across the country and beyond. Based on this course, there are many options but below are just a few examples of degree programmes you could go on to study at University: - Creative Writing - English Language - English Literature - Government and Politics Need to know

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When autocomplete results are available use up and down arrows to review and enter to select. Touch device users, explore by touch or with swipe gestures. Similar ideas popular now 4th Grade Writing “Without” statement at the end!!! 5 argument games for creating arguments, counter-arguments, evaluating evidence and reasoning. #teachingargument #argument #teachingdebate #debate skills #secondaryargument #argumentlessons #argumentgames Teach BeTween the Lines Persuasive argument diagram This writing resource from The Reading and Writing Haven is perfect for middle and high school students who are being introduced to argumentative research writing. It is also effective with struggling writers. By scaffolding instruction, you can increase students' success as authors. 5th Grade Writing This would be a good visual for any type of essay where evidence or examples are needed. An Infographic To Teach You The Hacks To Write Argumentative Essays Persuasive Essay Topics Essay Writing Tips Lets make argumentative writing authentic so that students want to learn it. Check out this blogpost to learn how to make it relevant. Literacy & Math Ideas: Argument Writing/Opinion Writing Elaborate in opinion writing. Support your reasons by adding... Persuasive Writing Examples Persuasive Essay Outline Writing A Persuasive Essay persuasive writing graphic organizer - Google Search Middle School Libraries Middle School Ela Middle School English FREE materials from Stanford Univ. to teach media literacy to teens. #free #highschool #middleschool This is cool, but I think a touch too much for 4th graders. Middle school writing, I think. Photo Writing Prompts Creative Writing Prompts Writing Prompt: Persuasion --Cutest Pet Contest-- Ms. Amy's Lessons Public Speaking Activities Public Speaking Tips Speech And Debate Activities For Teens A great blog of secondary English teachers helping you find great ideas to enhance your classroom! Writing Prompt: Perspective Ms. Amy's Lessons English Literature A Level Write a Literary Analysis Paragraph The Princess Bride Short, sweet, and engaging video with tips for it analysis introductions. Maybe this will help my kids, you know, STOP writing terrible introductions. Sigh! ---The power of a great introduction - Carolyn Mohr Beginning Of School First Day Of School Would You Rather Questions Would You Rather Wednesdays- writing prompts Note Taking Strategies Writing Mini Lessons This is an outstanding version of an How to teach Argument writing. It uses the writer's workshop approach to Argument. I GUARANTEE that you will be very very impressed by this 99 slide powerpoint teaching argument writing unit. Reader's and Writer's Workshop Resources This is something that I would pass out to my class before writing our first paper of the year. I would also tape it to the wall. Essay Writing Tip: "If you can't imagine dropping the mic after the final sentence in your essay, your conclusion needs to be stronger." – life hacks #1742 via 1000 Life Hacks Persuasive Writing Prompts persuasive writing prompts Ap Language And Composition Looking for rich, complex texts to engage your students? Hello, modern American politics. Perfect for teaching argument, close reading, rhetorical analysis, and logical fallacies at all levels. Freshmen? No problem. AP Lang? Bring it on. Persuasive Writing - love this written, as it applies to modern and traditional! Argument writing anchor chart based on Toulmin Model -- good for persuasive speeches

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US researchers have developed a way to control and measure atoms that are so close together they are impossible to distinguish by optical means. When they get cosy – that is, within a few billionths of a metre of each other – they exhibit interesting quantum mechanical behaviour. At this scale, their spins begin to exert an influence on each other, and two or more can become entangled: a strange quantum phenomenon where the atoms will thereafter mirror each other’s properties instantly, even if they are kilometres or light-years apart. Entanglement is key for future technologies like quantum computing – but first, scientists must observe and understand these tightly-packed atoms. Conventional microscopes are unable to distinguish between atoms that are just nanometers apart, just as our eyes are often unable to spatially resolves two distant stars that are close together in the night sky. Researchers from Princeton University have now demonstrated a technique to resolve such atoms. In a paper published in the journal Science, they describe using a finely tuned laser to excite closely spaced erbium atoms in a crystal. Each atom responds slightly differently to different wavelengths, re-emitting the light at unique frequencies that subtly change according to an atom’s spin state. “By tuning the laser carefully to the frequency of one or the frequency of the other, we can address them, even though we have no ability to spatially resolve them,” explains lead author Jeff Thompson, an electrical engineer at Princeton. “Each atom sees all of the light, but they only listen to the frequency they’re tuned to.” Thompson and team exploited this fact to observe and control the erbium atoms, laying the groundwork to study the intriguing spin interactions with unprecedented clarity. “We always wonder, at the most fundamental level – inside solids, inside crystals – what do atoms actually do? How do they interact?” says physicist Andrei Faraon from the California Institute of Technology, who was not involved in the research. “This [paper] opens the window to study atoms that are in very, very close proximity.” Other techniques have been developed to solve this observation problem, but this new method is unique in its ability to observe hundreds of atoms at a time. This means researchers can gather large volumes of data and begin to unravel the mysteries of the quantum world. The next step will be to figure out how to arrange the erbium atoms to form quantum logic gates, which can then be used to encode and process information in a quantum circuit. Related reading: Atoms in close-up Lauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University. Read science facts, not fiction... There’s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.

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You learn to write better by reading. You learn to read better by writing. Reading and Writing work together to improve your ability to think. Learning to write is one of the most important things that your child will do at primary school. Almost all other areas of the curriculum are assessed through writing, so strong writing is one of the keys to academic success. Good writing also gives your child a voice to share their ideas with the world. Writing at Handale Primary School Through our teaching and learning, pupils develop the skills to become creative, fluent writers with the ability to write clearly and coherently for a range of purposes and audiences. We aim for all children to… - Develop a love of writing and have pride in their written accomplishments - Know how to plan, revise and evaluate their writing effectively - Understand that in order for them to develop as fluent writers, it is essential that they develop competency in phonics, word/spelling structure and handwriting enabling effective transcription. - Embed basic skills in order to widen their knowledge of vocabulary and grammar. This will allow them to develop their writing so they are able to articulate, communicate and organise their ideas for the audience and purpose. (Becoming authors!). - Talk about their successes and areas for development - Write for pleasure rather than because they have too - Be confident writers and show off what they can do - Be exposed to a range of genres - Know what genres they are writing, what the purpose is and who the audience is All pupils write daily in some form across the curriculum using the skills and knowledge acquired in English lessons. Class teachers follow the long term curriculum plan and school planning documents to ensure that children are exposed to all genres and writing forms. Modelled and Shared writing takes place frequently in the writing lesson. Shared writing is a whole class activity where the teacher models the writing of the text. In shared writing, the pupils will contribute to the text by suggesting words or sentences to be used. The teacher demonstrates how to write and explains decisions. Teachers model thinking, rehearsing sentences, writing and re-reading constantly generating words and ideas. Across the key stages, teachers focus on the purpose, audience, level of formality, structure and organisation of the text. A particular aspect of word or sentence level work provides an additional focus depending on the objectives and targets being worked on at that time. Talk for writing forms part of our writing curriculum and allows developing writers at Handale Primary to explore the creative and thinking processes in writing through talk. The talk allows the children to begin to think and talk like a writer. The talk for writing (story telling approach) can include: · Learning and repeating oral stories · Extending the oral stories into writing · Creating new stories orally The story telling approach could include imitation (repeating the stories), innovation (changing and developing the stories and finally invention (creating a new story). Talk for writing will expose all pupils to oral storytelling. The benefits of the talk for writing approach are that the pupils will build a bank of good vocabulary and narrative patterning. It will also help build confidence so that children can build their own creative stories. The talk for writing approach gives opportunities for class teachers to build in role play/drama (story whoosh’s, hot seating, and conscience alley) and to build in different word games (tell me about, building a picture). Children across the school learn different genres half termly with a fiction or non-fiction focus. Children are also expected to apply their knowledge of genres and key ingredients when writing across the curriculum. Poetry is taught half termly throughout the school. To view our Writing Long Term Plan, please click here To view our termly ‘Going for Gold’ targets, please click here. To view our end of year writing expectations, please click here. · To produce clear, concise, legible handwriting · To provide equal opportunities for all pupils to achieve success in handwriting · To present work to a variety of audiences neatly · To develop accuracy and fluency · To help children recognise that handwriting is a form of communication and as such should be considered important in order for it to be effective · To display neatly presented work around the school and in classrooms as a model of excellence for others to aspire to · To encourage pupils to take pride in their work At Handale Primary, we have a consistent handwriting style leading from print to cursive. Handwriting is taught a minimum of two times a week in KS1 and KS2. Children work in pencil until their writing is neat, consistent and joined. At this point they are awarded a ‘Pen Licence’ which they keep with them and use in all exercise books. Pen licence winners are listed in the Handale newsletter every half term. Throughout EYFS and Year 1, spelling is taught through a systematic, synthetic phonics approach following our Phonic and Reading programme, where common exception words are weekly introduced. Regular formative and summative assessment takes place for the reading and writing of the common exception words and weekly spelling rules. In Year 2 – Year 6, children are taught their year group’s spelling patterns. We have created our own Spelling Programme which is well embedded across the school and follows National Curriculum spelling objectives. Regular formative and summative assessment takes place for the reading and writing of common exception words and weekly spelling rules. Spelling Shed is used across the school for children to access their weekly spellings. Spelling is taught discretely every day for 15 minutes and the spelling lists are sent home for children to practice for a weekly test on a Friday. During the year, spelling is assessed six times formally but on an ongoing basis through writing and weekly spelling tests. The application of spelling across the curriculum is closely monitored. Grammar is taught on a daily basis linked to the class writing genres – this gives children the opportunity to apply their skills in their independent writing. It is assessed as part of SPAG at the start of every half term. At times, grammar is taught discretely if needed. Word Family Lists are displayed in every classroom and are used daily to embed basic skills and for revision. Editing and Improving At Handale, from the early years our pupils are encouraged to read their work aloud to an adult and with support will improve their writing e.g. the use of capital letters or adding a missed word. In KS1, the children develop their understanding of what ‘editing’ is and why we as writers need to develop this skill to improve our ideas. In Year 2, the children begin to develop peer editing skills and are introduced to the idea of making additions and revisions to their writing. In KS2, the children develop their editing and improving and are given targeted checklists to improve their written work linked to their writing targets. We encourage the children to be reflective when looking at their work and identify how they can improve their initial work. Purple Polishing Pens are used across KS1 and KS2 and children independently edit, improve and polish their own work before it is marked. Editing flaps are also used to show improvements made to a piece of written work. Why is Writing a success at Handale Primary School? - All children at Handale love to write and understand the importance of writing. - We have a consistent approach to the teaching of writing which is well embedded across school. - In 2019, 92% of pupils achieved the expected standard or above at the end of Key Stage 2. - At the end of Key Stage 1, children are working in line or above the National Averages in Writing. This is also true for children working at Greater Depth in Writing. - Assessment of Writing is well embedded and books show the evidence to support judgements made by teachers. - Spelling, Punctuation and Grammar is a strength across the school. In 2019, 100% of pupils achieved the expected standard at the end of Key Stage 2. - Teachers are passionate about the teaching of Writing and in lessons and around school, children also share this passion.

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Our Curriculum : History History plays an important role at East Hunsbury Primary School and is fundamental to our mission of creating aspirational and knowledge–rich pupils. "History, the study of the past, is all around us; we are continually making history through our thoughts, words and actions. History is personal and global; it is everyday life and momentous occasions. History is about people. Through our study of the past, we can understand how our own world works. We can also understand how and why things happen to us. For example, had you ever wondered why the polar ice caps are melting? The answer partially lies in history. The Industrial Revolution caused the birth of industrial towns and factories, belching out smoke and pollution. It also caused the mechanisation of society, adding to the pollution. Could this partially explain the pollution problems that we face today? History is not just about the past!" It is our intention that our history curriculum is aspirational, enabling and inclusive and supports children in understanding Britain’s past and that of the wider world. We intend that our history curriculum will enable children to: - Understand history as a subject discipline and how what we learn from history can affect our own lives and the lives of others. - Become curious about the past and be equipped to ask informed, perspective-led questions. - Develop children’s mental timeline (schema) by cumulatively building pupils’ knowledge of periods and events. - Think critically, compare, weigh evidence, sift arguments and develop perspective and judgement. - Understand the complexity of people’s lives and the process of change over time. - Develop an understanding of the diverse societies and relationships between different groups, as well as their own identity and challenges of their time. - Move to secondary school and beyond with a chronologically secure knowledge of British, local and world history. - Note connections, contrasts and trends over time and will develop the appropriate use of historical terms. - Learn through History and use this learning to influence their decisions about personal choices, attitudes and values. For further information, please refer to the NPAT History Narrative Document. The Early Years Our ambitious history curriculum begins in the Early Years where it is practical, playful and inclusive. It is taught with support and challenge from adults in class sessions, small groups and from working with individuals. There is a combination of adult-led and teacher-taught sessions as well as a wealth of stimulating continuous provision opportunities when adults scaffold learning through skilful interactions and questioning; including independent exploration/play. Through, Understanding of the World, children’s foundations of historical knowledge will be laid as they will learn to: - Begin to make sense of their own life-story and family history - Comment on images of familiar situations from the past - Compare and contrast characters from stories, including figures from the past - Talk about the lives and roles of people around them - Know similarities and differences between things in the past and now. Drawing on their experiences and what they have read in class. - Understand the past through settings, characters and events read in class and storytelling. Building on the Early Years Our curriculum has been carefully sequenced to ensure children obtain a solid understanding of key historical concepts and knowledge. This is a knowledge-rich history curriculum which entwines both substantive and disciplinary knowledge. Knowledge is given a high status and the aim is to empower our children and carefully build their understanding of the subject. Tier 2 and 3 vocabulary is taught within the unit and reinforced throughout the year. The following high-dividend concepts have been identified as part of the NPAT history curriculum: - Trade and - Power (including monarchy). These will form the ‘Big Ideas’ through which all history will be taught. Teachers will make explicit reference to where children have met these concepts before in the curriculum. Local history has been planned as whole term units in alternate year groups; however, local history links have also been planned within units e.g. in Year Four children learn about an aspect or theme that extends pupils’ chronological knowledge beyond 1066. In the NPAT curriculum this is the Industrial Revolution (Victorians) and the local history link to the Boot and Shoe industry and canals. The knowledge content is specified in detail and is taught to be remembered, not just encountered. Knowledge is sequenced and mapped deliberately and coherently so that beyond the knowledge specified for each unit there are vertical and horizontal links. These will promote the construction of a secure historical schema. There are also opportunities to make diagonal links to other disciplines which have been explicitly planned for. Horizontal links will be explicitly made e.g. Year Three children learn about the impact of the Romans on Britain in Spring One, including the invasion, culture, the rebellion of the Celts and the legacy. When they learn about the Anglo-Saxons teachers will explicitly link the chronology, how the culture of the Anglo-Saxons was different to that of the Romans etc. Where there is legacy within a time period then this will be explored explicitly. If there is no real legacy, then this will also be explored. Vertical links will be made where knowledge and understanding are built upon from previous history units. E.g. In Year 2, the Great Fire of London unit will build upon knowledge and understanding from the Year 2 unit, the Great Fire of Northampton; likewise, in Year 6, the Impact on British Culture unit will make direct references to the Ancient Egypt unit covered in Year 4 and the Ancient Greece unit covered in Year 5. Diagonal links will be made, particularly where this is cross-curricular. e.g. links between History and Geography - such as The Romans (History) with Natural Disasters - Pompeii (Geography) and Ancient Egypt (History) with From Nene to Nile (Geography). Where applicable, children will have encounter or participate in high quality visits or visitors to further appreciate the impact of History. History is taught every half term on a weekly basis. It is our ambition for all of our pupils to access the full history curriculum and quality first teaching enables this. Support for pupils with SEND or disadvantaged pupils is given by careful individual and/or group support to secure the knowledge they need to continue to access content in History. By the end of Key Stage 2, all pupils will have a coherent knowledge and understanding of Britain’s past and that of the wider world and will have acquired the disciplinary skills of Historians being able to ask perceptive questions, think critically, weigh evidence, sift arguments and develop perspective and judgement. This will be assessed through a multi–faceted approach including: - Skilful questioning lesson by lesson, - High quality conversations by teachers during lessons addressing misconceptions, - Weekly retrieval practices, - Lesson quizzes, - Appropriate writing outcomes and - End of unit summative tasks such as double-page non-chronological reports including essays. Evidence of learning will be recorded within the pupil’s books and teachers assess against the history learning outcomes (end of unit criteria checklist) Leaders will monitor the quality and impact of the History Curriculum through book looks, pupil voice and assess which pupils know more and remember more.

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Written by a former Greek slave, in the late to mid-6th century BCE, Aesop's Fables are the world's best known collection of morality tales. The fables, numbering 725, were originally told from person-to-person as much for entertainment purposes but largely as a means for relaying or teaching a moral or lesson. These early stories are essentially allegorical myths often portraying animals or insects e.g. foxes, grasshoppers, frogs, cats, dogs, ants, crabs, stags, and monkeys representing humans engaged in human-like situations (a belief known as animism). Ultimately the fables represent one of the oldest characteristics of human life: storytelling. The origins of the fables pre-date the Greeks. Sumerian proverbs, written some 1,500 years before Christ, share similar characteristics and structure as the later Greek fables. The Sumerian proverbs included an animal character and often contained some practical piece of advice for living (“You should not boast; then your words will be trusted”). The writing style of both the earlier proverbs and the later fables were simple and direct. Neither contains many words. The situations re-counted in the stories begin with some type of incident and conclude with a punch line which would transform into the oft-recognized moral of the tale. It is much later that writers would begin to include the moral either at the beginning of the story (designed to tell the reader the purpose of the tale upfront) or was added to the end (to instruct the reader what the story was supposed to teach). Ultimately, the fables are designed to highlight both desired and undesirable human behaviors: what to do or what not to do. The fables, written down in Greek between the 10th-16th centuries CE, may not be recorded in the exact words as when they were first told. Over time, and largely due to the numerous times the stories were re-told, words may have been changed or eliminated in order to fit the storyteller's purpose. Despite these changes, one characteristic that most of the fables share is the role of animals in the stories. The animals display human-like qualities, especially the characteristics of speech and behavior. In effect, the stories are designed to mimic human life. Most of the stories/fables are meant to highlight bad or poor human decisions and behaviors. In order to allow the animals to appear in multiple tales and roles, Aesop did not restrict the animals to behaving in a manner generally associated with that particular animal e.g. the cunning fox, the slow turtle. These looser characterizations allow for the animals to appear in other settings acting in different manners. Often the focus of Greek learning, especially regarding instruction for children in reading and writing, Aesop's Fables served a multitude of additional purposes. Politically, the fables emerged in a time period of Greek history when authoritarian rule often made free & open speech dangerous for the speaker. The fables served as a means by which criticisms against the government could be expressed without fear of punishment. In effect, the stories served as a code by which the weak and powerless could speak out against the strong and powerful. Additionally, the stories served to remind the weak that being clever could provide a means by which they could succeed against the powerful. The subversive nature of the tales allowed the lower classes in Greek society a means of escape from a society which was often oriented around the idea that “might makes right.” The fables were also considered as a valuable tool in speeches especially as a means to persuade others about a specific point. Aristotle, in his Rhetoric, argued that in the absence of any concrete evidence for proving one's point that a fable could just as well support one's argument. The fables served as a form of children's' entertainment beyond being a simple teaching tool. The fables transmitted important life lessons while also describing the “world of childhood.” The primary characters often acted in a child-like manner. The stories described the challenges of adulthood thus allowing young readers to engage with the characters and morals of adulthood at an early age. The stories also provided an opportunity for a measure of self-reflection. At those moments when Greeks suspected their culture or civilization was not living up to expectations, the fables provided an opportunity for a degree of self-reflection. Although humans and animals share similar traits, humans are different due to their power of reason which allows humans to make different choices about life and living. Examples of Aesop's Fables The Serpent & the Eagle An Eagle swooped down upon a Serpent and seized it in his talons with the intention of carrying it off and devouring it. But the Serpent was too quick for him and had its coils round him in a moment; and then there ensued a life-and-death struggle between the two. A countryman, who was a witness of the encounter, came to the assistance of the eagle, and succeeded in freeing him from the Serpent and enabling him to escape. In revenge, the Serpent spat some of his poison into the man's drinking-horn. Heated with his exertions, the man was about to slake his thirst with a draught from the horn, when the Eagle knocked it out of his hand, and spilled its contents upon the ground. Moral: One good turn deserves another. The Horse & Groom A groom used to spend whole days in currycombing and rubbing down his Horse, but at the same time stole his oats and sold them for his own profit. "Alas!" said the Horse, "if you really wish me to be in good condition, you should groom me less, and feed me more." Moral: A man may smile yet be a villain The Ant & the Grasshopper In a field one summer's day a Grasshopper was hopping about, chirping and singing to its heart's content. An Ant passed by, bearing along with great toil an ear of corn he was taking to the nest. "Why not come and chat with me," said the Grasshopper, "instead of toiling and moiling in that way?" "I am helping to lay up food for the winter," said the Ant, "and recommend you to do the same." "Why bother about winter?" said the Grasshopper; we have got plenty of food at present." But the Ant went on its way and continued its toil. When the winter came the Grasshopper had no food and found itself dying of hunger, while it saw the ants distributing every day corn and grain from the stores they had collected in the summer. Then the Grasshopper knew. Moral: It is best to prepare for the days of necessity.

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People who are referred to as “historic figures” are often political or military leaders, although they are not always the ones who make history. For historians, there is a risk that, by looking only at the actions of kings or presidents, they will overlook the influence of people who, although they did not have any formal political power, managed to launch processes of truly historic importance. One such individual is Harriet Beecher Stowe, the author of the famous 1852 novel Uncle Tom’s Cabin. By drawing the nation’s attention to the conditions under which slaves were living, Stowe inspired the free states to oppose slavery more fiercely and provoked much indignation in the southern states. An abolitionist and a woman of strong humanistic beliefs, Stowe made a large contribution to the abolition movement and to the culture of the nation that eventually condemned slavery. For her outstanding achievement in raising awareness and convincing Americans of the inhumanity of slavery, Stowe deserves to be depicted on one of the currency bills of the United States. Harriet Beecher Stowe represents the entire abolition movement as she has become one of the symbols of the struggle against slavery. The abolition movement brought different people together on the basis of their humanistic beliefs, and it should be noted that it was not only a political movement (i.e., a movement to accomplish a certain amendment to the American Constitution) but also a movement led by ethical principles. In her work, Stowe drew attention to unspoken issues. From a historical perspective, it is important to understand that not all the people in the United States in the Antebellum Era realized how cruelly many slaveowners treated their slaves. Apart from being an author, Stowe acted as a political activist, spreading the knowledge that she had gained from examining the lives of slaves in the South. Stowe spent much time seeking out evidence of cruel treatment toward slaves in the South, and she eventually chose to translate those materials into fiction because she thought that storytelling, as opposed to newspaper stories or public speeches, would be a more powerful tool for reaching and convincing audiences. For future generations, Stowe created impressive and appealing works that can be used in any era to teach young people about humanistic values. Re-formulating the thesis statement: Harriet Beecher Stowe is an individual who should appear on one of the bills of U.S. currency because she has become a symbol of the struggle for freedom in the United States. Her example is particularly appealing because she was not an elected official or a representative of a strong political interest group. She was a writer, and her main interest was to rid the American nation of the inhumane practice of treating human beings as property. Stowe managed to create moving works that were fictitious but had a more significant effect than political speeches or manifestations because they appealed to the emotions of people. She was a woman who made the abolition movement stronger and shaped the nationwide consensus that slavery was unacceptable.

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Folk tales from all cultures have universal themes and at the same time tell us about specific features that can illuminate and alter our perception of those other cultures, often through metaphor. Insights into other cultures I know of no other medium which can give language learners such insight into another culture as the sharing of stories. Storytelling acts as a celebration of cultural diversity, provides students with support in their language learning and builds self-esteem. In this article some examples of my own experience of storytelling in the language-learning context will illustrate these assertions. In my own language-teaching context I often teach groups of students who have recently arrived in the UK. In one group I teach, the majority of students are young adults from Chinese families while the minority are more mature Arabic speakers. Sometimes the students I teach are for the first time mingling socially with peers from cultures they know little about. For them to operate effectively as a group, one of my main roles as a teacher is to give them the chance to learn about each other’s culture on an equal footing, so mutual understanding needs to be nurtured. By giving the students the opportunity to tell short folk tales from their own cultures in English the cultural divide is often bridged through a blend of curiosity, close listening and the realization that they have a great deal in common. Wisdom tales feature prominently in both Chinese and Arabic traditional stories and sometimes the same stories are told in both parts of the world with only slight variations. A typical activity involves students listening to me tell a short two- or three-minute tale and then preparing to tell tales themselves. Follow-up tasks work best when they focus on personal response and cultural awareness rather than check comprehension (see activity Storytelling response tasks). Once students have done an activity like this, I invite them to prepare to tell a short story they know well from their own culture in a subsequent lesson. Their challenge is to be able to tell the story in their own words without reading from a text. Rehearsal time is encouraged outside the classroom and pronunciation practice tasks can be done during and outside class time. Students move around the classroom telling their first story to a few different partners, ideally including some from another culture. Each time they can give their partner follow-up response tasks. This active, responsive listening builds the storyteller’s self-esteem as they tell and retell their tales. After that I ask students to prepare another story to tell. A short, regular story slot is allocated, so that every couple of classes a student tells a tale to the group. Being able to tell a tale in English gives students confidence and is excellent preparation for extended speaking and giving presentations. Sometimes we might be teaching a mono-cultural class with one student from a different heritage. I often work in state primary schools where this applies. It is vital to include and raise awareness of this student’s heritage and one way of doing this is through storytelling. If the student is reticent or unconfident about telling others a story, the teacher can tell a story from that student’s culture. The student might be able or willing to tell the teacher the story outside the classroom setting or direct the teacher to a popular story by translating the title into English and together searching for it on the Internet. Alternatively it is easy to find other suitable and simple stories written in English from any culture on the Internet (see links below). One Nigerian student called Ifeoma remarked at the end of the course how much she had been made to feel at home and welcomed into the community of students when I told an Igbo tale early on in the course. However it would seem advisable to tell a story only after making sure in advance that the student would feel comfortable with this. Passing on stories Stories I have been told by students in this way often become stories I tell to other students afterwards. This is in keeping with the oral tradition, where a story is passed on from one teller to the next from generation to generation, with each storyteller making it their own and modifying it slightly. When I tell students a story I have learnt from a former student, they often ask about that student and appreciate the possibility that their story might be passed on in this way. Rather than doing a task which is done to be assessed, this kind of teaching is humanistic and intrinsically motivating in that there is a responsive and appreciative audience and possible future audiences. A mono-cultural group needs more than any other to learn about other cultures. Introducing another culture through its traditional stories is as important as teaching students about its geography, history, art, written literature or contemporary society because storytelling takes us deep into the imaginative landscape of that culture. Last year Susana from the Urals of Russia told students the Snow Girl, a beautiful miracle tale from her homeland. This tale has been told to so many students and other people since then, Susana’s story lives on. I imagine her sitting in front of her fellow students every time I tell it www.youtube.com/watch?v=TjfmOAQHzSQ The Snow Girl There are huge resources of folk and fairy tales from all over the world published in English on the internet – here are just a few of the ones that I recommend: - http://www.pitt.edu/~dash/folktexts.html (huge resource) - http://www.sacred-texts.com/ (huge resource) Especially for children: By David Heathfield 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). A pleasure to read this article on 'storytelling to celebrate cultural diversity'! Thank you also for the many good weblinks. Nice. I liked a lot. I find it very useful for me to have those tips for using in my storytelling times. And thanks a lot for the sites you listed. I checked and there are wonderful stories to work with my class. We need to go back to story tell and help the youth to read more, rather then watch TV Great! I'm from Ukraine and I use traditional British tales at my lessons to introduce British culture to my young learners. Excellent. I believe I will be developing my English level more with such useful articles.

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However, some parents deviate from the ideal immunisation programme, a fact that is of growing concern to medical experts. The reason for concern over vaccinate drop-outs is simple. The entire community can be protected against diseases such as measles if 95% of children are immunised. But some children cannot be vaccinated because they have immune disorders or because they are too young. This means that even though vaccinate rates can appear to be high, vaccinating nine out of 10 children might still be sub-optimal – meaning that not enough kids have been vaccinated to protect the weakest children in our neighbourhoods. How can doctors help? This week is European Immunization Week, an annual event run by the World Health Organisation. The aim is to improve vaccination rates by raising awareness of the vaccine-preventable diseases like measles and polio. This year the spotlight is on how health professionals can help parents to work through any hesitation they may have when making important decisions about their children’s health. You might ask why this is this even necessary. All doctors are champions of immunisation, right? Alas, there have been questions raised about the role of doctors in providing guidance to parents on crucial issues like the safety of the measles vaccine. On top of that, a study last year suggested younger doctors have grown complacent about the urgency of improving vaccine uptake. This, according to the researchers behind the report, is largely due to the fact that the new generation of health professionals has probably never seen vaccine-preventable diseases such as pertussis or polio – because immunisation programmes have made these diseases a rarity in Europe. Help is at hand Understandably, not all busy doctors – many of whom deal with dozens of patients every day – have answers to questions about rubella, diphtheria or chickenpox, not to mention vaccine ingredients and the risk of not vaccinating. That’s why WHO Europe has launched a new guide for how health professionals can discuss vaccination with parents. This short paper helps doctors and nurses to understand how parents feel when faced with the prospect of vaccinating their child and equips them with strategies for answering questions they may be asked. It features sample answers for discussing specific issues like the timing of vaccination, the number of vaccines recommended for children, vaccine ingredients, side effects, and even the (thoroughly debunked) study connecting vaccines with autism. According to the guide, some parents are looking for hard scientific facts about vaccine safety while others appreciate anecdotes and the benefits of their doctor’s experience with vaccinating other children. Knowing how to balance science with storytelling is the key. Crucially, doctors are advised to keep the conversation open even if parents refuse vaccination and to provide further reading material if required. Closing the door to questions opens the way for the return of vaccine-preventable diseases.

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5 Easy Ways to Teach Students Who Work Below Grade Level in Your Classroom Not what I had expected, my first teaching job turned out to be quite the opposite. In a small, rural school with a student population of approximately 50, the incident took place. The intermediate teacher and I were the only members of our two-person teaching staff. She taught students ranging in age from fourth to seventh grade, whereas I was tasked with instructing 26 students ranging in age from kindergarten through third grade. Fortunately, we had a small number of support staff and parent volunteers who assisted with office duties as well as library and recess supervision. Our principal and learning assistance teachers were based at another school, which happened to be 75 miles away from where we were enrolled. They would come once a week if the weather permitted them to do so. Weather conditions were rarely favorable. After several months of trial and error, I eventually discovered a method of teaching students with a diverse range of abilities in the same setting. Every lesson began and ended with the same premise. I would present a concept to the entire class, but alter the learning activities and outcomes based on the ability levels of the students in attendance. When teaching a science lesson on the lifecycle of plants, large group activities such as storytelling, demonstrations, and/or presentations would be used to engage students. Students would complete follow-up activities that were appropriate for the grade level at which they were working. Students in third and second grade who were performing well might draw and label a representation of the plant’s lifecycle, whereas students in kindergarten to first grade would be drawing, tracing, and/or labeling a picture of a plant, depending on their grade level. One of the objectives was for the students to be exposed to varying degrees of the same lesson while also providing them with the same opportunities to socialize, learn, and grow with one another in a single classroom. Experts and researchers recommend that educators create classrooms that include students of all ability levels, respond to individual learning needs, and provide equal educational opportunities for all students. In our naturally diverse communities, research shows that these inclusive classrooms prepare our students to thrive socially and emotionally in their new environments. The intellectual benefits that inclusion brings with them, on the other hand, have a slew of positive consequences that have been researched for decades. Because of the Individuals with Disabilities Education Act, classrooms in the United States are gradually becoming more inclusive of students with disabilities. Teachers are becoming more adept at working with students who have learning disabilities, developmental disabilities, as well as speech and/or language difficulties, as the years go on. The unfortunate reality is that there are still some students who are rarely included in the class and who spend the majority of their day separated and educated from their classmates. The majority of these students have intellectual disabilities and perform at a significantly lower level than their peers. Students with intellectual disabilities are only 16 percent of the general education population, according to data from 2015. It appears that general education teachers find it difficult to include and teach students who are not working at the same grade level as their peers, based on these findings. As a result, separate special education classrooms are established to carry out the responsibility of educating the students. This continued reliance on separate education contributes to the perpetuation of inequalities in educational opportunities and experiences. Teachers can adapt class lessons to meet the needs of individual students to facilitate inclusion and improve educational equality for students who perform below grade level. The extent to which a lesson is modified is determined by the objectives of the student’s Individualized Education Plan (IEP). The strategies employed by the teacher have an impact on how the lesson is modified. It is possible to make these modifications directly on the class activity or through an alternative format (i.e. assistive technology). Teachers can use the following five simple strategies to successfully modify class activities for students who perform below grade-level expectations. 1. Break the assignment down into manageable chunks – even the most complex topics can be broken down into understandable concepts. Allow the student to concentrate on a major concept related to the lesson. Reading passages can be shortened, math problems can be scaled down in difficulty, and visual representations can take the place of written work in some situations. Teachers can provide word banks of answers, cloze passages, yes/no, or true/false responses, or pre-written vocabulary to guide students’ practice with new material. 2. Break down the answers – 3. Get the lesson off the page – Using this strategy, teachers can have students create a corresponding illustration, a model, or give a presentation instead of a traditional lecture. For example, if the class is studying the Pioneers, a student can trace a picture of a wagon to demonstrate their learning (and write about it, label it or talk about it). Providing graphic organizers, outlines, and/or a series of steps to solving problems can help teachers guide student engagement and response to a given situation. 5. Have the student complete an alternate task on the same page if the class assignment cannot be made simpler for the student. In the case of a student learning to identify numbers, the teacher can have the student search for specific numbers on a class assignment that would otherwise have students solving algebraic equations as part of the learning process. Nicole Eredics is an elementary school teacher with more than 15 years of experience working in inclusive environments. She is also a parent, an advocate, and a writer in the field of education. Her blog, The Inclusive Class, is where she regularly writes about inclusive education for teachers and parents, which she started in 2011. She can also be found on social media sites such as Twitter (@Inclusive Class), Facebook (The Inclusive Class), and Pinterest (The Inclusive Class).

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Our elementary program provides a rich and extensive academic curriculum which includes unlimited opportunities for students to develop socially and emotionally. It is organized into two 3-year mixed-age classes: the ‘lower elementary’ (for students aged 6 – 9) and ‘upper elementary’ (for the 9 – 12’s). Elementary children want to explore the universe through the use of reason and imagination. They stretch to imagine the nearly unimaginably big, the extremely ancient. Their curiosity is directed not just at the basic facts, but at the “why” and “how.” A Montessori guide inspires children to use the rich environment, which has been specially prepared to encourage self-directed learning. To accommodate the nature of the child at this age, the curriculum is both open-ended and highly integrated, allowing deeper exploration than in a ‘unit’ approach. Children experience that skills, knowledge and learning disciplines do not exist in a vacuum, but that they draw upon each other. Think of it as customized education. The individualized nature of the program allows each child the flexibility to pursue individual interests and to progress at his or her own rate. Children work with concepts they have learned by developing projects. In this way, children grow in their ability to set goals and evaluate their own work. They begin to understand their own strengths and challenges in learning and become confident in their abilities so that they freely express curiosity, ask questions, and problem-solve. Since the teacher knows each child very well and keeps detailed records of their work, testing is unnecessary. Test-taking is taught in the upper elementary as a life-skill. The elementary years are critically important, not only for the acquisition of knowledge and skills that will stay with these children for a lifetime, but also for the development of their attitudes toward learning, toward themselves and toward others. Maria Montessori described the “mathematical mind” as a universal human attribute. During the elementary years, a sequence of lessons brings the child naturally and gradually to the point of understanding abstract mathematical operations. The structure of the decimal system, the operations of addition, subtraction, multiplication and division, and other key concepts follow this same pattern. Once they have a firm understanding of the concepts, children move toward memorization, keeping track of their own progress and work both in teams and individually to practice them. By using the Montessori math materials, most children experience many concepts including fractions, squared and cubed numbers, multiples and factors, taught much later in traditional school settings. The history of life, both before and after the arrival of humankind, is inextricably linked to other subjects such as geology, geography and biology. The study of history reveals many fascinating connections and interdependencies, not only among various peoples, but between people and the changing physical environment. Lessons begin with theories on the origin of the Universe, in which principles of physical science are revealed, and then proceed to examine the forces that have acted over the ages to shape the world we inhabit. Children explore volcanism, the work of water, wind and air, and the basic physical properties of matter. Demonstrations, field activities and experiments are employed to help the children learn to perform on their own. The relationships of earth, sun, seasons, zones of climate, etc. are also studied along with economic and political geography. There is emphasis on understanding plant and animal behavior and physiology. The basic needs of plants and animals (e.g. water, food, defense, reproduction) provide the framework for investigating the unique varieties from the point of view of adaptation, both to contemporary environments and throughout time. Children’s observation and discussion of differences build up the stores of experience with which they further their understanding of biological classification. The elementary child, exercising their powers of reasoning and curiosity, learns the fascinating history of language from the distant past to the present. The teachers share how language continually changes, that it reflects history and the interlocking subjects of the classroom. The children are conscious of language wherever they go. Reading, writing and spelling skills blossom through work with materials and activities in all subjects. Writing develops in connection with explorations, research and experiments, as children want to share what they have discovered. Creative writing allows all children to acquire a valuable tool for self-expression very early in life. Reading becomes the most important means to satisfy their interests. Discoveries in grammar, word study, and etymology quite naturally give rise to topical spelling lists; thus the children’s spelling drill and dictation is assisted by their knowledge of the words’ origins, meanings and functions. Techniques and media for artistic expression are taught. Children use colored pencils, clay, paints, collage and other media to illustrate the work they do in all subjects. Since art is not limited to art class periods and projects, children’s creativity has a chance to truly grow and bloom as a part of everyday activity. Drama is a very noticeable part of a Montessori classroom. It is a special love of many children this age, and serves a number of purposes. Making an original play or skit about something they have recently learned is one way in which children truly make knowledge their own, as well as a means of self-expression and experience in performing for others. Children are physically active continuously throughout the day. Nonetheless, there is a need for the aerobic activity and skill development that physical education provides. Staff teach activities such as yoga, soccer skills and basketball skills at different times during the year. Always our emphasis is on skill-building, to develop consciousness and control of movement, to enhance personal confidence, and to teach the techniques and values of teamwork and cooperation.

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The World Health Organization (WHO) estimates that more than 1 billion people around the world live with some kind of disability. According to the WHO, the number of people living with a disability is rising, due in part to an aging population and an increase in chronic health conditions. Media organizations have sought to increase their representation of people with disabilities in recent years. A 2021 Nielsen report shows that over the last decade, the volume of content inclusive of disability has increased by over 175%. The same survey found that 8% of people living with disabilities find media portrayals inaccurate. Seven percent said they lacked representation in content. By increasing both media representation and accessibility to disabled people, news organizations can expand their audiences and provide a more accurate representation of the world’s diverse population. Below are some tips to help reporters improve their coverage on this community of people: Remember that people with disabilities are not a monolith According to a 2011 WHO report, 253 million people worldwide are affected by some form of blindness and visual impairment, 466 million people have disabling deafness and hearing loss, and 200 million people live with an intellectual disability. Further, 75 million people need a wheelchair on a daily basis. While these figures represent the more common disabilities, there are many more that affect people globally. “Ask us individually for the accommodation we need,” activist Chella Man stated in an Instagram post on National Disability Independence Day. It's important to speak to members of this community about their needs when trying to make media more accessible and inclusive. Diversifying the scope of media subjects to include people across the spectrum of disabilities can help eliminate existing stereotypes. Consider multimedia storytelling to increase accessibility Thanks to the introduction of the internet and expansions in technology, journalism has evolved tremendously in the 21st century. Reporting in the digital age offers more spaces for multimedia storytelling than are accessible through print media alone. In order to increase accessibility for audiences with disabilities, media workers should remember that this is a diverse group of people and consider a multi-pronged strategy to reach as many people as possible. One example is adding an audio version to a text-based article, which enables people with blindness or visual impairments to engage with your content. For visual journalists, adding subtitles makes the production more available to people who are deaf or have hearing impairments. Journalists that aim for diverse and accessible content should consult with their audiences and take creative approaches to storytelling that best fit their readers’ needs. Unlearn harmful stereotypes and avoid tokenization The Ford Foundation’s Road Map for Inclusion highlights some of the dominant media stereotypes of people with disabilities that lead to further social stigmatization. According to a Respectability.org report, too, 23% of characters with disabilities in popular family films fit the “Super Crip” stereotype. These characters “triumph” over their disability. Nine percent of characters with disabilities are portrayed using the “Bitter Crip” stereotype — when a character becomes a villain due to being overcome by their “suffering.” Other negative media portrayals include the victim. “Disabled characters are often portrayed as one-dimensional victims of their disability,” the Ford Foundation report explains. “Their disability becomes their defining feature and their lives revolve around it, rendering them failures and objects of pity.” Media workers should study historical media stereotypes of disabled people to help assess whether their reporting contributes to misrepresentation and tokenism. By creating a more accessible and inclusive media for disabled people, media workers have the potential to shift stereotypes for future generations. By educating ourselves, applying creativity and asking disabled people for the accommodations and portrayals they need most, the content we produce will better reflect the audience we cater to.

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We sometimes use affiliate links in our content. This won’t cost you anything, but it helps us to keep the site running. Thanks for your support. Mr. Gumpy’s Outing is such a fun story! Are you looking for ideas, lessons, and printables to go along with it? Grab our free Mr. Gumpy’s Outing activities and printables and delight your students with a fun adventure. Thanks to Helen Royston for writing the lessons for this Mr. Gumpy’s Outing unit study. Mr. Gumpy’s Outing Book Summary One fine morning Mr. Gumpy decides it’s a perfect day for an outing in his little boat. Apparently, plenty of others think so, too. First some children ask to join him, then a rabbit, a cat, a dog, a pig, a sheep. Soon, Mr. Gumpy’s boat is precariously full, and there’s nowhere for anyone else to go–but overboard! This mild mariner takes everything in stride, though, and his guests are soon bellying up to a nice tea. Mr. Gumpy’s Outing Activities & Lessons This unit study includes lessons and printables based on the book Mr. Gumpy’s Outing by John Burningham. Here are some sample lessons from the Mr. Gumpy’s Outing Unit Study. Remember, you can pick and choose the lessons that apply to your student. You do not need to use all of them. Art Activities & Lessons John Burningham uses different media in his illustrations. Have your child create a picture using a combination of paint, pens, pencils and crayons. Drawing water can be difficult. Have your child look carefully at the picture where the animals fall into the river. Can your student draw a splash? Science Activities & Lessons Floating and Sinking Make a paper punt. Put some small toy animals in it. Get your child to predict how many can it hold before it sinks. Where they right? Scientists split animals into different groups or classes. One group is called mammals. Almost all the animals in this story are mammals. What is a mammal? Mammals are warm blooded. No matter what the temperature is outside (warm, hot, or freezing), mammals’ bodies are built to maintain the same temperature. All mammals have some fur or hair. Sometimes the hair covers the animals entire body (think of some examples). Other times the animal only has a little hair or hair that is very thin and very hard to see (like the hair on a whale). Mammals live inside their mothers before they are born and drink their mothers’ milk after they are born. Mammals breathe air. Some animals, like fish, don’t need air to live, but mammals do. There are mammals that live under the water, but they must come up for air. After you’ve discussed mammals with your student, think of other mammals that are not in the story. Geography Activities & Lessons Learn More About England Find England on a map or globe. Point out London, the capital city. What does your student know about England? Does he know any of the famous places he’d find there? Spend some time researching various places in England including any of these: Big Ben, Tower Bridge, Stonehenge, Shambles (in York), Buckingham Palace, Statue of Peter Pan in Kensington Gardens, Blackpool Tower, Brighton Pier, Norfolk Broads, the Great Oak in Sherwood Forest, etc. Explore the River Thames Mr. Gumpy is in a boat called a punt. People go punting on the Thames. Find the Thames on a map. The Thames is the longest river wholly in England being 215 miles (346 km) in length. (The River Severn is longer at 220miles (354km) but it passes through Wales as well.) The Thames passes through Oxford which is famous for punting. It also passes through London, the capital city. Learning About Rivers Discuss rivers with your student. Discuss various river terms such as tributaries, source, meander and mouth. Tributary- a stream flowing into a larger stream or a lake Source- the beginning of a stream of water Meander- a turn or winding steam of water Mouth- the place where a stream enters a larger body of water (like an ocean) Talk about the different stages of a river: a young river, mature river and an old river. Use clay or Play-doh to make a hill with a blue river containing the various features you’ve discussed. Look at your local river. Would Mr. Gumpy be able to punt on it? What features does a river need to have so a person can punt there? It needs to be shallow with a gentle current. Language Arts Activities & Lessons There is lots of humor in the story in the responses Mr. Gumpy gives each of the animals, e.g. “Don’t flap” meaning don’t fuss to the chickens “Don’t muck about” to the pigs refers to the idiom “happy as a pig in muck”. Discuss these with your student. Can he think of additional humorous ways to tell animals to behave? Looking at Question Marks The animals all ask to join Mr. Gumpy with a different question. Have your child point out the question marks on some of the pages. Write some questions out for them to punctuate with question marks. Mr. Gumpy’s Outing Storytelling Activity The printables include a set of animals. You can use the animals for story sequencing and story retelling. If desired, use them to make popsicle puppets. Nouns and Verbs Discuss nouns and verbs with your student. A noun is a person, animal, place, thing, or idea. All the characters in the story are nouns. Ask your student to recall all the characters. A verb is a word that shows action or state of being. Nouns and verbs go together in order to make sentences. Each noun in the story has a particular action that it does. Can your student remember any of the actions? Use the cards provided for a matching exercise, matching the nouns and verbs together (i.e. children squabbled, boat tipped, etc.). You can also use these cards for a drama game or a game of charades. You can grab a copy of the entire Mr. Gumpy’s Outing unit study lessons, activities, and lapbook printables in an easy-to-print file at the end of this post. Mr. Gumpy’s Outing Lapbook Printables In addition to the unit study lessons, the file also includes a Mr. Gumpy’s Outing Lapbook with these mini-books: - Sites to See in England Mini-book - Map of England Shutterfold - River Thames Matchbook - Kinds of Boats Hotdog Book (see assembly directions here) - River Terms Flap Book - A Pocketful of Questions Cards & Pocket - Matching Nouns and Verbs - What Is a Dozen? Simple Fold - How Many Legs? Flap Book - Mammals Fan Book - Mammals Flap Book - Animals for Popsicle Stick Puppets (retell the story, sequence the story, etc.) How to Get Started with Your Mr. Gumpy’s Outing Activities & Lapbook Follow these simple instructions to get started with the Mr. Gumpy’s Outing unit study: - Buy a copy of the book, Mr. Gumpy’s Outing, or borrow one from your local library. Your student may also enjoy Mr. Gumpy’s Motorcar. - Print the Mr. Gumpy’s Outing unit study. - Choose the lessons you want to use with your student (a highlighter works great for this). - Choose and prepare the lapbook printables you want to use with your student. - Enjoy a week of learning along with Mr. Gumpy! Mr. Gumpy’s Outing Lapbook Example This lapbook example was made with one file folder and a piece of cardstock taped to the center section to form an extension flap. If you are new to lapbooking, start here. Get Your Free Mr. Gumpy’s Outing Unit Study & Lapbook Simply click on the image below to access your free Mr. Gumpy’s Outing lessons, activities, and printables.

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Wow. What a curriculum! Primary Arts of Language: Reading by Jill Pike of Excellence in Writing has put together a fantastic set of materials for teaching reading to your little one. Using the “blended sound-sight” method of phonics skills and sight words-based education with a playful, game-like approach, children are intended to have fun and progress rapidly at the same time. There are four stages to the program: - Foundations – Phonics rules and sight words are introduced through games and manipulatives. This stage is very parent-led with mom or dad teaching how to play the games, use the manipulatives and use time wisely. Later in the program, your child will become a more independent learner through the intensive training you offer during this stage. - Activity Time – This stage continues in adding new phonics rules and sight words to your child’s “arsenal”, but also expects independent and partner time to practice the games and manipulatives previously learned. - Discovery – This stage comes after your child has a good grasp of phonetic decoding skills. Your child is given small stacks of word cards daily and asked to independently work on decoding (reading) the words. Once decoded, he comes to you to read them aloud. - The Library – In this final stage, you simply provide appropriate books from a list of easy, medium and hard books for your child to read. He is expected to read the book aloud with you and again on his own at first, until progressing to simply reading on his own or aloud to siblings. As all of the stages are progressing, there is a general theme of daily activities followed: poetry, journal, phonics and printing/composition. A poem becomes the “centerpiece” of each lesson with the same poem being used for several days. During this time your child will develop rich language, comprehension strategies, memorization skills and begin to internalize writing techniques. Phonics skills are taught and practiced in a variety of ways: - The Phonetic Farm is a full-color folder picturing a farm in which your child adds sticker characters to help remember and organize all the phonics rules he’ll learn throughout the program. (It’s super-cute and lots of fun adding the stickers to the folder!) - Phonics Games of all sorts are provided for lessons and independent practice of phonics rules. You’ll find the games printed in the back of the teacher’s manual for your to cut, color and paste. So that putting together all the games isn’t overwhelming, you’re encouraged to create the games with your child as each is introduced. - The Sight Word Card Game is created by you on index cards and used in various ways suggested through the lessons to increase your child’s sight word recognition. The author has also written The Primary Arts of Language: Writing (which I have also reviewed for you) that should be used concurrently with this curriculum if your child is old enough to learn to print – around five. She suggests that you use the two programs concurrently even if your child is a little younger, limiting the handwriting expected if necessary. The journal and printing/composition portions of daily lessons come from the writing curriculum. You are provided with a Teacher’s Manual that includes very clear and concise daily lessons plans for 80 lessons. It also includes appendixes of a scope and sequence chart, phonogram chart, poems used in the lessons, alphabetical list of words used in readers, homophones list, chart of words in each discovery card pack, and a list of readers to check out or purchase. The discovery cards are also printed on green card stock in the back of the book for you to cut apart. A book of Phonetic Games provides you with “game boards” printed on regular paper that you cut, color and paste into folders. Game pieces for each game are printed on card stock. Again, you must cut and color the pieces, then decide how you will affix the pieces to the game board for use over and over again. (A baggie or envelope attached to the back of the folders works well.) You make the games as they are introduced in the lessons, so the construction isn’t overwhelming, and in the end you have an arsenal of phonetic games that your child will be expected to practice throughout the program. The curriculum set also comes with a DVD-ROM including the author walking you through the program step-by-step as well as many extras like MP3 seminars. But, the best part is two full PDF books of 200+ student worksheets to supplement the daily lessons, as well as four printable early readers. I tell ya, even with the extra bit of effort it takes to put together the games and print off the student pages from the DVD-ROM, this curriculum is worth it! My little guy is in K4 (will be five in a few months) and is responding well so far. We’re taking it slower than her suggested schedule but he’s doing great and loving the games! -Cindy West is an eclectically Charlotte Mason mom of three children in high school, middle school and K4. You can find her blogging and writing NaturExplorers and other curriculum at Our Journey Westward. (Cindy was given a free copy of this curriculum for review upon her request. There are affiliate links included. As always, she shares only her honest opinion.)

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Here is my fifth post for #MyFriendAlexa. In the previous post I talked about 7 Main Domains of Early Childhood Education, to add on to that today I will be sharing with you another domain which might not be included in there but is considered as the most crucial and most vital development when it comes to children’s holistic growth. Creative Development which also include Aesthetic development. Creative development refers to the development of child’s abilities in terms of creative skills and aptitudes using development appropriate practices; it involves children setting off their own learning, making choices and decisions by themselves. Aesthetic development in children is the artistic processes that a child experiences or goes through as he/she grows. Artistic processes that a child goes through are drawing or painting, creating structures, pretend play and using props during games. Aesthetic development is considered as an important factor in human development. 8 WAYS TO DEVELOP CHILD’S CREATIVITY A child’s creativity starts with their method of thinking and problem solving. Daily challenges to expand their reasoning and understanding of the world, along with an encouraging environment allows for a child to become more confident of their views and opinions. There are several ways to develop child’s creativity, most of which can be incorporated into daily life. - Allow your child to make simple choices, such as what to eat for dinner or where to go on a weekend. This encourages them to think independently, exercising an important aspect of creativity. - Encourage independence from caregivers and media. A child that is constantly entertained by others or the television will struggle to find things to do on their own without access to media. - Provide items in your child’s environment to stimulate their imagination. Drawing supplies, blocks, books, and random craft supplies can all contribute to elaborate dramatic play schemes. - Brainstorm different uses for items with your child. For example, a cardboard tube can be a telescope, tower, or person. Validate all your child’s ideas, praising him or her for such an impressive imagination. - Ask your child open ended questions to stretch their understanding and help them to postulate ideas. Ask your child “what if” questions. “What if people could fly?” “What if people lived in space?” “What if dolphins walked in land?” Involve your child in figuring out ways to make an improvement upon something. “How can we clean up the living room faster?” “How could we water the flowers without spilling any?” “What could we do to make the ball bounce higher?” Reading a book is an excellent activity for your child to exercise their creativity. Ask your child what could happen next, or how a character feels and why? - Play with your child. Work together to establish dramatic play scenarios, using substitute items for props when needed. Pretend play allows children to imagine life from a different perspective, an important building block of creativity. - Be prepared for “messy play”. While it may seem that your child is playing in the mud simply to make more work for you, in fact there is a great deal that is learned by playing with such things. When they are finished playing, make it a rule that they must help clean up. If faced with the choice of getting messy then cleaning it up and not getting messy at all, almost all children will choose the former option. - Engage in storytelling. Start a story and take turns building upon it. Follow your child’s lead in what the mood of the story should be. Expect most stories to be more on the silly, impossible side. Since this is just a story, no idea is too farfetched. One of the most important types of creative activity for young children is creative play. Creative play is expressed when children use familiar materials in a new or unusual way, and when children engage in role-playing and imaginative play. Nothing reinforces the creative spirit and nourishes a child’s soul more than providing large blocks of time to engage in spontaneous, self-directed play throughout the day. Play is the serious business of young children and the opportunity to play freely is vital for their healthy development. Even as early as infancy, play fosters physical development by promoting the development of sensory exploration and motor skills. Through play and the repetition of basic physical skills, children perfect their abilities and become competent at increasingly difficult physical tasks. Play fosters mental development and new ways of thinking and problem solving. Through block play, children are confronted with many mental challenges having to do with measurement, equality, balance, shape, spatial relationships and physical properties. One of the strongest benefits of play is the way it enhances social development. Playful social interactions begin from the moment of birth. Dramatic play helps children experiment with and understand social roles. It can also give them countless opportunities for acquiring social skills as they play with others. Through dramatic play, children gradually learn to take each other’s need into account, and appreciate different values and perspective. Through play, children can express and cope with their feelings. Play also helps relieve stress and pressure for children. They can just be themselves. There is no need to line up to adult standards during play. Play offers children an opportunity to achieve mastery of their environment. They control the experience through their imaginations, and they exercise their powers of choice and decision making as the play progresses. Play helps develop each child’s unique perspective and individual style of creative expression. Play expresses the child’s personal, unique responses to the environment. It is a self-expressive activity that draws on the child’s powers of imagination. Play is open-ended, free-form and children have the freedom to try out new ideas as well as build on and experiment with the old. Play provides an excellent opportunity for integrating and including children with disabilities in your program. The opportunities play provides for control and independence are important issues for any child but are especially important for these youngsters. Therefore, as a caregiver, we must be careful to avoid dominating the play ourselves. Play should be the result of the children’s ideas and not directed by the adult. Pay attention to play, plan for it, encourage it! You can read my previous posts here I am taking my blog to another level with Blogchatter’s #MyFriendAlexa. Pics courtesy : Pexel / Canva

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Themes of Perseverance and Identity in The Secret Life of Bees “The nation saw itself in the midst of a new war in Vietnam, and culture wars were being fought at home, with the civil rights movement escalating and new youth subcultures emerging that rejected the values of the past…Over the course of the decade, public attitudes shifted away from war and global conflict and instead turned to social issues at home, such as feminism and race relations” (Gallow, Lauren. ‘The Sixties, 1960–1969.’). The Secret Life of Bees by Sue Monk Kidd, the novel takes place in South Carolina 1964, during the 1960s era. The main character, Lily Owens, a fourteen-year old white girl, whose life has been shaped around the blurred memory of the afternoon her mother was killed. When Lily’s fierce hearted “stand in mother” Rosaleen, insults three racists in town, they escape to Tiburon, South Carolina. A town that hold the secret to her mother’s past. Taken in by an eccentric trio of black beekeeping sisters, Lily finds refuge in their mesmerizing world of bees, honey, and the Black Madonna. In The Secret Life of Bees the prevalent themes of perseverance and identity can be connected historically to the lessons learned throughout life. The society, culture, and politics of the 1960s paved the way for injustice and inequality in America. Important events during this time period affected the United States. The Civil Rights Act of 1964, signed by Lyndon B. Johnson, which ended racial discrimination across the country. The Voting Rights Act of 1965 was signed into law by President Johnson, ended literacy tests and poll taxes that were required for citizens to vote, due to how unconstitutional it was. The March on Washington in 1963, which was a march for freedom and jobs, was led by Martin Luther King Jr where he gave the famous “I Have A Dream” speech. Some famous people during the 1960s were: Neil Armstrong, first astronaut on the moon, Martin Luther King Jr., leader of the Civil Rights Movement, The Beatles, an English rock band, John F. Kennedy, 35th President of the United States, The Rolling Stones, a rock and roll band, Elvis Presley, the “King of Rock and Roll”, and the Beach Boys, an American rock band. For the living conditions, black sharecroppers, tenant farmers, and agricultural laborers lived in urban ghettos. Areas were segregated before the Civil Rights Act of 1964 was put into law. The living conditions for other races, such as, Latinos, Asians, and African Americans had to live in designated, inner-city districts, while the whites lived in suburban areas or the cities. Other races faced discrimination. Whites were granted better things than the other races and treated them like they were below them, which was called white superiority. Other races couldn’t go to “only white” locations. Everyone was living a segregated lifestyle. Some political and social aspects during this time were: Martin Luther King Jr.’s assassination, John F. Kennedy’s assassination, Robert F. Kennedy’s assassination, Nixon becoming president, Apollo 8 orbiting the moon, anti-war protesting, and The Tet Offensive. The changing of America affected the citizens’ view towards the “Sixties”. Sue Monk Kidd’s life plays a key role in the development of the themes in The Secret Life of Bees. She was born on August 12, 1948 in Sylvester, Georgia. In 1970, she received a nursing degree when she graduated from Texas Christian University. After that, she took creative writing courses at Emory University and Anderson College. She also studied at Sewanee, Bread Loaf, and other writer conferences. She wrote her first book called, When the Heart Waits, which was published in 1990. She has a husband named Sandford Taylor, a son named Bob Kidd, and a daughter named Ann Kidd Taylor. When she was in her forties, she was focused on writing fiction, winning the South Carolina Fellowship in Literature and the 1996 Poets & Writers Exchange Program in Fiction. She also received a Katherine Anne Porter award and citations in Best American Short Stories’ 100 Distinguished Stories. The Secret Life of Bees spent more than two and a half years on the New York Times bestseller list. The novel was named the Book Sense Paperback Book of the Year in 2004 and won the Orange Prize in England in 2002, along with numerous awards. The Mermaid Chair reached #1 on the New York Times bestseller list for 9 months. The novel won the Quill Award for General Fiction in 2005. It also won an International IMPAC Dublin Literacy Award. Sue and her daughter, Ann, wrote a memoir called Traveling with Pomegranates: A Mother-Daughter Story, which appeared on various bestseller lists, including the New York Times list. The Invention of Wings debuted at #1 on the New York Times bestseller list for 9 months. It also won many other literacy awards, such as, the Florida Book of Year Award and the SIBA Book Award. The novel was nominated for the International Dublin Literacy Award and it was also chosen for Oprah’s Book Club 2.0. Kidd’s successful career led to enjoyment in her life by doing what she loves to do. The themes of perseverance and identity from The Secret Life of Bees can be seen in the 1960s. For instance, perseverance can be seen when President Johnson makes a speech on the “State of the Union Message. “America will persevere. Our patience and our perseverance will match our power. Aggression will never prevail” (Johnson, B. Lyndon: State of the Union Message 1968). Also, an example from the novel is when Rosaleen goes to register to vote again, even when she was imprisoned the first time when she insulted the racists men. “‘I’m gonna finish what I started,’ Rosaleen said, lifting her chin. ‘I’m gonna register to vote’” (Kidd 281). Additionally, identity can be seen when black nationalism started to spread throughout the 1960s. “Black nationalism is the movement for self-identity among African Americans started by Marcus Garvey in the 1920s. Black nationalism surged in the 1960s through the philosophy of Malcolm X” (“Black Nationalism”). Furthermore, another example in the novel is when Lily struggled with her self-identity because of how she’s not like any of the girls at her school. “I worried so much about how I looked and whether I was doing things right, I felt half the time I was impersonating a girl instead of really being one” (Kidd 9). In conclusion to the themes, perseverance and identity, they relate to the fact that the United States was undergoing changes because of how people were fighting for justice and the increase of self-pride for one’s identity. Perseverance and identity in The Secret Life of Bees are related to the learned lessons historically. “The best and most beautiful things in the world cannot be seen or even touched – they must be felt with the heart” Helen Keller. Helen Keller did not let […] Recurring Ideas in Of Mice and Men, Travels With Charley, and The Pearl The Desire to Escape One recurring theme that is displayed in Of Mice and Men, Travels With […] Booker T. Washington’s speech is similar to W.E.B. DuBois’s essay. However, at the same time it is vastly different. Washington and DuBois both talk about the progression of Negro men, […] James Hurst establishes “The Scarlet Ibis” by using multiple literary devices such as symbolism. Symbolism is the use of symbols to represent ideas or qualities. The main symbol utilized in […] In The Scarlet Ibis, symbolism is used as a main story telling element. It expresses the character, Brother’s, feelings toward all that happens, and shows his connections to events taking […] William Armstrong was a young boy filled with light, energy, and passion. He was burdened with a terrible condition making him sensitive towards the outside world. He had a loving […] The Invisible Man by Ralph Ellison is a novel scripted in 1940 when America was experiencing political and social turbulence. This novel gives the readers a definitive and in-depth exposure […] Women play a vital role in the shaping the development of Ralph Ellison’s narrator in Invisible Man. Just like the narrator, society depersonalizes women and treats them as if less […] Introduction In the literary world, various authors have used the written word has played a vital role in describing key issues, informing, ridiculing society and educating. For the paper, the […] “The nation saw itself in the midst of a new war in Vietnam, and culture wars were being fought at home, with the civil rights movement escalating and new youth […]

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05 September, 2017 For VOA Learning English, this is the Education Report. If you are standing in front of an iceberg, it might look like the largest thing you've ever seen. But, you're still only seeing the small part above the water. About 90 percent of the iceberg is below the water. The same idea relates to culture, explains Amy Melendez. Melendez teaches English and trains English educators in the Washington, DC area. She works at a number of schools, including Northern Virginia Community College and Georgetown University. She says many students – and teachers – mistakenly think culture is just the things that are easy to see, like food, music, clothing and holidays. But, she says most culture is represented in what cannot be seen: people's expectations, beliefs and values. So, she brings lessons about this into the classroom. She teaches learners how to understand and value cultural differences and communicate more effectively with people from other cultures. Like Melendez, Michelle Stabler-Havener is an English educator who has taught intercultural communication. Currently, she is a doctoral candidate at Teachers College at Columbia University in New York City. Both Melendez and Stabler-Havener explain that the subject of cultural understanding is a natural fit in language teaching. They note that language and culture are inseparable: words and expressions have cultural origins. They also say cultural tolerance helps learners feel safe in the classroom. Stabler-Havener explains: "In other words, they don't have to worry that people are going to criticize who they are or the things that they value most and believe in...this gives students the freedom to focus their energy on learning the language without having to be so concerned that these things that are so important to them are going to be questioned." Out of the comfort zone Ironically, providing this sense of safety often involves exploring subjects that pull learners out of their comfort zones. One tool both Melendez and Stabler-Havener find especially useful in the classroom is critical incidents. A critical incident is a short description of a situation in which a misunderstanding or conflict took place between people. The problem may be caused by cultural differences or some kind of communication failure. It is the students' job to discover what happened and why. And, they are asked to come up with as many reasons as possible – other than reasons based on stereotypes. Melendez gives an example of a critical incident she has used from a book called Tips for Teaching Culture*. "You have two students who are working on a project. And, the student is supposed to be sharing the book with the other student. And, it's time for one of the students to leave for class. And, the older student who had checked out the book grabs the book, gets up and leaves because it's time for him to go to his next class. The other student – he's left a little bewildered (thinking) 'Why is leaving? Why is he taking the book?' You know, 'We were sharing this book.' In another part of the incident, too, with that one, the younger student had come late." Another favorite tool of Melendez is digital storytelling. Digital stories are short movies that combine photos, video, animation, sound, music and words. Melendez says digital stories encourage healthy conversations around cultural myths. For example, last summer, she trained a group of Panamanian teachers. Through one teacher's digital story, she learned that the person believed Americans were cold, emotionless people. This led to a productive class discussion about cultural differences in how people greet one another and their ideas about personal space. "I think a lot of intolerance comes from the unknown. So, trying to make the unknown known, I think, is really important, even in a language classroom." As many teachers know, classrooms can be unpredictable. At any given time, a student may say something to accidentally hurt or embarrass another student from a different culture. To lessen this problem, Melendez has her students vote on rules for shared respect. And, they are asked to follow these rules throughout the course. Stabler-Havener says students can also practice respect by the way they use the language. For example, they can express possibility by saying, "Maybe this is what is happening" instead of saying, "This is true for every person in this culture." And, they can show respect for others' opinions with language like, "I see your point but..." rather than "As we well know..." To teach or not to teach Before exploring sensitive cultural subjects with a class, Melendez and Stabler-Havener say teachers can spend time examining their own cultural biases. Melendez says uneasy situations or subjects will probably arise in class whether or not English language teachers decide to explore the iceberg of culture. And, if a teacher chooses avoidance, they may be left unprepared. She says a website called Tolerance.org offers some useful resources for teachers, including web-based trainings. Stabler-Havener says, in addition, teachers can go hear experts speak about intercultural communication. She adds that it is a good idea for teachers to decide before teaching a class whether they will share their own opinions with students about sensitive topics. "Are the students who disagree with you going to feel somehow maybe disempowered or concerned that, because they don't share your opinion on a topic that might affect them in the class?" And that's the Education Report. I'm Alice Bryant. Alice Bryant wrote this story for Learning English. Caty Weaver was the editor. *Tips for Teaching Culture by Wintergerst and McVeigh Words in This Story iceberg – n. a very large piece of ice floating in the ocean lesson – n. an activity that you do in order to learn something intercultural communication – n. communication between individuals or groups of different linguistic or cultural origins tolerance – n. the act of being willing to allow or accept something comfort zone – n. a place, situation, or level where someone feels secure and comfortable stereotype – n. an often unfair and untrue belief that many people have about all people or things with a particular characteristic grab – v. to quickly take and hold someone or something with your hand or arms bewildered – adj. very confused myth – n. an idea or story that is believed by many people but that is not true greet – v. to meet someone who has just arrived with usually friendly and polite words and actions bias – n. a tendency to believe that some people, ideas, etc., are better than others that usually results in treating some people unfairly

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Native American Heritage Day November 24, 2021 Celebrated on the day after Thanksgiving, Native American Heritage Day gives us the opportunity to pause, appreciate, and honor the rich culture and legacy of Native Americans in the United States. In North Carolina, honoring Native American heritage is a month-long celebration that takes place throughout November. The original North Carolinians, American Indians have resided in present day N.C. for over 12,000 years. According to the 2020 U.S. Census, there are more than 130,000 American Indians living in N.C. Our state is home to the second largest American Indian population east of the Mississippi River, and the seventh largest in the nation. There are currently eight recognized tribes in North Carolina. When the English arrived on modern day Roanoke Island, N.C., they were greeted by the Algonquin communities that lived in the region. A majority of what we know about Algonquin culture today comes from the observations and reports from English explorers, Philip Amadas, Arthur Barlowe, Thomas Harriot, and John White, due to the Algonquins rich oral tradition. Algonquin Indian Traditions & Culture Storytelling Storytelling has always been a pillar of Native American culture. Instead of using a written language, Native Americans share their history, cultural values, and beliefs through storytelling. These culturally significant stories were passed down from generation to generation. The Algonquin communities were a matrilineal society where the line of descent followed the women’s side of the family. It was most common for an uncle on the mother’s side of the family to tell these important stories to his sister’s children. Ceremonies & Rituals While surveying Roanoke Island the surrounding area, the English explorers referenced Algonquin Indian rituals that involved dancing and music. The dance circle at Roanoke Island Festival Park is based off the drawings of explorer and watercolor artist, John White. Dancing was an important part of religious rituals, celebrations, and victories. Dancing took place in towns near Algonquin homes around carved posts. Oftentimes these posts were placed in fields between towns where people would gather from surrounding areas. Governor Ralph Lane reported to Sir Francis Walsingham in a letter that he witnessed over 700 American Indians celebrating and dancing between present day Pasquotank and Chowan County. One of the religious ceremonies that included dancing was the Green Corn Ceremony. This ceremony took place in late summer, when their corn was ready to harvest. It was a time to give thanks for life and to set goals for the coming year. Ways to Celebrate Take some time during this season of thanks to honor American Indian culture through learning. To learn more about the rich history of the American Indians on Roanoke Island, visit American Indian Town at Roanoke Island Festival Park. The town layout is based off the watercolor images of artist, artographer, and explorer, John White, and features a garden area, a leader’s house, longhouse, dance circle, work stations, and a dugout canoe. These interactive exhibits highlight the day to day life and customs of the Algonquins on Roanoke Island in the 16th century. To learn more about American Indian heritage across the state, visit the 26th annual American Indian Heritage Celebration’s online resources.

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Kimmerer begins by affirming the importance of stories: “stories are among our most potent tools for restoring the land as well as our relationship to land.” Because we are both storytellers and “storymakers,” paying attention to old stories and myths can help us write the narrative of a better future. She then relates the Mayan creation story. In this chapter Kimmerer again looks toward a better future, but a large part of that is learning from the past, in this case mythology from the Mayan people of Central America. As stated before, an important aspect of culture is its creation myths. In the story, the first divine beings, or gods, create plants and animals to fill the emptiness. Afterward they want to create a creature who can speak, and so they try to make humans. They make the first humans out of mud, but they are ugly and shapeless and soon melt away in the rain. Next they make humans out of wood. These people are beautiful, strong, and clever, and they soon populate the earth with their children. These people have no gratitude or love within them, however, and they disrespect the rest of creation. The gods send disasters to strike them, and they also give the rest of creation their own voices to speak out against their mistreatment. They all join together to destroy the wood people. Next the gods make people out of pure sunlight, who are beautiful and powerful, but they too lack gratitude and think themselves equal to the gods, so the gods destroy them as well. This story comes from the Popol Vuh, a sacred Mayan text of mythology and history that was first written down in the 1500s but based in much older oral traditions. This creation myth echoes many myths throughout ancient cultures, as the gods try and fail to make the kind of people that they want. Also, as is the case in many creation myths, the people are formed out of already existing elements—and can be destroyed when the gods are displeased with them (similar to the Biblical story of Noah and the great flood). Finally, the gods make people out of ground corn meal. These people are compassionate and loving, and they can dance in gratitude for the rest of creation. They are “wise enough to be grateful.” Out of all the gods’ experiments, only the corn people respect the world that sustains them—“and so they were the people who were sustained upon the earth.” Note what the gods valued most in the people of corn: their ability to be grateful and to live in community with each other and the earth itself. These qualities also benefited them, as they were the only people to survive and endure. Kimmerer muses on this story, wondering why the people of corn were the ones who ultimately inherited the earth. Corn, she says, is the product of “light transformed by relationship” via photosynthesis, and also of a relationship with people, creating the people themselves and then sustaining them as their first staple crop. This story is usually read as a history, but Kimmerer reminds the reader that in many Indigenous cultures time is not linear but rather circular. This makes the story both history, ongoing process, and prophecy of the future. She relates the idea that the Popol Vuh, the sacred Mayan text that contains this creation story, was used as a seeing instrument, or ilbal, through which its culture viewed their relationship to the world. In “Witness to the Rain,” Kimmerer noted that everything exists only in relationship to something else, and here she describes corn as a living relationship between light, water, the land, and people. This passage also introduces the idea of ilbal, or a seeing instrument that is not a physical lens or device but a mythology. Kimmerer has described language as a sort of ilbal in the past, particularly in the differing ways that Potawatomi versus English languages portray the nature of what has animacy and value. Immigrant culture should appreciate this wisdom, but not appropriate it, Kimmerer says. Instead, settler society should write its own story of relationship to the world, creating its own ilbal using science and art. She then comments how the scientific process of photosynthesis could also be described like a poem, with plants combining light, air, and water to make sugar and oxygen, our food and breath. Our breath then gives back carbon dioxide, which the plants use as their own breath. We are symbiotic organisms, and this living symbiosis is its own story of reciprocity and gratitude. Every culture has its ilbal, both through its language and through its worldview and what it finds most important. Kimmerer warns settler society about appropriating from Indigenous peoples, but she also affirms again that society does need a new kind of ilbal that is healthier than what currently exists. This passage introduces another poetic metaphor of reciprocity as breath, here cycling through the process of plant photosynthesis and human respiration. “The very facts of the world are a poem,” Kimmerer declares. These fact/stories used to be carried by elders and now they are usually the domain of scientists. But the technical language of science excludes most people, which also keeps them cut off from any ideas of the “democracy of all species.” “Science can give us knowing, but caring comes from somewhere else,” Kimmerer writes. Kimmerer criticizes those who gatekeep science from the majority of people through the use of technical language, itself a further form of exclusion through the scientific assumption that humans are disconnected from and above other living things. Science probably is the ilbal of the Western world, Kimmerer admits, but the current scientific worldview seems more like that of the wood people: clarifying material facts but blurring spiritual wisdom and relationships. She contrasts scientific practice, which brings the questioner into close contact with the natural world and invites a sense of wonder and curiosity, with the scientific worldview, which uses technology to advance exploitative materialistic economies. The scientific worldview also privileges human intelligence and value over all others, lacking humility—just like the people of wood. Kimmerer has often pointed out the importance of direct experience with the land and other living things. The actual practice of science often means doing this, but the more general scientific worldview of Western society ignores everything that happens in these experiences, aside from the data being collected. Kimmerer again affirms the importance of the entire experience, which builds a relationship and a sense of humility. In the Indigenous worldview, however, humans are seen as the “younger brothers of Creation” who must learn from those who were here before us: the plants and animals, who have their own kinds of intelligence and knowledge. Kimmerer imagines a kind of science in which people saw plants as teachers rather than as objects to be experimented on. This idea has been mentioned several times before, but here Kimmerer directly challenges her fellow scientists to consider it as something other than a story: to actually allow it to inform their worldviews and work, and to rethink how limited human-only science really is. Kimmerer closes by describing the Indigenous idea that each part of creation has its own unique gift, like a bird with its song. She wonders what our gift might be, and thinks back on the people of mud, wood, and light. They all lacked gratitude, which is indeed our unique gift as human beings, but increasingly Kimmerer says that she has come to think of language as our gift and responsibility as well. She imagines writing and storytelling as “an act of reciprocity with the living land,” as we attempt to become like the people of corn and create new stories about our relationship to the world. Kimmerer often muses on how we can live in reciprocity with the land, and gratitude, as our uniquely human gift, is always an important part of this. Yet we also have another human gift, language, another of our ilbals that helps us to see the world—but that can also be a gift we offer back to the earth. This becomes personal to Robin’s own writing practice, as she not only considers the value of the tree producing the paper on which she writes, but also how the words themselves can be an offering of love to the earth.

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CAAP Enriched English Kindergarten-Grade 7 - Gain student’s interest in speaking and learning English - Develop speaking and listening skills to help children to adapt to the classroom - Master recognizing and writing the alphabet - Learn to speak key basic words in English - Able to put sentences together to communicate what they need to say Each class goes for 2 hours and is held once a week. Students will primarily be learning through activities such as games, songs, drawing and role plays to gain their interest in English and because these methods are suitable for their age group. In addition to this students will learn how to say and write the 26 letters of the alphabet. The students will also learn a number of words and do activities which encourage students to use English to communication what they want to do. By the end of the course students should be able to recognize and say a number of common words in English and be able to use basic English to communicate to the teacher and with each other. There will be two different levels for the class where the pace of learning will vary based on the student’s ability. Grade 1 Class - Develop students’ English academic writing skills - Helps students to have deeper conversation - Learn how to read and make dialogues in English - Master students pronunciation of all the sounds of the English language - Learn elementary writing skills - Master spelling 300 hundred of the most common words in English By Grade 1 students should already have some experience in a classroom. This course is aimed at developing better English academic skills in a classroom setting including phonics, reading, speaking, listening, writing and spelling. This course will use the Oxford workbook Let’s Go 1 and Let’s Go 2. Published by R.Nakata, K.Frazier and B.Hoskins. The textbook is widely used for G1 students with English as a second language. There will also be additional supplementary phonics words to assist with reading and spelling. The class will be combined with some fun activities and games to keep the students’ interest. There will be two different levels for the class where the pace of learning will vary based on the student’s ability. Grade 2 Class - Develop students’ elementary reading skills. - Develop basic reading comprehension skills - Master students’ spelling skills - Students should learn and spells at least 300 common words in the English language Each class goes for 2 hours and is held once a week. Students will read books together with the teacher each week which will be broken into three to five parts. Students will learn key words from the text after each class which they will be tested on in the follow lesson. The main text used will be the Magic Tree House series. Students will read the text together with the teacher during the class to enhance oral reading. The content learned in the stories will be revised through games and role plays. There will be two different levels for the class where the pace of learning will vary based on the student’s ability. Grade 3 Class - Further develop students’ oral reading skills. - Master student’s spelling skills of common English words - Start to encourage individual silent reading - Develop writing skills Each class goes two hour and is held once a week. Similar to grade 2 students will read one book together with the teacher each week however the reading pace will much faster, where students will be required to finish a book within two weeks. Students will learn key words from the text after each class which they will be tested on in the follow lesson. The course material will begin with the Magic Tree House series. Students will read the text together with the teacher during the class to enhance oral reading. Later in the course students will be given larger novels such as “Fantastic Mr. Fox” and “On my Honor” and will be encouraged to reading silently. Students will be required to answer revision questions and write summaries. The content learned in the stories will be revised through games and role plays. There will be two different levels for the class where the pace of learning will vary based on the student’s ability. Grade 4 Class - Improve students’ endurance to read long novels up to 120 pages in a week. - Introduce more advanced reading comprehension skills - Teach students important vocabulary which commonly appears throughout literature. - Develop writing skills (write up to 200 words) - Learn oral presentation skills - Spark students’ curiosity so that they can develop a love for reading and writing. Each class goes for two hours and is held one time a week. Students will be required the finish the novel within a week and will be tested on different parts each lesson. The first part of the class will introduce the theme of the book and go over answers to review questions which test students’ reading comprehension skills. The second part of class will either introduce a writing task related to the book or a public speaking activity. Classes will alternate between writing and public speaking. Public speaking activity related to the text such as role plays, class debates or speeches. Public speaking skills will prepare students for their Grade 5 exhibition in the following year. In addition students will be given ten words after each lesson as vocabulary to learn which is related to the text they have read where they must learn the meaning and be able to use the words in a sentence. The text used for the class will begin with short novels such as: The Diary of Wimpy Kid (Jeff Kinney) or Charlie and the Chocolate Factory (Roald Dahl). There will be two different levels for the class where the pace of learning will vary based on the student’s ability. Grade 5 Class - Develop critical thinking - Improve student vocabulary - Diversify student’s writing skills - Develop good presentation skills - Learn how to do effective academic research and reports - Read 150-200 page novels a week Each class goes for two hours and is held once a week. Students should read one novel per week which will be analyzed in depth during class over three one hour lessons. The first part of the lesson focuses more on reading comprehensive skills, the second class focuses on writing skills or public speaking skills. Classes will alternate between writing and public speaking. The texts used in the class will include popular novels such as The Lion, the witch and the wardrobe (C.S. Lewis) and Matilda (Roald Dahl), as well as classical novels such as Gulliver’s travels (Jules Verne) and the Wizard of Oz (L. Frank Baum). Each week, students will have a small writing task based on the book which prepares them for future examinations and high school essays. There will also be a strong emphasis on how to make good presentations to prepare students for their exhibitions at the end of the year. Homework will be checked weekly and feedback will be provided from the teacher. The teacher will also give the students some guidelines and elements to look when reading the book for next week. There will be two different levels for the class where the pace of learning will vary based on the student’s ability. Grade 6 Class - Expand students’ vocabulary and variety of expressions in written communication - Can read novels up to 200 pages in a week. - Able to recognize 3000 English words. - Able to write essays up to 500 words in a number of styles as well as use correct metalanguage - Can participate in discussion of relevant themes in the novels The first part class will focus on analyzing the text and developing good critical analysis skills. The second class will focus on writing skills including perfecting the four major writing styles: expository, persuasive, descriptive and narrative. The third class will focus on public speaking skills which will include debating relevant topics, individual speeches and group presentations. Each week, students will be given texts to read and analyze include popular novels such as Hatchet (Gary Paulson), Percy Jack (Rick Riordan) and To kill a Mockingbird (Harper Lee), as well as newspaper and academic articles. Grade 7 Class - Students develop the ability to engage in close, detailed analyses of literary works, building understanding of the techniques involved in literary criticism - Emphasize the study of literary works in context, and through the study of literature in translation，challenge the student to reflect on the role of cultural assumptions in interpretation - Assess students through a combination of formal examinations, written coursework and oral activities - Students learn to appreciate the artistry of literature, and develop the ability to reflect critically on their reading, presenting literary analysis powerfully through both oral and written communication. The course consists of one two hour lesson each week. The first part of the class will focus on literary analysis and literary criticism. The second class will focus on developing good written communication skills, writing techniques and structures which will act a foundation for IB diploma written tasks such IA and EE papers. In addition this course will class debates, individual and group presentations, and other presentations. Students will be required to read a novel each week between 150-200 in week or up to 400 pages within two weeks famous novels: I-Robot (Isaac Asimov), Hitchhikers Guide to the Galaxy (Douglas Adams), and Native Son (Richard Wright).

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Multiplication facts fluency is very important as it is the base for many concepts like multi-digit multiplication, equivalent fractions, division, and, much more. Multiplication facts practice deserves time and effort. Rushing into drills that promote meaningless memorization with endless repetition will not help in the long run. Allow students to take their time and practice solving interesting problems until they start memorizing without even realizing it. A great way to do that is by learning mental strategies, building arrays with manipulatives, “playing” with the multiplication table to find patterns and relations, and having meaningful math talks. I am always trying to create fun and engaging activities to encourage students to practice multiplication and gain fluency with the multiplication and division facts especially with the new reality of distance learning. I love visual activities that are part of a story, puzzles and, escape rooms. Today I would like to share with you my latest multiplication resource. A multiplication adventure in the form of google slides with the beloved Binions that my students are crazy about. The students will be taking on a mission to save the little Binions from the Evil professor. This resource is in the form of a story with multiple tasks that the students need to complete in order to succeed in their mission. It is a great resource for virtual and face to face learning. The slides help initiate meaningful discussions about strategies and different ways of solving multiplication problems. The resource contains 164 slides organized based on the level of difficulty, starting from multiplication as repeated addition and moving on to multiplication properties, multiples and factors. The questions provide visual help and manipulatives for conceptual understanding and deep learning. Low floor and high ceiling activities for all students. You can arrange the activities based on your students’ needs. Provide support for your low floor students and challenge your high ceiling ones. Activities and skills covered - Building arrays for given multiplication expressions. (understand multiplication as repeated addition) - Solving multiplication problems using arrays. (visualize and understand) - Learning how to use the multiplication table. - Solving multiplication problems using the multiplication table. Find patterns, relations, and stepping stones to help with fluency. - Learning about square numbers. - Building square numbers with arrays. - Finding square numbers on the multiplication table. (Square numbers are often the first ones memorized and can be used as stepping stones for other facts) - Learning the multiplication properties. - Selecting the correct expression for given arrays. - Building arrays for numbers/representing numbers with arrays. (introducing factors and multiples) - Puzzles on the multiplication table - Finding the second factor in an equation (division) - Finding the factors of numbers. - Finding the multiples of numbers 3-12 (mazes) Below is a sample video of the resource. As always here is a free version of the resource for you. The premium version includes 164 slides/activities. Get the premium version here. My students got very excited with the Binions’ adventures and made up their own stories which gave an unexpected opportunity for creative writing. Like and subscribe for updates and giveaways!

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It is necessary to make it and teaching coding part of childhood education. This is because coding continues to become one of the most important 21st-century skills. Fortunately, coding schools exist to ensure kids learn to code in preparation for their future careers. If you are a first-time educator teaching kids how to code, it can be a challenging task. You may need to debunk common myths about coding and ensure that kids learn to code while maintaining an enjoyable learning experience. Here are ideas to help you teach kids how to code in the classroom successfully. Do Your Research Before Teach Coding The first step to teaching kids is ensuring you are well-prepared for the task. Research the resources you need and establish whether you have all the essentials for your classes. Besides reliable internet and computers, you also need to bear in mind your students’ ages to tailor your lessons accordingly. With the right resources to facilitate your teaching, your students can learn to code successfully and gain valuable skills. Kids Have Varying Learning Abilities Every child has a unique learning ability. Some kids can grasp concepts fast, while others take more time and may need extra help. When teaching kids in a classroom, take into account their learning differences. Doing so allows you to tailor your teaching to cater to all students according to their needs. Consider differentiating your learners according to their abilities and issuing varying instructions and assessments to the different groups. This way, you get a clear picture of students who need more help to learn to code. Tap Into Learner’s Passion When Teaching Coding When teaching coding in class, try to align it with the learners’ interests by relating coding to what they are passionate about. For example, if a student is passionate about video games, you can teach them to code using programs that focus on game design. From storytelling and animations to reading books, you can always find an app that teaches your students how to code in their areas of interest. Learners realize that they can use coding to create apps and solve problems in their fields of interest. Childhood education thrives on teamwork, peer-to-peer learning, and social activities. Turn teaching coding lessons into a social affair by issuing coding group projects and letting learners work together. You can also sign up your students in online programs that allow them to work with kids from other schools. If you lack adequate resources for every learner to use, you can take advantage of the situation to make it a group learning process. This encourages teamwork and allows for peer-to-peer education, which may be more effective in helping struggling learners. Make It Fun When Teaching Coding A common misconception about teaching coding is that it is repetitive and boring. To boost the learning experience, make coding fun by encouraging creativity and experimentation. Find age-appropriate tools for learners to explore so they don’t have to only rely on reading. Some of the apps and websites to consider are Scratch for animations and games and Hopscotch for kids between ages six and12 years. You can also encourage creativity by allowing learners to actualize their ideas, be it games, drawings, or animations. By making coding classes a fun activity, learners get more engaged, sustain their interest, and learn to code more confidently. You don’t have to read out instructions or rely only on slides when teaching coding in the classroom. Consider live coding as part of your teaching routine where you create programs in front of your students. Your students will learn better from watching you code, and you get an opportunity to follow their interests. They also grasp how to diagnose and correct coding errors more clearly than they would with books. Since mistakes are inevitable when coding, students learn that it is okay to make mistakes when they see you do it instead of getting discouraged. Ensure that you don’t set yourself up as an expert as it tends to intimidate your learners and limit their exploration. Instead, position yourself as a guide to help them learn to code more freely. Focus on One Language at a Time Mastery of a subject is necessary for the successful transfer of skills. When teaching kids to code, stick to one programming language at a time. Doing so allows your students to learn to code more efficiently as they focus on one subject. Once they have progressed enough to transfer their knowledge between languages, you can introduce a second language. Juggling different programming languages at once confuses learners, lowers their confidence, and ultimately impairs their learning. Coding as part of childhood education is an excellent way to prepare kids for the tech-oriented workplace. With the above tips, you can help your students learn to code in the classroom and boost their programming confidence.

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|Inquiry Design Model (IDM) Blueprint™| |NDNAEU 2 “Learning & Storytelling”, NDNAEU 3 “Sharing & Generosity”, NDNAEU 6 “Native Contributions”, NDNAEU 7 “Native Identity”| |Compelling Question||How do people around the world celebrate their culture and identity?| |Standards and Practices||Foreign Language: Comparisons Standard 4.2 Students demonstrate understanding of the concept of culture through comparisons of the cultures studied and their own.| Foreign Language Cultures Standard 2.1 (Practices of Culture): Students demonstrate an understanding of the relationship between the practices and the perspectives of the cultures studied. Foreign Language Cultures Standard2.2.4 Interpret and produce expressive products of the culture (i.e., art, dance, music, and literature). Foreign Language Connections Standard 3.2.1 Read, listen to, and discuss age-appropriate material in the target language, such as songs, folk tales, short stories, poems, and novels written for native speakers of the target language. (e.g., simulate a book discussion club using authentic stories or novels; plan a review of the music of a specific music group popular in the target culture) Dance Anchor Standard 2: Organize and develop artistic ideas and work Dance Anchor Standard 7: Perceive and analyze artistic work |Staging the Question||Why are Powwows so important to Native American People?| |Supporting Question 1||Supporting Question 2||Supporting Question 3| |What is a Powwow? What are the different dance styles for men and women?||What are the types of dances at a Powwow? What kinds of songs are performed for powwow dancers and spectators?||What do other people do to celebrate their culture?| |Formative Performance Task||Formative Performance Task||Formative Performance Task| |Students will work in pairs and complete a multimedia project on elements that the classroom comes up with for content in describing the supporting question.||Students will work in pairs and complete a multimedia project on elements that the classroom comes up with for content in describing the supporting question.||Students will work in pairs and complete a multimedia project on elements that the classroom comes up with for content in describing the supporting question.| |Featured Sources||Featured Sources||Featured Sources| |Top 5 Celebrations Around the World| |SUMMATIVE PERFORMANCE TASK: Supported Claim (written/spoken) or Demonstration of Process (project-based)||Watch an entire day of recorded powwow on youtube.| Manito Ahbee https://www.youtube.com/watch?v=AOTci8fjptE&t=126s |SUMMATIVE PERFORMANCE TASK: Extension||Class will attend a local powwow.| |Taking Informed Action / Real World Application| Plan a powwow for the school district. Create a powwow committee and seek collaboration with local native organizations or Indian Education Programs. Disclaimer: Educators are encouraged to use these lessons as a guide, especially when it comes to capturing standards and required content for their instructional disciplines. Adapt, synthesize, abbreviate, and incorporate are just some of the encouraging words to educators to USE any of the NDNAEU lessons to make them their own.

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It’s hard to deny that computers have taken a prominent role in modern society. From the smartphones in our pockets to the smart devices controlling our appliances at home and everything in between, computer technology is everywhere. It should come as no surprise that the use of computers in education has been steadily increasing and in many ways has revolutionized traditional education. Computers in the classroom have multiple benefits for both students and their teachers. Purpose of Computers in Education Computers are one of the most valuable resources in a classroom because they serve so many useful functions. With computers and the internet, students today have a wealth of information at their fingertips that can help them develop their research and communication skills while preparing them for a future career in a workforce that is increasingly reliant on computer Benefits of Computers in the Classroom benefits of using computers in the classroom goes beyond more efficient assessment and opportunities for online learning Ø Using computers in the classroom gives teachers an opportunity to teach digital citizenship skills that demonstrate ways to use technology correctly and responsibly. Ø Computers also help maximize student engagement. Modern students are regularly exposed to technology outside of the classroom. Most use and enjoy smartphones and other mobile devices, which is why they are more likely to engage in the learning process if it involves something to which they are already accustomed and enjoy. Ø Teachers use computers to record grades, calculate averages, manage attendance and access data on student performance in online programs and Ø Computers have also made it easier for teachers to vary their instructional delivery. Instead of lecturing at the front of the room for an entire class period Ø Teachers can incorporate technology into their lessons to keep students engaged while appealing to a variety of learning styles. From using computers to create presentations on a topic to showing video clips that complement the lesson at hand, technology helps teachers make the content easier for students to understand. technology in the classroom allows to experiment more in pedagogy and get instant feedback. Technology allows for more active learning; you can increase engagement through online polling or asking quiz questions during lectures (with instantaneous results). in the classroom helps ensure full participation.Online polling and other digital tools help to engage all students, including shy students who wouldn’t normally raise their hand in class. Online engagement systems allow you to regularly check in with students for feedback on course materials and assignments; data analytics could be used to help spot areas where students might be struggling, are countless resources for enhancing education and making learning more fun and effective. Digital storytelling through gamification can make learning more exciting and sometimes relatable for students. Gamification allows for interactive lessons and can reduce passivity in the classroom. technology in the classroom, your students have instant access to fresh that can supplement their learning experience.There is value in having textbooks and course materials that are always up to date, which can even include additions suggested by students. This also fosters a more collaborative learning environment; students, networked together online, can share information, work together on group projects, and interact with the instructor. live in a digital world, and technology is a life skill. Being digitally literate is more than obtaining “isolated technological skills,” according to the . Rather, it’s about “generating a deeper understanding of the digital environment, enabling intuitive adaptation to new contexts and co-creation of content with others.” Computer and its related technology have completely revolutionized our lives. Now, information technology is important in every walk in life. Undoubtedly, computer and information technology great impact in our education system. Various technologies have been used to improve the teaching and learning process. Information technology makes our education system interested and effective. Students can learn better without getting bored and frustrated. This paper presents the current scenario of information technology based education system. By: Aminath Riza (PGDE) 5th Sep 2019

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TAHSMT.PR.1 Act and direct by communicating and sustaining roles within a variety of situations and environments. a. Examine and implement the skills and tasks associated with acting, singing, and dancing, incorporating vocal and movement technique, observation, and imagination to create characters for formal and informal performances. b. Identify and examine the responsibilities and tasks of an actor in relation to directors, designers, choreographers, technical crew, and production staff. c. Use the skills and tools of a director to develop a presentation of formal and informal musical theatre performances. d. Conduct rehearsals to present a musical theatre performance for a live audience. by Annie Dragoo Understanding basic improvisation skills will help musical theatre performers understand that musical theatre is more than just singing and dancing. It’s about using all the tools (voice, body, and mind) an actor has at their disposal to create a character. This unit focuses more on the improv aspect rather than the musical theatre aspects - in fact students need no prior musical theatre knowledge. Annie Dragoo, creator of the unit, uses this material as her first unit in her musical theatre class. It’s a great introduction and will get your students in the right frame of mind to approach musical theatre. The lessons explore a variety of improv skills such as vocal responses, movement, character study, sensory awareness and culminate in an improv scene and unit essay. by Laramie Dean Instructor Laramie Dean uses this unit as the final project for his Drama 2 students. Drawing upon any of the skills students have developed throughout they create a product that could be used within a new piece of musical theatre. Students start by analyzing three musicals, study guides included, and practice creating musical elements. They are then giving class time to prepare in groups as many elements as their can for a new musical using devised theatre techniques. There are 24 lessons in this unit which culminates in a final assessed performance. by Annie Dragoo Want a fun project that has your students collaborating and creating? In this unit by Annie Dragoo, students in groups will write and perform an original musical by adding modern songs to a traditional fairy tale story. The six lessons take students from writing their script, to choreography and planned movement, to rehearsing, performing and evaluation. The Rubric will focus on student performance. That means vocal delivery, emotional delivery, blocking/choreography, energy, focus, and characters. by Annie Dragoo Musical theatre performers use their bodies to sing, to dance, and to act. We must think of our bodies as instruments and learn to use our instruments properly in order to be better musical theatre performers. The overall objective with this unit, by Annie Dragoo, is for students to demonstrate an understanding of the use of good movement as it connects to musical theatre. Some of the activities include using action verbs, moving as animals and inanimate characters, nonverbal communication and situational movement. Students will then perform a scene that will allow them to put to practice all the movement techniques they have learned. by Anna Porter Musical Theatre has two components that separate it from straight plays: song and dance. This unit gives students the opportunity to try out both. In musical theatre, music signifies heightened emotion. We can’t express ourselves with just words, we need music (and through extension, song and dance) to take it further. This unit includes three lesson plans: 1. Acting the Song - “Musical Tactics” 2. Acting the Song - “Textual Analysis” 3. Introduction to Dance A solo performance assignment is also included, and the unit includes assessment tools - rubrics, reflections, and self-evaluations. by Gai Jones All students have something to say and a story to tell. They can relate to their personal stories better than anyone else. All students have a lot of material which can be used as part of an original monologue. In this unit, students will write an autobiographical monologue based on their personal expertise, memories, distinct point of view, sense of truth, and life experiences. Through the process, students will be encouraged to explore past stories, objects, and images and other personal material. by Steven Stack Directing youth theatre can be one of the most thrilling, rewarding, and exhausting jobs there is – because it’s not just about staging a play. It’s about creating an environment that fosters hard work, dedication, trust, and the willingness to take chances, to “play without fear.” As a writer/teacher/director of youth theatre for over 15 years, I have developed tools and strategies that enable my students and me to focus on the process of creating theatre while fostering an environment that leads to creative freedom and a cohesive groups that doesn't act as individual “stars,” but as a community of one. In this course, I will share with you these tips and strategies, along with the ways to implement them in your theatre environment. by Craig Mason This mini-course will give you a toolkit to bring your shows to the next level by having an engaged, active, ensemble. The ensemble is a critical part of a large cast show. But you can't leave them to fend for themselves. They need structure. They need exercises and activities. In Strong Ensemble = Strong Play, you'll be given ensemble-building exercises. You'll also discover specific activities that will help your ensemble become three-dimensional characters who have something to do and something to play in every moment they are on stage. We'll look at case studies that take the exercises learned in the course and apply them to specific shows. by Todd Espeland Working in educational theatre I know how easy it is to get bogged down in actor coaching and away from the bigger picture storytelling when directing a show. I saw a need for a method of text analysis and physical staging tools that help the director stay focused on the bigger picture of telling the story of the play. This class is in two parts: The first consists of the text analysis tools P.A.S.T.O and Major Dramatic Question. From these tools you will brainstorm keywords to define your vision of the story. In the second part of the class you will focus on taking the information generated in the text analysis and crafting the ideas into vibrant physical pictures through an exercise called Starburst. by Gai Jones In "Working With Monologues For Rehearsal And Development" you will develop ten sessions of study on monologues. The study contains the definition and history of the monologue; monologue vocabulary; analysis of a practice monologue, staging a short monologue; working with musical theatre lyrics as a monologue; writing short autobiographical monologues. At the end of this course, you will have a curriculum which can be used as introduction to monologue work. by Holly Beardsley Do you know the difference between a bustle and a buckram frame? Or what works best as an emergency hem? Some directors are blessed with a big budget and a full support staff—a choreographer, a set designer, and a costumer. But the drama teacher often becomes director, choreographer, set designer, and costumer all in one. And a budget? What’s a budget? The Do-It-All Director’s Introduction to Costuming will give you, the director, who must do it all, the confidence and skills to costume and direct, no matter your experience or budget. This course will teach you costuming basics, budget tricks, organization, and most importantly, the art of costuming as a director. by Elisabeth Oppelt In this course, you will learn what breath control and projection are, how to breathe from your diaphragm and speak loudly without yelling, and how to teach these skills to your students. Led by teacher and singer Elisabeth Oppelt, this course will be helpful both in your teaching practices and in creating material to teach your students. This course also includes both formal and informal assessments for you to use in your classroom. by Colin Oliver Colin Oliver leads this introduction to teaching Musical Theatre in the Drama Classroom. In this course, you will learn how to build musical theatre into your dramatic courses of study. “Why might you want to do that? Singing is scary! You want me to teach my students how to do it? I don’t even know how to do it.” This course approaches musical theatre preparation performance much as we would approach preparing a monologue in drama. If you use script analysis in monologue preparation in your class, you can teach musical theatre. By the end of this course, you’ll have a great, full-body physical warm-up, a student-driven research assignment, character development exercises, a little bit of musical theory, and a performance assignment complete with assessment. So, join us for teaching Musical Theatre in the Drama Classroom. It’s as easy as Do-Re-Mi! by Anna Porter Have you been wanting to find some new ways to enhance your classroom with technology? Have you been told you need to integrate technology in your classroom but don’t know where to start or what would even make sense to use in the drama classroom? Whether you want to find some new ways to diversify your instruction and assessment, provide new resources and opportunities for your students, or simply needs some help with organization and communication, Google Tools has a treasure trove of resources ready for you to use today. Instructor Anna Porter covers the tools of Google Forms, Photos, Calendar, Earth, Custom Search and Sites. Each lesson has video examples of how to use the tools as well as tips and resources for each module.

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Book reviews in a continuitng series by students of John Myers at OISE. Underground to Canada Review by Vincent Spano Underground to Canada (1977) is a novel authored by Barbara Smucker that sheds light on the flight of slaves from the American South to Canada. The book details the life of a young girl, Julilly, whose life has been marred by slavery, and a tragic slave trade which separated her from her mother, Mammy Sally. Upon her arrival to a new, harsher plantation, Julilly and a handful of friends plan their escape from slavery, and embark on an incredible journey to seek freedom in Canada. The book’s main focus in on the tragedy of slavery and its impact on the individual. The separation of a child from their mother, physical and emotional abuse, as well as the inability to find oneself are ways in which the author attempts to frame the tragedy that is slavery. A second key idea found in the book is inequality. There is a clear division between what constitutes a slave, and what constitutes a citizen. Moreover, the novel embeds subordination within this concept of inequality through the words and actions the author associates with slave plantation owners and their white workers. This book is suitable for grade levels 5 and up, and would fit perfectly into any literacy program, especially as a component of Black History Month. However, a debriefing conversation with the class is necessary in order to address, neutralize and better understand some of the language used in the book. In terms of its historical value, incorporating this text within the grade 8 curriculum would allow for overall expectations related to communities in Canada to be sufficiently covered. This includes the impacts of large scale social events that impact Canada’s people. This book would also account for the types of actions that groups in Canada took in order to improve their lives. This book will have its greatest impact on its ability to critically examine perspectives. Actions taken by individuals, individuals identifying themselves within different communities, and larger societal narratives can be considered along side each other. Especially if seen alongside primary source documents, students can begin to evaluate and complicate what it means to live in a diverse society. It will impact how teachers interact with their students, and how students interact with one another whether in social or academic situations. It allows for a critical eye to be applied across the curriculum, and help students recognize the importance of considering many perspectives rather than submitting to stereotypes. All the Light We Cannot See Review by Melissa De Caires “All the Light We Cannot See,” written in 2014 by Anthony Doerr, tells the story of the lives of two different characters during World War II. Marie-Laure LeBlanc is a young girl who lives with her father, a locksmith and keeper of the thousands of keys at the Museum National d’Histoire Naturelle in Paris. At the age of six Marie-Laure lost her sense of sight, so her father built an intricate miniature model of their neighbourhood to help her memorize and navigate herself around the area. When the Nazis occupy Paris, Marie-Laure and her father flee to live with her uncle in the citadel Saint-Malo, carrying one of the museum’s most valuable and possibly dangerous stones. Meanwhile, Werner Pfennig lives with her younger sister and other children at an orphanage in a mining town in Germany. After his discovery of a broken radio, he fixes it and becomes an expert at building and fixing this new instrument. Soon after, his talent receives the attention of an elite Nazi school that emphasizes on extreme military training. Through the war, this new German soldier then finds himself in Saint-Malo, where the two characters’ stories come together as they try to survive the devastations of the war. This text is told in third-person narration while involving multiple perspectives. Each chapter alternates between the points of views of the main characters as well others living in the area during this period. In addition, the book is organized into separate sections that go back and forth between time periods: the beginning of the World War II and throughout . Doerr’s book can be integrated into the academic and applied grade 10 History curriculum within section. Either of the grade 12 history courses might find this resource a useful entry point into historical perspective taking. One of the best aspects of this story is the amazing descriptive language the author used. Not only did the author make the story more personal by focusing on these two very different characters and showing the multiple parties involved and affected by the war, Doerr was able to describe the setting and environment in such detail that made it extremely realistic for the reader. This story can serve as an introduction activity by having students reading the book as a whole or focusing on certain excerpts of the story that demonstrate the living conditions of the people living through the war. Since the book focuses on the lives of characters living in France and Germany and each chapter alternates between their perspectives, it can be used as an activity in which students create additional chapters for their own character living in Canada during this period and integrating their story into Marie-Laure’s and Werner’s. The text also allows for cross-curricular connections, such as language or science (as it speaks to the scientific understanding of sound and light waves). Genghis Khan and the Making of the Modern World Review by Eric Chan Jack Weatherford’s Genghis Khan and the Making of the Modern World explores how Genghis Khan and the Mongols that he led helped shape the modern world as we know it. While based on history, Weatherford’s book reads almost like a story. Beginning with Genghis Khan’s childhood, and continuing past his death, Weatherford gives the readers a grand picture of just how influential Genghis Khan and the Mongols were. The chapters and sections in the book are ordered chronologically, and they take the reader on a journey from the twelfth century all the way to the mid-1900s; we learn how Genghis Khan came to power, how he expanded his empire, and how it subsequently fell apart. As mentioned earlier, the book masterfully weaves the history of the Mongols with intricate storytelling that leaves the reader wanting more. This book can be used to bring in a less Eurocentric perspective in the history classroom, specifically in the Grade 11 course—World History to the End of the Fifteenth Century, CHW3M—where one explores the many civilizations and empires up until the fifteenth century. Of course, one can apply it to the Grade 12 World History courses as well, since the influence of the Mongols continue even to this day. As the book is organized in a chronological manner, each section can be explored as its own mini-unit, where the class can explore how the empire was formed, and how their interactions with the other civilizations that they fought or traded with helped to shape the world that they know. It is particularly important, because the Mongols made use of anyone that they believed could benefit them, regardless of religion or origin. Moreover, they were a medium of sorts that helped to transmit knowledge and technology from the East to the West. So it would be very beneficial for students studying World History to learn how certain technologies or ideologies made their way across the continent of Asia and Europe.

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It is a rather difficult task explaining the progress of poetry. Although changes are evident between the authors of Ancient Greece, such as Homer, and those of medieval England (Chaucer); the romantics to the breakaway routes of free-verse in the Victorianera, its essence remains the same. Poetry in one form or another has its roots firmly planted 6000 years ago. Creators of ‘poetry’ at the time did not see it as a romantic art form as many see it today. Around 3000BC poetry was merely a tool – a means of communication, of storytellingand explanation. The earliest written work found is the ‘Epic of Gilgamesh’, a Sumerian legend datingback to the 4th Millennium BC. Enkidu had defiled his body so pure,his legs stood still, though his herd was in motion. Enkidu was weakened, could not run as before,but now he had reason, and wide understanding. (Epic of Gilgamesh, translated by Andrew George). The later introduction of rhythm and rhyme enabled a more memorable form oforal record-keeping. It is believed the ‘lyric’ dates back to this era, where rhythmic storytelling was first added to music – to be accompanied by a ‘lyre’. Short musical lyrics began to change into long narratives with the likes of Homer in Ancient Greece. The introduction of the written language aided greatly this transition asstories no longer needed to be easily memorised. Look now how mortals are blaming the gods, for they say that evil comes from us, but infact they themselves have woes beyond their share because of their own follies. (The Odyssey, Homer). Subject matter of the time tended to relate to the gods and of heroic storytelling. Although written several thousand years later, poet Denny Bradbury incorporates amodern-day twist to the exaggerated heroic storytelling of the Greeks. Her poem ‘Nunon the Tow Path’ from ‘Denagerie of Poems’ takes a quiet approach to heroism – everyday people affecting the lives of others without question. Unlike Denny, however, the ‘poets’ of Ancient Greece believed themselves more as translators to the gods (accepting the gift from Muses) than authors in their own right. Roman poetry was for the most part a continuation of the Greek style. Yet here we start to see an introduction of philosophy and an attempt to blend gods and scientific understanding. And since ’tis thou aloneGuidest the Cosmos, and without thee naught is risen to reach the shining shores of light, Nor aught of joyful or of lovely born, Thee do I crave co-partner in that verse which I presume on nature to compose(On the Nature of Things, Lucretius, translated by William Ellery Leonard) Poetry in a form continues to change and blossom with every new external influence. We leave it here questioning the power of the gods. They weren’t put there to be remote but to the wise were portals to represent the power of gods and light to earthbound mortals (Still Standing, Denagerie of Poems, Denny Bradbury, 2009.)

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Have you heard the news about “coding in the classroom” as a part of British Columbia’s new curriculum? If you are a parent or a teacher of a student in K-12, this news should have caught your attention. As a Computer Science teacher, I want to reassure everyone that coding, at any grade-level, is possible (even without years and years of teacher training!). Coding is different than programming. Programming is intensive, time-consuming and tedious. It is infinitely more complex than coding. Coding is about having an understanding of how certain programming languages function, and then using those languages to create something, be it a game, function or otherwise. The great news is that there are TONS of awesome resources available for a variety of age groups to help them learn to code. ALL of these resources require technology, which unfortunately is not readily available to every student, in every classroom. (Unless, of course, we are all going to be the subjects of some technology windfall!) This is what you need to know about teaching coding: coding is all about “cause and effect,” and about “variables.” For example, if A happens, then B happens. If I press this button, the light goes on. Variables work the same way, but with more options. Choices are A and B, and depending on what option is selected, either C or D will occur. You don’t need to have a computer or iPad to teach these ideas to students. Coding is also about critical and creative thinking. Students who know how to code should also know how to be innovative and how to problem solve. Coding is also cross-curricular. It can be used to demonstrate mathematic concepts, to teach storytelling, even for physical education purposes (my students and their robots get a lot of exercise!). In British Columbia’s new curriculum model, there is a place for coding. It is by far one of the most powerful 21st century learning/teaching tools we have available–as intimidating as it might seem–and it is time to learn how to use it for the sake of our students. Want to hear the good news? It won’t be nearly as complicated as programming the VCR. In the next few weeks, I will take the time to post resources and options for teachers interested in learning more about coding in their classrooms, with a variety of platforms, to demonstrate that coding can be accessible to all classrooms, despite whatever technologies are available to utilize.

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noun. the capacity to have an effect on the character, development, or behaviour of someone or something, or the effect itself. verb. have an influence on. As a verb, influence typically means “to affect or change someone or something in an indirect but usually important way.” Something or someone that influences a person or thing, then, has an influence on that person or thing. Social influence refers to the way in which individuals change their behavior to meet the demands of a social environment. It takes many forms and can be seen in conformity, socialisation, peer pressure, obedience, leadership, persuasion, sales, and marketing. Some questions to consider regarding influence: How are we influenced to think and behave? How are we shaped as human beings? There are so many things that influence us in our lives: Society… Culture… Language… Word of mouth… Family and Friends… Community… Social status… Cultural Capital… Persuasion… Knowledge… Education… Experience… Profession… Storytelling… Media… Advertising… Propaganda… Arts and Music… Each sector of our lives, each social sphere, each segment of our identity influences us. But influence is not a one-way process. As we are influenced, we also influence others. So other question to consider are: How do we influence others? How do we increase our influence as an individual? As individuals we influence our friends and family. As parents and carers we influence our children. As teachers we influence the children we teach. As leaders we influence the teams we serve. As tweeters we influence who follows us. As writers and bloggers we influence who reads us. We all have a sphere of influence. Whether we like it or not. The more established we are, the more senior we become, the wider the reach we have, the larger the following we have, the bigger our sphere of influence becomes. With influence comes responsibility and accountability. But our ability to influence and be influenced, is also framed through biases. These biases come from the values instilled in us, the experiences that have conditioned us, the circles we move in. A bias is a frame, a lens, through which we see, hear, filter and interpret information. Biases distort and disrupt objective contemplation of an issue by introducing influences into the decision-making process that are separate from the decision itself. Emotional biases typically occur spontaneously based on the personal feelings of an individual at the time a decision is made. They may also be deeply rooted in personal experiences that also influence our decision-making. We often see what we want to see, and hear what we want to hear. The confirmation bias is a cognitive bias that causes people to search for, favor, interpret, and recall information in a way that confirms their preexisting beliefs. The confirmation bias affects people’s thinking in every area of life. So when we are thinking about influence we also need to think about power and privilege. When we are reflecting on who influences us we need to think about the subliminal and sub-conscious messages we absorb through the choices we make – what we read, what we watch, what we listen to, who we follow and who we engaged with. Each choice influences our thinking. We need to filter the dominant narratives and the loudest voices, we need to select our thought leaders carefully. To influence others is to be the best version of yourself you can be. “We never know which lives we influence, or when, or why”. To influence others is to be a visible role model with conviction in each action. “The most influential people in my life are probably not even aware of they’ve taught me”. To influence others is to model the behaviours we want to see. “If you want to help others and become a person of influence, keep smiling, sharing, giving and turning the other cheek”. To influence others is to lead by example, with integrity and authenticity. “The key to successful leadership today is influence, not authority”. To influence others is to share a vision, a mission and values and to create a legacy. “Leadership is about making others better as a result of your presence and making sure that impact lasts in your absence”. To influence is to empower. “Having influence is not about elevating self, but about lifting others”. To influence is to serve others. As leaders, we need to harness our influence and use it for good. We need to influence positive change. We need to influence values-led decision-making and ethical behaviours. We influence society as educators. As leaders we need to influence the system and the structures that inhibit progress and transformation.

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Welcome to PYP How, Where, Who, Share! PYP How, Where, Who, Share! is an activity-based workbook created just for PYP students. Suitable for use in class or at home, this child-friendly workbook helps students to understand how the transdisciplinary themes can be used to explore the world around them. Children (and also parents) are guided through this book by friendly bug characters offering advice and asking open-ended questions to encourage further reflection. With questions and activities tailored to the PYP themes and key concepts, this workbook encourages children to use the given information as a starting point on their own exploration of the topics. The author of PYP How, Where, Who, Share! has created this free Teacher Guide to give educators ideas for how to use the books – whether this be in class or for use at home. This book is for children in PYP Year 3 /Grade 2. If you do not have the book yet, you can order a free e-inspection or buy the book here. Included in this free Teacher Guide Each chapter in this free Teacher Guide maps to a chapter in PYP How, Where, Who, Share! and gives page-by-page support to help you use the tasks with children. Please feel free to comment with any other suggestions for using the books or any recommendations you have for changes for the rest of the IB Primary Years Programme community. In each section of this Teacher Guide you will find the following. - The central idea on which the workbook chapter was based. - The relevant key concepts related to each chapter. - The approaches to learning skills students will get the chance to demonstrate. - Examples of how you can introduce the chapter to children. - Key questions you can ask children as they work through the book. - Alternative or additional activity ideas. Below is an overview table for the chapters in the book. It gives you a holistic view of the year, highlighting which approaches to learning and key concepts are covered in each chapter. As you can see, research skills underpin all the units, with children having the opportunity to carry out focused and independent research multiple times throughout the year. Find page-by-page for the workbook by navigating through the sections below! Welcome to this free teacher guide for the workbook: PYP How, Where, Who, Share! This guide includes page-by-page support for the activities in the book. Before starting, children get the opportunity to design their own PYP Agents badge at home or as the class settles. This can be a picture of whatever they want and helps them to feel their workbook has been personalized for them. Help children to inquire into How the World Works by understanding that water is shared by all living things and is a finite resource. CAUSATION: importance of the water cycle to life on Earth; why the different states of matter are important to the water cycle. FUNCTION: how the water cycle works. RESPONSIBILITY: responsibility to protect and conserve water. PERSPECTIVE: people’s access to water. Help children inquire into How We Express Ourselves by understanding that storytelling is used all over the world to share events and ideas. CAUSATION: why stories changed over time. CONNECTION: how older civilizations used stories to explain the world around them. PERSPECTIVE: myths can be different depending on the culture. Help children to inquire into How the World Works by understanding that The Earth’s structure is always changing. FORM: how our Earth is structured. CAUSATION: why we have volcanoes and earthquakes. RESPONSIBILITY: how we monitor earthquake and volcanic activity. PERSPECTIVE: focus on people who live in volcanic active zones. CONNECTION: how the earth’s structure relates to volcanos and earthquakes. Help children to inquire into How We Organize Ourselves by understanding that we are all part of different groups and communities. PERSPECTIVE: How communities change depending on when and where we live. CHANGE: How communities change over time. RESPONSIBILIY: How our role in a community impacts others. Help children inquire into Where We Are in Place and Time by understanding how ancient civilizations still have an impact on our lives today. FUNCTION: how mummification works, how to read hieroglyphics. CONNECTION: Ancient Egyptian technology still used today. PERSPECTIVE: why certain people were mummified. Help children to inquire into Who We Are by understanding that everyone has emotions with different ways to manage them. CONNECTION: understand that emotions can impact our lives. PERSPECTIVE: know that everyone has emotions. RESPONSIBILITY: learn strategies to control emotions.

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Second grade and first grade join together in groups twice a week for reading comprehension instruction. Students learn the fundamentals of plot analysis as they identify character, setting and sequence of events. Each reading group studies a particular author focusing on the author’s life and motivation for writing. Students compare and contrast the author’s books and draw connections to their personal lives. Each year, students read nonfiction books for their individualized science research projects. They learn how to navigate these texts using table of contents, indexes, glossaries while they practice the skills of note-taking and paraphrasing. The second grade writing curriculum is based on the 6+1 Traits of Writing program which teaches students to focus on the traits of: ideas, organization, voice, word choice, sentence fluency, conventions, and presentation all to improve their narrative and creative writing. Students do pre-writing activities to brainstorm and then use graphic organizers to organize their thoughts on paper. Students write rough drafts and “publish” a final copy of their writing to present to their classmates. Grammar and vocabulary are taught using the Houghton Mifflin’s Spelling and Vocabulary program. Students learn how to organize words into principles, patterns and parts. In the spring, students learn to read and write various forms of poetry, while learning about parts of speech and grammar. Math is taught using the ThinkMath! Program. ThinkMath! builds computational fluency through practice in basic skills as students investigate new ideas and solve meaningful problems. Students begin the year by practicing a variety of counting strategies, looking for patterns, and using number lines. Students practice finding sums to 10, compare sums to 10, write greater and less than sentences, and add and subtract with place value. Students also complete a unit on probability and data, in which they use pictographs, bar graphs, and line graphs to locate data. Second grade students then learn how to measure time on analog clocks and complete story problems with elapsed time. Additionally, students in second grade explore fractions of wholes and sets including halves, thirds, and fourths. Students complete a geometry unit where they sort polygons by attributes, look at reflections, use lines of symmetry, measure area, and examine three-dimensional figures. Towards the end of the year, second graders are introduced to multiplication as repeated addition and division concepts as well as capacity, weight/mass and temperature. The first science unit in second grade is seeds and plants. Throughout this unit, students compare and contrast seeds, observe seed germination, examine plant parts and conduct experiments. The study of plants is enhanced by the school’s state of the art Tower Garden, a hydroponic gardening system that enables students to grow fresh leafy greens and produce right in the classroom. The next unit focuses on the physics of simple machines. Topics include: force, gravity, friction and motion. Students explore how using simple machines such as levers, pulleys, wheels and axles, inclined planes, and wedges reduce the amount of force required to do work. In the spring, the first and second graders join together for a final science unit. The unit alternates every other year between “Biomes” and “Insects.” Using a variety of plants and vegetation, we build models of each biome that we study. When studying insects, we observe live critters such as crickets, ants and worms. Students conduct individualized research projects by reading nonfiction texts to study their own animal or insect of interest. Students creatively express their knowledge of insects and animals through artistic dioramas, they write from the perspective of their animal or insect and they use technology to showcase their learning. Finally, each unit culminates with a musical play and exhibition of student learning for family and friends. Throughout the year, students program LEGOs using WeDo Software and use apps such as Scratch Jr. and Toontastic on iPads to create their own stories relating to curricular content. Second grade’s first social studies unit is geography in which students learn to use map features such as: map scale, compass rose, titles and legends and how to read various types of maps. Students are able to identify Massachusetts on a map of the United States, and they learn the names of all fifty states. Next, the second graders learn about the continents and oceans and compare maps of the world with globes. The next unit is about the Civil Rights Movement. In conjunction with Martin Luther King Day in January and Black History Month in February, students are given an age-appropriate introduction to the Jim Crow Laws and the Civil Rights Movement in the 1950s and 1960s in the USA. Students learn to analyze texts and photographs from the era, debate issues of prejudice, and identify influential individuals who fought for equality during the Civil Rights Movement. For the final unit of the year, second graders independently research an influential American, learning and reporting on facts about their childhood, education, motivation, and contributions to our society. In second grade Hebrew, students acquire new tools for becoming more independent learners in both reading and writing. Reading fluency is achieved along with the ability to write in script as well as print. Using both the Tal-Am curriculum and Ivrit LaKol series, students learn new vocabulary and grammar and are encourage to speak conversationally as a part of each lesson. Second graders are introduced to short stories while they continue working on reading comprehension and written expression. Students begin learning Torah in Biblical Hebrew. They study the days of creation in the first chapter of the book of Genesis and are encouraged to connect their knowledge of the natural world with the biblical narratives to explore G-d’s relationship to the world in the Torah. They learn skills that enable them to become comfortable navigating, reading and understanding the Torah in Biblical Hebrew. Second grade students learn the daily morning blessings called Birkot Hashachar (blessings of the dawn). Throughout the year, students focus on reading prayers with fluency and accuracy as well as intentionality. In second grade Jewish Studies, students learn about holidays (symbols, history and traditions) and experience them in school through different mitzvot. Students learn the Hebrew names of the different ritual objects, the specific blessing said over each object, and what they symbolize. Students develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland. The goal of our music program is for students to become skillful and enthusiastic music makers by encouraging music literacy, participation and performance. Through joyful discovery of classical and contemporary music, students cultivate musicality and knowledge. In second grade students continue learning to read music and play several instruments including the recorder. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics. Students work with a variety of drawing tools, paints, and papers. Students learn techniques for drawing, painting, weaving, printmaking, and collage. Second graders expand their knowledge of the elements of art such as line, shape, color, and texture. Emphasis is put on the creative process rather than the finished product. Art history is an important component of the curriculum, as well. Because visual content helps children understand subjects more clearly, throughout the year, art is integrated with units of study in the classroom. In second grade students expand upon what they’ve learned in the past year by breaking stories down and working in groups to perform the beginning, middle, and end of stories. Students learn about the parts of the stage and stage directions, while continuing to create mini-scenes in groups and individually. Students demonstrate their understanding of emotions, by using their bodies to show how they feel and by using emotions to talk about characters. During the second half of the year, students work towards a musical performance, expanding upon the skills they’ve learned. Students gain experience working in an ensemble, while taking responsibility for their own individual parts. In third grade physical education class, students are encouraged to participate in low and high energy activities with a focus on physical coordination, sportsmanship, and problem solving. Students learn the fundamentals and rules of major sports, as well as physical fitness, stretching, and agility. Units over the school year include soccer, flag football, basketball, handball, strategy games, and floor hockey. Using demonstration of skills, review of age appropriate rules and scrimmages, students learn new sports, the importance of physical fitness, respectful play with others, and how to engage in healthy competition.

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Shakespeare 's works of Macbeth was established to be written approximately upon the year of 1605, but the play is stationed in the mid-eleventh century. This time period reflects the tone to become a more inconsistent atmosphere through the play, thus allows more propositions from Willam Shakespeare to include more concepts of conflict. The nature of conflict is shown by the characters obeying the actions of evil, taking advantage of power and losing sanity, and seeking satisfaction for a higher leverage. Hence, conflict is indispensable to drama being a significant role in Macbeth. Firstly, the characters have the largest impact on the role of conflict in the play. When people think of the play, “The Crucible”, they usually picture the witch trials and women being hanged, but Arthur Miller depicts the witch trials in a completely new light. He shows through a story that the witch trials were much more than just people calling others witches. There was deceit, pain, greed, and more. Through the play, we follow the character, Abigail, observe her actions and their consequences. We witness the lives of people she impacts, what happens to them, and how many times she lies to get her way. Taken place in the late 17th century, the Salem witch trials turned family members and longtime friends against each other. The citizens of Salem, Massachusetts feared that there were witches among them, and even the slightest hint of strange behavior caused an uproar and a court trial. The Crucible, written by Arthur Miller, tells the story of the many accusations and their consequences. This play should be part of the English curriculum. It has a different style of writing, the language goes along with the times, it is based on real events, and the difficulty level is just right for high school students. After the victory of Banquo and Macbeth against the king 's traitor Macdonwald the witches presence contract the vibe of manipulation seeking Macbeth as its next victim. As they encounter with Macbeth and Banquo, they start-off questioning the trio of leery ladies. "look not like the inhabitants of the earth, / And yet are on it"; they seem to understand him, and yet he cannot be sure; they "should be women," and yet they are bearded. One by one the witches told Macbeth his upcoming abundance of power leaving him immensely petrified. As a result the prophecies were the contemporary force plaguing Macbeth into slaughtering King Duncan for his aspiration. For Shakespeare’s plays to contain enduring ideas, it must illustrate concepts that still remain relevant today, in modern society. Shakespeare utilises his tragic play Othello, to make an important social commentary on the common gender stereotypes. During early modern England, Shakespeare had to comply to the strict social expectations where women were viewed as tools, platonic and mellow, and where men were displayed as masculine, powerful, tempered, violent and manipulative. As distinct as this context is to the 21st century, the play exposes how women were victimised by the men who hold primary power in the community in which they compelled women to conform to the ideal world of a perfect wife or confront an appalling destiny for challenging the system. Moreover, Shakespeare utilises the main antagonist, Iago, to portray how men are desperate to achieve what they want and to indirectly fulfil the stereotype of masculinity and power through manipulation. They tell Macbeth his future, which causes him to carry on so he could be the king. This creates tragedy and distress throughout the play. The three sisters discover entertainment in deceiving individuals into evil. “By the pricking of thumbs, something wicked this way comes”(4.1.44-45).The Weird Sister worship devastating the lives of numerous individuals. They worship all the evil they bring through telling what's to come. Witches philosophy on life affects the play greatly. “Fair is foul, and foul is fair.” is spoken in unison by the witches and describes the way the play can be interpreted. Macbeth’s downfall can be thought of as foul but also fair because justice had been served. Sanity can be a two-sided argument with Macbeth. The focused role of Macbeth expresses thoughts to himself throughout and can be portrayed as a loss of sanity. Corruption is the abuse of power for personal gain. In Justin Kurzel’s adaptation of Macbeth, Macbeth’s corruption is caused by the intervention of the weird sisters. Macbeth’s mind was corrupted by the witches. The witches drive Macbeth’s ambition by foretelling his fate, by helping Fleance escape and creation of the apparitions. In this essay, I will be analyzing literary elements, linguistic features and structural features that are present in Act 2 Scene 1 from lines 39 to 72, Macbeth soliloquy. The main plot that happens in this soliloquy is that Macbeth is working on his plan to murder King Duncan so he could become King according to the witches’ prophecy in Act 1 Scene 1. Within this soliloquy, Shakespeare added numerous amounts of literary devices with the purpose of give a visual imagery to the In the beginning of the play, the witches set forth the tragic actions to follow by using equivocation on Macbeth. These wicked beings manage to accomplish tempting Macbeth, drawing out his desire for kingship, engineering the death of Duncan. Firstly, the author shows this through Banquo’s caution to Macbeth for considering the plausibility of the Witches’ equivocal prophecies using tropology and rhetoric. Sensing Macbeth’s growing obsession with the prophecies , he compares the witches to “instruments of darkness [who] tell us truths/ Win us with In the thrilling Macbeth by William Shakespeare, he discusses the act of manipulation that one human does to another human being. Manipulation means that someone controls over influences another person in a unique way to gain an advantage of some sort. Shakespeare uses manipulation to give a characterization of dominance. Lady Macbeth starts with the dominance character but eventually the roles switch and Macbeth becomes dominant. Lady Macbeth uses the craft of manipulation and dominance over her husband. Shakespeare’s Macbeth revolves around the idea of power as it is the main theme. Power is constantly used and abused by characters who have much confidence and want to uphold certain titles and reputations. Shakespeare’s Macbeth shows that characters are willing to use their power for worse to gain respect and control of others. Because Macbeth’s and Lady Macbeth’s decision to murder Duncan, Both face the guilt of the power they abused portrays on the shadows that reflect on them as well as the natural consequences they will face. During the first half of the play, Lady Macbeth expresses her unnatural feelings and this is demonstrated through the corruption of power when she want’s to hire people to kill Duncan because she thinks that Macbeth is too scared. At first, when Lady Macbeth hinted “Their drenchèd natures lies as in a death”(1.7.78). This demonstrates that Lady Macbeth is characterizing corruption of power due to the fact that she want's to kill Duncan, therefore she can be queen of cawdor while Macbeth is king. One reason why I believe Lady Macbeth should be blamed for Macbeth’s downfall is that she is a manipulative person. While some people may solely accuse Macbeth of committing regicide, it was Lady Macbeth who manipulated Macbeth into doing these acts. Most people should remember that Macbeth tried backing out of Lady Macbeth’s plan, but she still insisted on getting him to proceed with the murder. Lady Macbeth tells Macbeth “When you durst do it, then you were a man;” (1.7.56) when Macbeth told Lady Macbeth that he was backing out. Lady Macbeth tries to emasculate Macbeth just because he doesn’t agree to go through with the murder. Women, Power and the Devil; although many may incline to believe this to be the feminist holy trinity, it is, in fact, men's worst fear. Going back from second-century Christian theologian Tertullian who claimed women to be the gate of Hell (2) to a notorious American businessman who recently accused this presidential candidate of being the Devil himself (Volk and Sullivan,"Trump calls Hillary Clinton ‘the devil’"), men have always been prone to demonize women in order to prove their unfitness to govern. Shakespeare is no stranger to this thought pattern which he explores in his 1606 play, Macbeth. Indeed, Shakespeare's vile portrayal of Lady Macbeth and the Witches in the play stems from the medieval demonization of women. Through his choice

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This article is an excerpt from the Shortform book guide to "How to Read Literature Like a Professor" by Thomas C. Foster. Shortform has the world's best summaries and analyses of books you should be reading. Like this article? Sign up for a free trial here. Why is geography important in literature? What do different geographies symbolize? When an author writes a book, one of the first decisions she needs to make is where it will take place. Geography is a conscious choice and is often used as a plot device. Sometimes, however, the geographical location of a story can tell a reader more about the author than the story. Continue reading to learn more about geography symbols in literature. Geography and Symbolism in Literature Every time an author sits down to write a story, one of the first questions he asks himself is where will this story take place? An intelligent reader will recognize the geography symbols of a novel as a conscious choice on the author’s part to deepen the story’s meaning. In literature, geography is not only about the earth’s physical features, like hills, rivers, and seas. Literary geography is about the ways in which a specific place forges the people who live there. Geography informs a novel’s: - Example: In Edgar Allen Poe’s “The Fall of the House of Usher,” the narrator describes the geography of the landscape in detail before ever getting to the house or the characters. By illustrating the dreary geography, he sets the mood of the story before it even begins. - Character development - Example: In Barbara Kingsolver’s The Bean Trees, the main character moves from her small hometown to the vast West coast. Her nature is reflected by this move—she opens her mind to new people and experiences and embraces personal growth. - Example: In E.M. Forster’s A Room with a View, the protagonist, Lucy, travels to Florence, where she falls in love and sheds off the societal stiffness she is used to. Forster’s use of geographic change is the prompt for the novel’s plot. Symbolism of Traveling South Characters go traveling in a lot of literary works, and often they travel south. There are a couple of different thematic elements you should look for in a novel when a character goes south: - Moving geographically south can be a symbol for going deep into the psyche. In “the south” (meaning any place south of where the character started), characters encounter new political ideas or philosophical viewpoints. Often the author is suggesting that those ideas were there all along, in the character’s subconscious. - Writers send characters south so that they can get into trouble. Whether the consequences are tragic or comic, the warmer climate and wider horizons associated with “the south” allow characters more room to run amok. Hills and Valleys Hills and valleys are another form of geography that have somewhat specific thematic implications. - Valleys and low land are associated with crowds, shadows, unpleasantness, swamps, and heat. - Hills and high places are used to signify snow, ice, clean air, good views, and isolation. As a reader, you should also consider an author’s personal geography when reading their work. For example, poet Theodore Roethke was largely influenced by his background in the Midwest. To truly understand and appreciate his poetry, the reader should understand how that midwesterness influenced his thematic concerns and artistic voice. ———End of Preview——— Like what you just read? Read the rest of the world's best book summary and analysis of Thomas C. Foster's "How to Read Literature Like a Professor" at Shortform. Here's what you'll find in our full How to Read Literature Like a Professor summary: - How to get more out of the novels that you read - Why you should focus on memory, symbols, and patterns to understand literature better - Why sex scenes aren't always about sex

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More than 70 percent of Earth’s surface is covered in water, yet lack of access to clean water is one of the most pressing challenges of our time. As of 2015, 29 percent of people globally suffer from lack of access to safely managed drinking water. More than double that number are at risk for water contamination from improper wastewater management. Poor water quality affects various aspects of society, from the spread of disease to crop growth to infant mortality. In some regions of the world, lack of sanitation infrastructure, water treatment facilities, or sanitary latrines lead to dire clean water crises. In several countries around the world, a major contributor to water contamination is open defecation—the practice of using fields, forests, lakes, rivers, or other natural, open areas to deposit feces. Almost one billion people worldwide still practice open defecation rather than using a toilet. It is particularly common in South Asian countries like India and Nepal, where it is practiced by about 32 percent of people in the region. A landlocked country in the Himalayas, Nepal has access to clean water from mountain rivers, but over 20 percent of the population lives below the poverty line. In a disturbing study, 75 percent of drinking water samples from schools in Nepal were contaminated with fecal bacteria. While open defecation is most common in rural communities, it still occurs in areas with sanitation access, indicating a need for awareness campaigns to teach the dangers of the practice. Moreover, pollution from open defecation is further complicated by contamination from natural disasters such as recurring floods. In sub-Saharan Africa, the proportion of the population practicing open defecation is slightly smaller—around 23 percent—but 40 percent of the population lacks safe drinking water. Moreover, the gender inequality in this region is more prominent than in South Asia. In sub-Saharan Africa, more than 25 percent of the population must walk 30 minutes or more to collect water, a burden that falls on women and girls the vast majority of the time. This trend of women tasked with the responsibility of water collection spans many developing nations and takes critical quality time away from income generation, child care, and household chores. Moreover, Africa has a high risk for desertification, which will reduce the availability of fresh water even further, and increase the threat of water inequality in the future. While South Asia and sub-Saharan Africa represent the largest percentage of people that lack access to safe drinking water, the water crisis is not limited to these areas, nor is it limited to developing countries. For example, the Arctic nations are deemed developed, but several suffer from water and sanitation challenges. Alaska in the United States, Russia, and Greenland all contain rural areas that lack safe in-house water and sanitation facilities. Some people living in these areas must not only carry their own water into their homes, they must also remove human waste themselves, collecting it and hauling it out of the home. The process is time consuming and risks contamination of household surfaces and drinking water. Furthermore, hauling water into homes is physically demanding, and storage capacity is limited, so households often function on inadequate water supplies. Several studies have connected these water-quality constraints with high disease rates in Arctic communities. Even in the United States and many nations in Europe, where advanced wastewater treatment facilities and expansive pipelines supply quality water to both cities and rural areas, poor system maintenance, infrastructure failures, and natural disasters reveal the very serious effects of poor water quality (even short-term) on developed nations. In a recent example, drinking water in Flint, Michigan, was inadequately treated beginning in 2014, and residents bathed in, cooked with, and drank water with toxic lead levels. Additionally, some communities in the contiguous United States chronically lack clean water and sanitation. According to the U.S. Environmental Protection Agency (EPA), in the Navajo Nation, the largest Native American reservation in the United States, almost 8,000 homes lack access to safe drinking water, and 7,500 have insufficient sewer facilities. Luckily, global organizations are committed to addressing the water-quality crisis. The 2030 Agenda for Sustainable Development from the United Nations tackles water inequality within one of its seventeen priority goals, to “ensure availability and sustainable management of water and sanitation for all.” This initiative is a continuation of the United Nations’ Millennium Development Goals from the 2000s, which also included goals to reduce the portion of the population that lacked access to infrastructure for quality water and sanitation. These goals have resulted in access to improved sources of drinking water for more than 90 percent of the world—and the 2030 Agenda seeks to continue to improve these numbers alongside greater strides in the area of sanitation. National Geographic Explorers are also committed to global water equality and are combatting these issues with diverse methods. Explorer Sasha Kramer is helping to implement sustainable sanitation practices in Haiti by recycling human waste into soil. Explorer Ashley Murray develops economically advantageous approaches to improving water quality in Ghana, exploring next-generation technologies and new business models to make waste management profitable. Explorer Alexandra Cousteau, granddaughter of the late and legendary Jacques Cousteau, uses storytelling and digital assets to educate people around the globe about the importance of water quality. Moreover, complementing these examples and the many other Explorer-driven efforts dedicated to improving water quality, Explorer Feliciano dos Santos uses music to educate remote villages in Mozambique about the importance of sanitation and hygiene.

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The Miracle of Language—How We Acquire It HAVE you ever been at a loss for words? Such moments are rare, for we usually delight in communicating our thoughts and feelings. Language allows us to do that. One authority asserts: “Thought is impossible without language.” True, in the animal world, creatures manage to exchange information without words: birds sing, lions roar, dolphins whistle, bees dance. Other creatures use postures and movements, touch and sound—even smell—as communication methods. ‘Keep your distance!’ ‘Look out!’ ‘Come and join me!’ These are animal messages that come across clearly! Animal communication, though, is quite limited. Language, on the other hand, allows humans to talk about anything they observe or imagine. Education professor Dennis Child thus claimed: “Language is a human being’s finest asset.” But how do we acquire this wonderful asset? And how can parents help their children to develop it? Language and the Brain How we learn to talk has intrigued scholars for centuries. Remarkably, young children who are barely able to walk and feed themselves learn to speak without even knowing the rules of grammar and without any special tutoring! Writes linguist Ronald A. Langacker: “[The child] masters . . . a linguistic system. He does this on the basis of indirect and fragmentary evidence, and at an age when he is not yet capable of logical, analytical thought.” Most scientists thus believe that the ability to learn a language—not the specific language—is inborn, an ability that unfolds during a child’s early years. At first, though, a child’s brain is too immature to master speech development. This, of course, does not stop a baby from trying. Indeed, some researchers believe that a tiny baby’s babbling is a part of speech development, a rehearsal of sorts for his later enunciating of words. As the baby struggles with vocalization, his brain is also rapidly preparing itself for speech. Though a child’s body develops relatively slowly in his preteen years, his brain reaches 90 percent of its adult weight by age five. (It reaches its full adult weight by about age 12.) That means that the first five years of life are a critical learning period, particularly the first two. During that time, billions of nerve cells in the brain’s cortex grow and branch, forming a densely interconnected web. Between 15 and 24 months of age, a dramatic spurt in brain-cell growth occurs. Now the brain is ready to handle the learning of language. Thus, it is critical that a child be exposed to language during these early years. Interestingly, the Bible speaks of a young man Timothy who was taught the Bible “from infancy.”—2 Timothy 3:15. Helping Children Develop Their Language Skills Mothers play an important role in a child’s speech development. A sensitive mother recognizes her baby’s signals and will talk with her baby often, long before it understands what she says. Nevertheless, the groundwork for speech is being laid. Soon the child responds to the mother’s words with words of its own. Researcher M. I. Lisina says: “It is clear that children’s speech emerges mainly as a means of interaction with surrounding people.” So fathers, siblings, grandparents, and friends can also share in the child’s speech development by means of conversation, storytelling, and reading. Swedish psychologist C. I. Sandström further observed that children who did best linguistically “had on average much better contact with adults. The families usually had breakfast together, and the children were allowed to take part in the conversation.” Conversely, youngsters with poor language ability “usually had breakfast alone” and “did not take part very much in the conversation at supper.” Family togetherness at mealtimes thus encourages language development. Taking your child with you on outings also provides you fine opportunities to develop his speech by explaining things to him in simple terms. Together, look into the mouth of a flower, watch a caterpillar eat a leaf, or a spider spin its web. Use your child’s natural inquisitiveness to expand his language. Talk about the animals you see at the zoo, the shells and pebbles along the pathways you walk, and the varieties of food you enjoy. True, all of this takes time and patience, but the results are so worth while! Parents have found another very valuable aid in teaching children at a young age to speak. This is by letting them listen regularly to the cassette recording of My Book of Bible Stories.* New words, new phrases and expressions, new depths of understanding will not only color your child’s speech but increase his intellectual capacity. And when you show how natural wonders relate to their Maker or discuss God’s purposes, a child’s love and appreciation for the Creator also deepen.—Deuteronomy 6:6-9. Fortunately, the potential to enlarge the quantity and improve the quality of language is not limited to our youthful years. Each day, we can further perfect our ability to communicate by learning new words and practicing good grammar. In this way, we take part in the continuing miracle of language, and rarely are we at a loss for words. Available from the publishers of this magazine.

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Grade 3 – Basics of Storytelling. Review of Literary Elements Activity for Any Text Use this activity to review plot setting. Pin By Lori Albertson On Perfettowritingroom Products Creative Writing Classes High School Literacy Teaching Language Arts Theme conflict characters and symbolism in connection with any story novel or play. Literary elements review worksheet. Work on Elements Of Literature Review Worksheet Hard and Big Assignments. Ad Download over 20000 K-8 worksheets covering math reading social studies and more. A Elements Of Literature Review Worksheet clue as to whether you should trust us Elements Of Literature Review Worksheet or not. CHARACTER This is a person animal or an object in fiction or drama. 100 Money Back Guarantee. Provide an example title of each of the following. – All pieces of literature even official documents have some sort of tone. ENG102 Literary Elements Review Worksheet Student Name. Literary elements review worksheet answers Aesop was a Greek writer who wrote stories called fables. Some of the worksheets for this concept are Reading strategies and literary elements Literary elements review work use your notes Literary terms work Short answer please write the appropriate word on the Reading strategies and literary elements A glossary of literary terms Literary elements handout the following are. FREE Unlimited Revisions According to our Policy. Students can prepare for this through repeated exposure to figurative language. Learn vocabulary terms and more with flashcards games and other study tools. Then save the document and upload it to the correct Dropbox folder. Students read the story and complete an activity sheet covering story structure and other reading skills. Plot Setting Conflict and Narration. Plot outline so far assignment The Three Little Pigs example. However there may be some terms or concepts that are not included in the lessons but appear on the test. These workbooks are perfect for both youngsters and grown ups to use. Identify characters setting plot and. The exercises are directly modeled after the end of grade test. 6 Introduction to Reading Strategies and Literary Elements Grade 9 Additional Concepts and Terms to Review The focus lessons cover all the literary terms listed in the state curriculum. Literary Elements Handout The following are literary elements and other terms that you will be held accountable for throughout our short story unit and each novelplay unit we complete this year. StaticvsDynamicastaticcharacterisonewhodoes notchangeadynamiconedoes Framestoryreferstoaliterary. This one features a story about a student who learns to resist peer pressure. Can a story have more than one type of conflict. Identify the page numbers where key elements of the plot take place. Learning More About Characters. Literature short story elements worksheet. This presentation outlines many commonly-tested literary elements and gives examples for each one. You should review the following terms with your. STUDENT LITERARY TERMS WORKSHEET. Suggested reading level for this text. Identify characters setting and plot including the characters problem and its solution. CCSSELA-LiteracyRL44 Determine the meaning of words and phrases as they are used in a text including those that allude to significant characters found in mythology eg Herculean. The air was humid and salty. Starting at the top of the castle students write the first action in the story. The highest point of interest or suspense in a story is known as the what of the. Know them backwards and forwards. Heres another worksheet to help students review plot story structure and elements of literature. Literary elements worksheet middle school. Free Printable Literary Elements Worksheets can be utilized by anyone in the home for instructing and. When an audience reserves judgement concerning implausibility of a situation we call it the willing. Print Literary Terms Worksheets Click the buttons to print each worksheet and associated answer key. Many literary terms for poetry and prose overlap. A Review Worksheet May 15 2020 Impact. CCSSELA-LiteracyRL34 Determine the meaning of words and phrases as they are used in a text distinguishing literal from nonliteral language. FREE Title Elements Of Literature Review Worksheet page Bibliography Formatting. 275 words page. We can either improve your writing before your teacher sees the work or. The tone of a piece of literature is what the speaker or narrator feels towards the subject rather than what the reader feels. Discounts for Regular. Double and Single Spacing. Who are the main characters. This fun activity makes for a great end of a unit or year project or summer reading assignment. Creating a Character Worksheet. Others only appear when an author puts them there. Plot Diagram assignment and The Three Little Pigs examples. Identifying Story Elements – Based on the passage what do you think is the theme of this book. Authors create the tone of their piece of writing through the use of various other literary elements. Each exercise contains two or three passages and a. They can be used as a classroom activity helpful study guide or review of the terms. Start studying Literary Elements Review Worksheet. Download this worksheet and then put your answers next to the question. Also included is a student worksheet for recording the definitions. Free Printable Literary Elements Worksheets Free Printable Literary Elements Worksheets can help a instructor or college student to find out and comprehend the lesson program inside a quicker way. Literary Elements Review Worksheet. Story Elements Worksheets To Print. Please highlight your answers. Essay Re-writing If your essay is already written and needs to be corrected for proper syntax grammar and spelling this option is for you. Discover learning games guided lessons and other interactive activities for children. Choose your grade topic. Students read through a fable and put the events in order. A fable is a story that gives a lesson at the end. Identify the characters setting and main plot of short texts. A comparison without using like or as. Grade 2 – Character Setting and Plot Worksheets. You as a character worksheet. Displaying top 8 worksheets found for – Literary Elements Review. Settings – I woke to the sound of water crashing over and over. Terms in this set 28 Yes. One of the two printable worksheets focuses on definitions and the other emphasizes recognizing examples of literary terms. Grade 1 – Story Elements Worksheets. 12 point Times New RomanArial. Some literary elements appear in every literary work. When sounds are loud and discordant Cacophony 2. Story Elements Posters Graphic Organizers Character Setting Problem More Literary Elements Reading Classroom School Reading Review Literature In A Snap With This One Page Worksheet Intended To Help Students Reflect U Middle School Lesson Plans School Worksheets Middle School Reading Literary Elements Summer Review Digital Printable Distance Learning Literary Elements Distance Learning Printable Activities Poetic Devices Worksheet 1 Preview Poetic Devices Poetry Worksheets Poetry Analysis Worksheet

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Keeping students excited and focused can be a difficult task for teachers. These resources will help kick off a course in weather and are geared to keep kids interested, especially kindergarten to fifth grade classes: Weather Lesson Plans Don’t know where to begin? These lesson plans are geared to help you implement your style of teaching or allow your present lessons to flow more efficiently by giving precise descriptions of the goals. Basic Aspects of Winter– First graders gain knowledge of the change of seasons. Curriculum Guide-Weather lesson plans and curriculum for fourth and fifth graders(.pdf). Puddles– Third and fourth grade lessons on the evaporation of puddles. Weather Maps– Lesson plans from the National Severe Storms Library. Weather Vocabulary– Weather lesson plan focusing on weather terminology. The Seasons– A course plan allowing students to discover why the weather changes and how. Dynamic Earth– Lesson plan for grades three through five with video support for educators. Weather Lessons– From weather vocabulary to the types of instruments and clouds, teachers are provided fun educational lesson plans. The Climate System– Educational module plan investigating the structure of climate. WebQuests are suited for working in teams and built to allow students to use their imaginations. Weather and Climate– Students are instructed to use the Internet to complete this weather WebQuest. Kindergarten Science – This WebQuest uses the student’s imagination to accomplish the task set before them. Tornadoes – Third grade WebQuest that creatively teaches students about tornado safety. The Ocean and Weather– Students are instructed to find the connection between weather conditions and ocean currents. Weather Extremes– For upper level grades, this WebQuest Lesson instructs students to use power point to correlate extreme weather with their life history. Weather C.A.M.P– A WebQuest allowing students to become meteorologists. This quest is geared toward sixth graders but there are suggestions for gearing it towards a younger class. Weather– This task is geared towards younger students and the fear of certain weather conditions. Cloud Quest– Elementary school quest to understanding the various types of clouds Sounds of Weather – A fifth grade team based WebQuest covering various aspects of weather. Interdisciplinary Weather Lessons These lessons provide tips and guidance on teaching weather with other subjects. Cloudy With a Chance of Meatballs– A five-day course for third graders combining lessons in weather, immigration and the food groups. Cloud Art– Teaching cloud types and formation through art. Where Art thou Weather?– Third graders use science, art, and language arts to learn about weather. Teaching Science Through Arts– Several examples of teaching weather through art for various grade levels. Sky Math– 16 classroom lessons combing math with weather. Severe Weather – Research lesson plan utilizing language arts to bring severe weather awareness. Clouds– A fun artistic lesson that teaches children how clouds are formed. Painting Weather– Using paint to depict weather and it affects on culture, life, and the state of mind. Weather Measurement– Lesson plan that makes the connection of math with determining weather temperature. Learning should be fun and exciting and using activities to educate will enhance the learning process for your students. These resources allow students to get a hands on understanding of weather. Ride the Snow– A collaborative activity reading the book Snow Riders and using dough to create snow characters from the book. Hurricanes – The Miami Museum of Science provides several weather activities on hurricanes. Atmosphere– Several atmosphere activities for data collection, predictions, temperature maps, and creative writing exploration. The Cycle of Water– Students will create their own cloud in a bottle. Science Vortexes – Two vortex activities, The Water Race & Tornado In A Bottle(.pdf). Wild Weather – Stormy activities for students to create extreme conditions. Make it Rain – A condensation experiment. Acid Rain – Students make acid rain followed by five lessons on acid rain and it effects on earth. The Cycle of Water– A game to teach the cycle of water. Weather Tracking– Weather tracking projects made by students for students. Two popular ideas for making a weather lesson more exciting are inviting a local meteorologist to speak to your class, or arranging a field trip to see a meteorologist at work. The kids will not only learn about weather but see how a TV station works and maybe even get on camera! The following resources are flooded with ideas for classroom guests and field trips. Each resource explains the process for planning class outings or classroom visits. While an idea or guest might not be located directly in your area, these resources could provide an idea for a similar trip or guest in your location. Weather Research Center– The museum provides weather camps and guided tours. Museum of Science– School Programs for in school demonstration of weather. Weather Discovery Center – The outreach program of the observatory consists of teacher training and demonstrations for students. American Museum of Natural History – The museum provides programs for field trips and classes on the science of weather. The Northeast Science Center Collaborative – A six-week climate program for fourth, fifth, and sixth graders. The John C. Freeman Weather Museum– The only weather museum in America. Free tours are provided. Located in Houston, Texas.

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The Examination Papers We set our own entrance papers which are designed to identify potential and innate ability rather than test what has been taught. Past papers are not released, but the commercially available 11+ papers and our online Maths Wizard Challenge and Bookworms webpage can provide you useful practice and preparation. You may also find the following information helpful: Our Maths paper is intended to assess mathematical ability and potential rather than test mathematical knowledge. Questions focus on problem solving and often involve two or three different stages. Candidates should have a good understanding of mathematical techniques (addition, subtraction, multiplication and division) and, equally importantly, know how and when to apply them to solve mathematical problems. Questions include some simple calculations, number patterns and relations, spatial relations and elementary logical reasoning. For example: - Give the next term in each of the following series: - The distance round a square is 12 metres. What is its area? - If a*b means add a and b and divide the result by two (e.g. 3*5 = 4), find the numbers meant by 8*4, 21*3, 6*7. Calculators are not allowed in the tests. Our Creative Writing paper tests writing skills. Candidates are asked to complete either a piece of creative or a descriptive piece based on an image. Liveliness and sensitivity in style and vocabulary will be rewarded, as well as an ability to invent convincing dialogue. The composition should comprise of controlled sentences of varied length and pattern, and should be coherent as a whole. In setting this paper, it is assumed that boys have read a wide range of the best children’s novels, by authors such as Gillian Cross, Terry Pratchett, Rosemary Sutcliff, Robert Westall or Philip Pullman. Candidates are expected to write legibly (in ink, ball-point or pencil), to spell and punctuate reasonably well, and to express themselves in grammatical English. It is important that the candidates’ writing is directly linked to the stimulus image. Words & Reasoning The Words & Reasoning paper tests candidates’ ability to extract information from a factual passage and from material such as maps or timetables. It assumes that boys will have read a good deal of non-fiction appropriate to their age: science and history, for instance, and informative books on their hobbies. The paper also includes questions about the meaning and use of words and some simple verbal and visual puzzles. The questions on the passage are in multiple-choice format, a few questions may take the slightly more awkward negative form: “All the following are true EXCEPT one. Choose the one that is not true.”

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Often students are unaware that education is a journey from the external to the internal: From information to knowledge and from knowledge to realization. As educators, we naturally study educational theories. Theories of learning such as behaviorism, cognitive psychology, constructivism, social learning, and more have been discussed and developed responses to the phenomenon of learning, yet in classroom practice (cyberspace or physical), we are still perplexed by the mystery of learning and continue to search, know, and apply improved instructional methods for improved learning. In this regard, Vedic learning from ancient India comes to mind. In ancient India, among the many paths of learning for self-realization, students of the Vedas also learn to apply three basic sequential techniques for mastering a subject matter: Śravaṇa (listening), Manana (reflection/contemplation/clearing of doubts), and Nididhyasana (meditation on the truth/integration/experience). Though the three techniques were expounded to gain the knowledge of the Self, these methodologies remain relevant and applicable even in today’s world of education. In light of the learning difficulties faced by students in online classes, adapting Vedic techniques to course design and lesson plans, especially in the first weeks of school, might help set a foundation for a successful inward journey from dependence on the teacher to independence and self-reliance regarding the subject. Śravaṇa: Hearing and listening to the guru The first step, Śravaṇa, refers to hearing or listening to the Guru. In an online learning module, the lesson imparted by the teacher, in the form of audio-video lectures, readings, or demonstrations, is the beginning of the learning. The teacher guides the student through the information, and the most important requirement is the student’s focus and attention. In this stage, the teacher reminds students to keep the mind clear of preconceptions and misconceptions of the topic, as well as prejudices about the subject of study. In How Adults Learn: A Reflective Essay (2017), Dr. Sridevi Yerrabati says, “One of the things that surprised me was that the students were relying on culturally-and socially-imposed experiences or preconceived notions, rather than what they had experienced directly.” Hence, the teacher might build from the premise that less clutter in the mind will make space for better focus, which is likely to make their journey through the next two stages smoother. In light of Śravaṇa, an online module could be designed with a title that indicates the attitude needed by the learner. The title could be suggestive of how to approach the module. Here is an example: - Stage 1 of Learning: Listening/Reading/Understanding (How focused are you?) To such a module, besides readings and lectures, a teacher could add formative assessments and/or games that allow students to practice attentiveness and focus (without affecting the grade). Canvas Studio, Hot Potatoes, EdPuzzle, and Quizlet are a few tools to achieve this. Śravaṇa is also similar to Thornburg’s “campfire” concept expressed in Campfires in Cyberspace (2004). He says, “There is a sacred quality to teaching as storytelling, and this activity took place in sacred places, typically around the fire. The focal point of the flame, the sounds of the night, all provide backdrop to the storyteller who shares wisdom with students who, in their turn, become storytellers to the next generation.” In this sense, “campfire” is the sacred space for Śravaṇa, the Guru’s impartation of wisdom, and appears similar to cognitivism, yet the student is not a passive recipient of knowledge but a determinant of the true meaning in it. This is the beginning of the learning. In today’s online environment, the Guru’s role may have changed to that of a guide, but the framework remains the same as that of the triad: Teacher, medium of teaching, and student. Manana: Reflecting, contemplating, and clearing of doubts From Śravaṇa, students move on to Manana—reflecting, contemplating, and clearing of doubts. Here, they reason and analyze until they clearly understand the subject at hand. They work through doubts, misunderstandings, and confusion in the process of analysis. Their goal is to fully understand the teachings of the Guru. This is the space and time for questioning the teacher and discoursing with classmates. Making notes and repeated reading are necessary here, and such studying takes time and requires discipline. In an online-learning module, the title of the module could be, for example: - Stage 2 of Learning: Reflecting on the readings and converting the understanding to knowledge.” The Manana module can hold discussions and other activities such as blogging and community conversations. Today’s Learning Management Systems hold excellent discussion tools and are integrated with educational applications such as Padlet. In terms of Thornburg’s Campfires in Cyberspace, Manana could connect to the “watering hole,” though in Vedic methodology Manana is related to a Q&A with the teacher, but the idea could just as easily apply to an online module. The emphasis is on reflection with the goal of attaining wisdom. Manana, one can guess, comes close to constructivism and social learning theories. It’s important to reiterate that Manana is the act of digging deeply into the information derived during the Śravaṇa stage. Nididhyasana: Deepening knowledge and realizations From Manana, students move to Nididhyasana, where knowledge deepens and realizations arise. This is the meditative stage where one is solo. The knowledge derived or built from the first two stages is internalized here so that it becomes a living reality. The learning is applied and practiced. With doubts cleared, students move to experience and conviction. The journey doesn’t end here because Nididhyasana continues beyond the course. In reference to Thornburg, Nididhyasana could relate to the “cave” where one retreats for deeper contemplation. In a learning module, this stage could be titled as follows: - Stage 3 of Learning: Integrating (It’s not enough to know. Can you implement this knowledge? Experience it? Let it flow easily into action?) Thornburg says, “There is one other primordial learning environment of great importance: the cave—where we came in contact with ourselves.” Operating in the full power of the Self is the Nididhyasana stage. In such a module, assignments such as essays or exams can be included. Even if a group project were assigned, individual contributions would still require solo retreating to the “cave” as well as a demonstration of the ability to implement the knowledge or skill. This shows that Nididhyasana is indispensable for learning to come to fruition in the form of realization or wisdom. In the Vedic age, much emphasis was given to the student’s mental environment as a healthy, attentive, focused mind would complete the journey from information to realization with ease. These Vedic techniques appear to be more relevant and needed today in view of struggling, overworked, underprivileged, and distracted students. If a learning technique can empower a student’s mind and is a 5,000-year old tested methodology, then adding it to the teacher’s toolkit might just be logical and rewarding to the student and the teacher. Nita Gopal is a professor of English at Modesto Junior College, California, and has been teaching online since 2006. Thornburg, David D. (2004). “Campfires in Cyberspace: Primordial Metaphors for Learning in the 21st Century.” International Journal of Instructional Technology and Distance Learning. Vol.1, No.10. Yerrabati, Sridevi. (2017). “How Adults Learn: A Reflective Essay.” Compass: Journal of Learning and Teaching. VOL. 10, No. 1.

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Mission to Titan announces ambitious science goals Saturn’s largest moon Titan is an extraordinary world. We know it has sand dunes, lakes, seas, streambed, a substantial atmosphere, weather systems like Earth and methane rain – but we barely know any details about it. In the mid-2030s NASA plans to explore this promising moon in depth, sending a flying, drone-like rover called Dragonfly that will be capable of jetting across the surface using rotorblades. But what will it study? Last week, the Dragonfly team announced their ambitious science goals in The Planetary Science Journal. “Titan represents an explorer’s utopia,” says co-author Alex Hayes from the University of Idaho. “The science questions we have…are very broad because we don’t know much about what is actually going on at the surface yet. “My primary science interests are in understanding Titan as a complex Earth-like world and trying to understand the processes that are driving its evolution.” Some of the most exciting aims are to search for chemical biosignatures, to study the moon’s methane cycle, and to explore the prebiotic chemistry to see if life could exist there. “For every question we answered during the Cassini mission’s exploration of Titan from Saturn orbit, we gained 10 new ones,” Hayes says. Scientists from the Queensland Museum have discovered five new species of golden trapdoor spiders in south-east Queensland, from inner-city Brisbane to the Gold Coast hinterlands. “We have been working on this project for a few years, as a number of these species look very similar and live near each other, which meant we had to compare a large amount of evidence to describe these five new species,” says Michael Rix, co-author of the paper published in Invertebrate Systematics. “When we describe a new species we need to consider their morphology, or what they look like, but also compare their DNA to see how similar genetically they are, and then of course where they are found.” Lead author Jeremy Wilson says that although the spiders are generally not actually golden, they are a “remarkable group of spiders and are very interesting in that they are so varied, from being very spiny to being quite large – some of them have bodies that are around four centimetres in length”. Rix concludes: “This work is especially important and timely as we try to protect those species still living in remnant habitats in urban environments around Brisbane.” Chain mail for the modern day Scientists led by the California Institute of Technology in the US have created a ‘smart fabric’ inspired by medieval times. Like chain mail, it can turn from pliable to rigid and then back again. It is made up of interlinked 3D polymer elements, and under normal conditions it can be flexibly draped over objects. But when under pressure or compressed, the interlinked particles jam together and become 25 times stiffer, able to hold loads over 30 times the material’s own weight. “Our work provides routes towards lightweight, tunable and adaptive fabrics, with potential applications in wearable exoskeletons, haptic architectures and reconfigurable medical supports,” the authors write in their paper, published in the journal Nature. Sharks coasted through the dinosaurs’ demise While dinosaurs rose and fell in a dramatic extinction, sharks were just hanging out wondering what all the fuss was about, according to a team led by Mohamad Bazzi of Uppsala University, Sweden. The researchers looked at 1,239 fossilised shark teeth spanning 27 million years to get an idea of shark diversity through the ages. This period of time overlapped with the mass extinction event 66 million years ago that wiped out a vast number of species, including all non-avian dinosaurs. But shark diversity didn’t suffer overall – they just kept on swimming, according to the study published in PLOS Biology. Some apex predators (characterised by with triangular, blade-like teeth) were impacted during this time, but other groups (like the Odontaspididae family, with narrow, cusped teeth adapted for feeding on fish) increased in diversity, which may have been a result of the diversification of prey species. Country, culture, community Teaching and retaining Indigenous languages are intrinsically linked to people’s connection to their country, culture and community, say Australian researchers. A recent paper in The Journal of the Acoustical Society of America has investigated the phonetics of three Central Australian languages – Arrernte, Pitjantjatjara and Warlpiri. “Our study of consonant articulation among 21 speakers of these three neighbouring Central Australian languages highlights the unique use of language and subtle differences between the users,” says lead author Marija Tabain, from La Trobe University. Co-author Andrew Butcher from Flinders University adds: “This ongoing research is increasingly confirming the uniqueness of Aboriginal languages, particularly as regards their sound systems and range of articulations.” As some of the oldest surviving languages in the world, Indigenous Australian languages could “tell us more about human languages in general,” Butcher says. The work also highlights that preserving language means more than just words – it’s key to holding onto a vast diversity of traditions and knowledge systems. Lauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University. Read science facts, not fiction... There’s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.

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Name of Book: The Bracelet Author: Yoshiko Uchida Audience: Ages 4-9 Summary: During World War II, Second grader Emi is one of thousands told they must give up everything and move to an internment camp. Why? Because their relatives came from Japan. In many cases, as in Emi’s, those relatives came one or two generations before this and they are now citizens of the United States, but that does not matter. They are considered possible traitors or spies. While they are packing, Emi’s best friend Laurie comes to say goodbye and gives her a gold bracelet. Emi promises to always wear it to remember her friend. When Emi arrives in Montana, she realizes she has lost the bracelet. At first she is upset as the bracelet was the only link she had with her friend. As time passes, though, she begins to realize that she does not need the bracelet to remember her friend. Literary elements at work in the story: Uchida uses a simple, descriptive style, that allows a child’s feelings to show through without becoming sentimental. Yardley’s watercolor illustrations match the characters and are historically accurate. How does the perspective on gender/race/culture/economics/ability make a difference to the story: This story is about the history of the Japanese Americans in the United States during World War II. The history is portrayed with grace without diluting the fact that it was wrong. The conversations with Emi and Laurie are particularity good at showing how confusing this part of our history was. An afterword gives historical context to the story. Scripture: Jonah 2: 1-9. When Jonah first arrived in the belly of the whale, he must have felt a bit like Emi when she lost her bracelet. He must have felt that he had lost all connection with the outside world. However, he, like Emi, begin to remember and understand and eventually hope comes. With hope he, like Emi, can see clearly. For Emi it means that she will not forget her past. For Jonah hope means that even in the belly of the whale, God will save him. When you are in the “belly of the whale,” when you are in distress, pray as Jonah did, as if you are already saved, for you are! - How did Emi feel about leaving her home? - What did the bracelet mean/represent to her? - How did she overcome her unhappiness about loosing the bracelet? - Have you ever been sad like Emi was when she had to leave her home and when she lost her bracelet? - What did you do? - How did Jonah feel about being in the belly of the whale? - Who did he come to understand would save him? - Can you think of something that makes you unhappy? - Can we go around the table and ask God to help us find hope in our unhappiness? Review prepared by guest blogger Janet Lloyd The Bracelet by Storypath is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

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Kindle Edition Hi all ye budding writers, hiding in your closets! It can be used for all levels from beginner to advanced. Show students an image and have them generate questions or speculate about the picture. Example for Lower-Level Students For lower level students, this can be purely descriptive: What do you see? I see a house, a car, and some people. What colour is the car? What is happening in this picture? How does that person feel? Why do you think so? Example for Advanced Students For more advanced students, use an unusual image. Encourage them to create a narrative to explain the story. This activity can also be done with writing. You could have students create a story about the picture in a few minutes. Or, you could have them write an explanation for what happened. Teaching Tips for Picture Prompt: You can find collections of unusual images online which are perfect for advanced students to create their narratives. If you want to use this as a writing activity with beginner or low intermediate students, give them a worksheet of questions to answer. If you have more advanced students in a writing class, more options are available to you for what you can do. In advance, prepare an image, either PowerPoint or a picture large enough for the class to easily see. Divide students into pairs or small groups optional. Depending on the level of the students: Elicit descriptive sentences about the image. Encourage them to make their own questions to ask a partner. Have them create a narrative about the image. Unusual images work well for this. Optionally, have students write their responses.Pictures and photographs implicitly convey a narrative—and that makes them ideal writing prompts for generating new short story ideas. You can use a picture as a writing prompt in a solo exercise or with a class or writing group. They must write a story based on the picture. If you have recording equipment available students could record their completed stories. This could then be played to all students while they look at a copy of all the original pictures. Invite your students to choose one of these creative writing prompts for teens. Options include describing a personal experience as if it were a movie, developing fun poems or stories, writing about their first name, creating a story using only one-syllable words, or exploring point of view. Writing packet with lots of pictures to help prompt students into writing a story, writing prompts and other ideas. Paragraphs (upper elem/middle) Writing Prompts Use this 'Writing Prompts: Paragraphs (upper elem/middle)' printable worksheet in the classroom or at home. Week 2 Day 1: Generate Ideas/Seed Story Show students a picture of a watermelon slice and tell students that the watermelon is the big picture and the watermelon seeds are . Promote imagination and adventure with these journal prompts and creative writing story starters. Students will love the chance to write something unique! Promote imagination and adventure with these new journal prompts and creative writing story starters.

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How do cells regulate their size? UK researchers have answered this long-standing question in biology. Turns out, they use their DNA content as an internal scale to check how big they are. Cells are the building blocks of life, and like life itself they come in all shapes and sizes. Most eukaryotic cells range between one and 100 micrometres, while neurons, for example, are thin cells that reach up to several centimetres long. Eggs are actually single cells – ostrich eggs are the biggest of all, spanning up to 13 centimetres in diameter. Each type of cell has a characteristic size that it reaches before it divides into two daughter cells to reproduce. Biologists have long wondered how cells know when they have reached this threshold. In a new study published in Science, researchers from the John Innes Centre in the UK set out to answer the question of “how do cells regulate their size?” by looking at the growing tips of plants, where new meristem cells are created to make leaves, flowers and stems. Following the growth and division of these cells over time, the team found that although cells might start life with different sizes, they all reached a consistent size by the time they were ready to replicate their DNA and split into two. Delving deeper, the researchers found that regardless of initial size, each cell is born with the same amount of the KRP4 protein. This protein’s role is to delay the start of DNA replication. This means that if a cell is born too small, the protein will delay the DNA replication for longer and give the cell time to catch up and grow to the right size – and vice versa for cells born too big. To make sure every cell starts off with the same amount of KRP4, this protein hitches a ride on the DNA when a cell splits into two, and any excess KRP4 not bound to the DNA is destroyed by another protein called FBL17. This means the identical newborn cells inherit equal amounts of KRP4. “It has been suggested for a long time that DNA could be used as a scale for cell size, but it was unclear how cells could read the scale and use the information,” explains co-author of the study, Robert Sablowski. How, he asks, can a cell know how much it has grown when most of its components increase at the same rate, so can’t be as a fixed comparison? “One exception is DNA, which exists in the cell in a discrete amount – its amount precisely doubles before cell division, but it does not vary with cell growth,” Sablowski explains. How do cells regulate their size? “The key is to use the DNA as a template to accumulate the right amount of a protein, which then needs to be diluted before the cell divides. It’s exciting to come across such a simple solution to a long-standing problem.” - Rotifers survive being frozen for 24,000 years - Genome of resurrected plant is sequenced for the first time ever - Rules that govern how cells work Lauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University. Read science facts, not fiction... There’s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.

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Democratic Politics -II Chapter 2 NCERT Book Solutions For Class 10 Civics CBSE Term I Free PDF Download Federalism Chapter 2 of NCERT Solutions for Class 10 Civics illustrates how power might be divided to account for language and regional differences. Students will find questions based on the chapter after reading it. As a result, we have provided NCERT Solutions for Class 10 Civics Chapter 2 – Federalism to assist them. The answers to all of the practise questions developed by subject specialists are included in these solutions. The Solutions will also assist students in gaining a better understanding of the most effective answer writing techniques. NCERT Solutions for Class 10 Civics Chapter 2 Federalism are available to download. Frequently Asked Questions (FAQs) about NCERT Solutions for Political Science Chapter 2 in Class 10 Make a list of the key concepts taught in Chapter 2 of the NCERT Solutions for Class 10 Political Science book. The following are some of the key themes taught in Chapter 2 of NCERT Solutions for Class 10 Political Science: - What is the definition of federalism? - What distinguishes India as a federal republic? - How does federalism work in practise? - Language regulations - Relationship between the centre and the states - India’s decentralisation Students can use the NCERT Solutions at Infinity learn’S to get a better understanding of these concepts. Every idea is explained in an engaging manner to ensure that students may ace the exam without fear. Why is it vital to study the NCERT Solutions for Class 10 Political Science Chapter 2 for the CBSE Term I exam? The NCERT Solutions for Class 10 Political Science Chapter 2 are designed to help students grasp the proper writing pattern for the various questions that will appear in the test. Students will be able to study for the CBSE Term I test and score well by referring to these solutions. The solutions include extensive and elaborate explanations to assist students in achieving a higher academic score. Students can access Infinity learn’S solutions from any location and at any time, with no time limits. What are the benefits of using Infinity learn’S NCERT Solutions for Political Science Chapter 2 in Class 10? The following are some of the benefits of using Infinity learn’S NCERT Solutions for Class 10 Political Science Chapter 2: - The solutions are written in plain English to assist students in their exam preparation. - The information is organised in such a way that pupils may easily relate to the concepts. - Students can save time by using the NCERT Solutions during revision. - Correct answers based on the most recent CBSE norms and syllabus. - Solutions are accessible in PDF format for free.

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1-4 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 to interpret a message by summarizing, asking questions, and making comments; B follow and give complex oral instructions to perform specific tasks, answer questions, or solve problems; C advocate a position using anecdotes, analogies, and/or illustrations employing eye contact, speaking rate, volume, enunciation, a variety of natural gestures, and conventions of language to communicate ideas effectively; and D participate collaboratively in discussions, plan agendas with clear goals and deadlines, set time limits for speakers, take notes, and vote on key issues. 2 Listening, speaking, reading, writing, and thinking--vocabulary. The student uses newly acquired vocabulary expressively. A use print or digital resources to determine the meaning, syllabication, pronunciation, word origin, and part of speech; 3 Listening, speaking, reading, writing, and thinking--fluency. The student reads grade-level text with fluency and comprehension. The student is expected to adjust fluency when reading grade-level text based on the reading purpose. 4 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. 5 Comprehension skills 5 Listening, speaking, reading, writing, and thinking using multiple texts. The student uses metacognitive skills to both develop and deepen comprehension of increasingly complex texts. A establish purpose for reading assigned and self-selected texts; 7 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 analyze how themes are developed through the interaction of characters and events; B analyze how characters' motivations and behaviors influence events and resolution of the conflict; C analyze non-linear plot development such as flashbacks, foreshadowing, subplots, and parallel plot structures and compare it to linear plot development; and D explain how the setting influences the values and beliefs of characters. 8 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 literary genres such as realistic fiction, adventure stories, historical fiction, mysteries, humor, fantasy, science fiction, and short stories; B analyze the effect of graphical elements such as punctuation and line length in poems across a variety of poetic forms such as epic, lyric, and humorous poetry; C analyze how playwrights develop dramatic action through the use of acts and scenes; D analyze characteristics and structural elements of informational text, including: i the controlling idea or thesis with supporting evidence; F analyze characteristics of multimodal and digital texts. 9 Author's purpose and craft 9 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; 10 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 appropriate for a particular topic, purpose, and audience using a range of strategies such as discussion, background reading, and personal interests;

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The month of November is National Native American Heritage month, but it hasn’t been that way until recently. In 1990 President George H.W. Bush proclaimed that November 1990 as “National American Indian Heritage Month.” Then starting in 1994 and every year since similar proclamations have been made, but under different names that make November Native American Heritage month. In 1915, the first “American Indian Day” was proposed by the American Indian Association. The president of the American Indian Association, Rev. Sherman Coolidge, an Arapahoe Indian, proposed the second Saturday of each May as an American Indian Day. It was also the first time a formal appeal was made to have Indians recognized as citizens. However, a year before this, Red Fox James, a Blackfoot Indian, rode horseback to each state in the country seeking help to make a day to honor Indians. At the end of 1915 he presented the endorsements of 24 states to the White House, but there are no records stating if his efforts were successful or not. His efforts most likely helped Indians gain ground in getting a day to honor them. In 1916, the very first “American Indian Day” was declared on the second Saturday in May by the Governor of New York. Others states would follow suit after New York by declaring the fourth Friday in September a day to honor Indians. Our own state of Illinois would eventually enact a day to honor Indians in 1919. Lewis and Clark Community College hosted its own Native American Heritage month event on Nov. 14 in the Ann Whitney Olin Theatre. Two Native American speakers came to campus to share stories and speak about Native American culture. The first speaker was Dolores Santha, but she went by her storytelling name “Grandma Coyote” for this event. Grandma Coyote shared different Native American stories that she had heard from her parents and other family members growing up. The stories she shared had underlining lessons to be learned from them, like many stories older generations would tell their children. One story was about an opossum that would flaunt his beautiful tail around in an attempt to make everyone else feel jealous. However, one day his tail was taken from him a replaced with an ugly one. The lesson to be learned was that you should always appreciate what you have because one day you could have nothing. “Grandma Coyote was sweet as pie”, said L&C Student Val Blandina. “She told me all about the beautiful turquoise jewelry she made. It was interesting to have the opportunity to talk somebody about Native American culture during Native American Heritage month.” The other speaker was Sherry Echo-Hawk Taluc of the Pawnee Nation. She explained how Native American beading is done and showed the crowd different examples of beading that she has made over the years. Beads were an important part of Native American culture because they heavily used them in the creation of necklaces, jewelry, and other accessories. She also discussed the importance of agriculture in the Pawnee heritage. The Pawnee people used to have over 25 different varieties of corn, but today they are only down to a handful. However, thanks to people like Sherry efforts have been made to start regrowing the remaining variations of corn the Pawnee people have. They are trying to regrow the corn in the same lands the Pawnee people occupied years ago to keep the crop the same as it’s always been. “It was a treat to learn about other people’s culture,” said, L&C student Shelby Clayton. “It was also nice to know that efforts are being made to bring back native agriculture as well.” ALEX ST. PETERS

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The songs of fin whales can be used to survey the ocean crust, international researchers have just discovered. With a population of about 100,000, fin whales (Balaenoptera physalus) inhabit the oceans from pole to pole. Their calls are one of the strongest animal vocalisations known, reaching up to 189 decibels – similar to the noise produced by large ships – and carrying across hundreds of kilometres. Now, a new study in Science explains that these powerful calls can be used for seismic imaging. - Fin whale calls can penetrate the ocean floor as a seismic wave and reflect back off its various layers - The return signal gives scientists insight into the structure of the ocean crust - This natural seismic imaging technique is fairly low resolution, but could complement traditional surveying - The calls of other animals, like sperm whales, could provide a higher resolution picture The discovery was made coincidentally by seismologist Václav Kuna, from the Czech Academy of Sciences, who was studying earthquakes in the Pacific Ocean off the coast of Oregon, US. “Accidentally, I found fin whale call recordings in our data,” Kuna says – not just waterborne signals but also some that had been reflected and refracted from the oceanic crust. When the call hits the ocean floor, part of its energy is transmitted into the ground as a seismic wave, which travels into the crust and bounces off the various layers. By picking up the return signal, Kuna explains, they can “estimate the thickness and seismic velocities of these layers”. This discovery made him wonder if fin whale songs could complement seismic surveys. Currently, seismic ocean surveys use high-energy airgun signals to send shockwaves down to the seabed from a ship. These penetrate the Earth’s crust and reflect back in ways that allow scientists to determine the structure and composition of the layers beneath the surface – including potential deposits of oil and gas. The airguns generate explosive, high-decibel pulses that are among the loudest human-made sounds in the ocean, but – as scientists have warned for decades – as the marine landscape gets louder, wildlife is being negatively affected. Kuna’s research raises the possibility that natural sounds could also be used. However, the novel method tested does provide a lower-resolution picture of the ocean crust than airgun surveys, because fin whale calls only cover low frequencies within a narrow band. But in their paper, the team note that “higher-pitch whale vocalisations with a broader frequency band, such as those of sperm whales, could be used for high-resolution studies of the ocean floor sediments”. Still, fin whale calls could be useful. This method could be used to improve current methods to locate earthquakes, as well as to improve our understanding of the shallow ocean crust and ocean sediments, providing important knowledge for disciplines such as geology and climatology. This study also reveals that animal vocalisations carry more information than previously thought. Kuna notes that they “are useful not only for studying the animals themselves but also for investigating the environment that they inhabit”. Hopefully, this research will encourage other scientists to look seriously at the applications of marine animal vocalisations. “It is better to utilise sounds already available in the ocean than add more human-made noises that may harm ocean wildlife,” Kuna concludes. Lauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University. Read science facts, not fiction... There’s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.

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CHOICE Project: D&D Workshops and How can we encourage young people to pursue careers in science, technology, engineering, and mathematics (STEM)? How can STEM subjects be taught in new ways? The CHOICE project takes a multidisciplinary and collaborative approach to STEM education by involving students, teachers, and company representatives in the creation of STEM-based Open Educational Resources (OER). Teachers from Italy, Cyprus, Greece, and Spain together with students jointly developed innovative OERs through a series of Design & Development workshops that took place at participating schools in 2021 as part of the CHOICE project. These resources are based on the STE(A)M approach, which integrates the disciplines of Science, Technology, Engineering and Mathematics with the arts (A for Arts) and other academic disciplines (A for All). This approach, combined with a co-creation methodology involving teachers and students, enables the development of innovative resources aimed at nurturing the interest of future generations in STEM subjects. The CHOICE resources focus on the following macro-areas: Arts and STEM disciplines Language teaching in the study of the STEM disciplines Using technology in social sciences Turning sport and physical activity into a STEM learning experience The Liceo Benedetto Croce in Palermo started co-creation workshops in March 2021. The first co-creation team created a resource that combines Art and Math and is inspired by and named after Vincent van Gogh's famous painting "The Starry Night." This resource employs origami to bring Mathematics to life and to connect it with art and creativity, all while engaging students in active learning by doing. The students used origami forms to recreate some of the elements and shapes of the famous Van Gogh painting, while also deepening their understanding of some complex mathematical and geometrical theorems and principles. The second co-creation team participated in an experiential project centred on physics, chemistry, and their applications in ecology. The students conducted a series of laboratory experiments in the context of an "Ecological House," allowing them to investigate and comprehend the production of energy from alternative sources (solar and wind energy), energy collection, storage, and savings. The third team worked on the resource "The winning strategies," which focuses on economics, mathematics, and sociology and uses technology in the social sciences. In a team game, the students used game theory and rational choice theory to solve the "prisoner's dilemma," analyse an opponent's tactics, and reason about their own tactics. They used digital tools such as spreadsheets to analyse and evaluate data during the process. Students' active participation in the creation of educational resources was fundamental in ensuring that the resources will be of interest to their peers and aligned with their own background knowledge. The final two resources developed at the Liceo Benedetto Croce in Palermo concentrate on robotics and coding, as well as the role of STEM in sports and leading a healthy lifestyle. In Spain, co-creation teams were formed with 8-12 members, involving professionals from the engineering and computing field, as well as teachers from other disciplines and students of various ages and interests. The workshops took place during a challenging time due to pandemic, therefore, the co-creation teams joined massive online brainstorming events, during which they decided the topics on which their OERs would focus. Subsequently, the design and development workshops took place over a period of six weeks in a face-to-face format, during which teachers and students co-created informative and entertaining educational material. A total of 30 students and 15 teachers were involved. One of the most significant achievements of the Spanish partners, was that the teachers’ training on the use of the developed OERs was recognized and certified by the Catalan Educational Administration (Departament d'Educació de la Generalitat de Catalunya). As a result, the Catalan Educational Administration distributed the training to Secondary School teachers and provided training participants with a certification. In Greece the final workshop for the design and development of educational resources took place on Tuesday, June 1, 2021, and was attended by academics and labour market representatives, effectively supporting teachers and students. During this final workshop, members of the co-creation teams, involving both students and teachers, presented skills and knowledge gained through the workshops implemented as part of the CHOICE project, during which they developed OERs on the use of radioisotopes in medicine, reuse of waste material in sports, the identification of the Golden Ratio in works of art and the natural world, the creation of an educational game related to the pandemic, and the creation of a mobile video game through which students become aware of the crucial issue of achieving the 17 UN Sustainable Development Goals. In Cyprus, co-creation teams were formed involving 3 teachers and 12-15 students aged 13 to 15 years old. The developed OERs focus on understanding biological structures through the creation of 3D models, understanding how a disease may become a pandemic through the combination of research on pandemics and robotics, learning about a biological phenomenon, such as bioluminescence through writing and presenting a report on a foreign language, becoming aware of issues related to internet safety through a creative form of digital storytelling and finally learning how to design cycling routes through the use of digital tools. All of these 20 OERs developed were then combined to create the CHOICE MOOC (Massive Online Open Course), which is freely accessible by teachers and students who are interested in delivering and following the OERs, respectively, through the CHOICE MOOC platform: https://mooc.euchoice.eu/home

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The illustration is one of the greatest and most recent forms of graphical representation. To be more specific this is an art of storytelling through graphical elements. We in this world have seen a number of kinds of illustrations contemporarily. Amongst many of the types of illustrations, one of them is children’s book illustration. Children usually understand things through seeing rather than any of the other sense and this is the reason that this kind of illustration has got such tremendous popularity and we now see cheap illustrator for children’s books in the world offering quality services to get the same done. Here in this blog, we would discuss the process of making children’s book illustration. - Know What You Are Working On The first thing that every professional in the world has to contemplate upon is to understand their respective fields and tasks. Without the same, the efficiency of the work might be lost and this is the reason that knowing the things they are working on. Illustrators who are working on the children’s book must get the idea about their project or the brand they are working for. - Keep It Simple Yet Creative The main purpose of children’s book illustration is to deliver the message with something that is attractive and this why this is one of the things that is included in the process of the children’s book illustration. Here you need to plan the illustrations that are simple and understandable. While planning the same you must also think how creatively you can make things to be. - Express It With Colors and Cartoons Colors and cartoons are two things that are liked by any child. This is one of the reason that while going for the children’s book illustration you should focus on making these things to be included in the children’s book. These things might make your book to have the proficiency in your work. Colors and cartoons might be differently catered according to the project that you are working on. This is why this has been listed as a secondary step in the process of children’s book illustration. - Test and Assess It With Heart Not Mind Assuring the quality is one of the things thatare essential in any of the processes or systems and this is what this step is all about. However, unlike the other tasks when it comes to children’s book illustrations should be tested and assessed with heart but not with the mind. Through this, you can make sure whether you are delivering the best depiction of your ideas or not? This is a great way to with children’s book illustrations, unlike any other field where you are required to think with the heart and not mind while testing it. These are the four basic steps that are included in the children’s book illustration that will get you to some amazing illustrations. These are although subjective to the project that you are working on.

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Updated in April 2022 Seeking for approaches to build personalized storyboard templates to use with your college students in class? This lesson from Utilized Digital Capabilities (by Google for Training) has you covered. There are several approaches college students can can use storyboards: for occasion, they can produce storyboards to summarize the narrative composition of a novel, a ebook, a movie, a brief tale, and many others. They can also use it to visually show the sequences associated in a developmental method (e.g., a scientific experiment) or to document a historic event. The system of developing a storyboard template is very simple and simple. All pupils need is entry to Google Slides and Applied Digital Competencies internet site and stick to the step-by-move recommendations furnished in the video. By the stop of the lesson, students ought to be able to ‘identity and analyze the plot of a narrative, make digital displays to visualize the composition of a narrative’, understand the distinctive factors of a storyline and how they are organized, and far more. As learners function on developing digital storyboards they get to discover and apply a number of crucial electronic techniques which include: how to use Google Slides to create shows, how to increase illustrations or photos and text to slides, how to format text in slides, how to alter the concept of a presentation, and extra. Prior to engaging students in the digital course of action of producing a storyboard, you require to make positive students are acquainted with some of the terms and concepts similar to narratives and storyboarding. These incorporate concepts this sort of as plot, climax, climbing and falling motion, exposition, among other people. Refresh your learners memory about the narrative terminology then start off the lesson. The lesson arrives with various educating supplies. Use these resources to assistance you in the course of the tutorial course of action. You will find a lesson strategy with all the things you need about the lesson together with the lesson define, pedagogic ambitions, electronic skills, overall length, components needed, and additional. There is a also a prepared-built rubric termed Project Evaluation rubric to enable you in the evaluation of college students operate. Make confident you share the rubric with your students beforehand so they know the anticipations, aims, and functions at the rear of the lesson. Every single part of the lesson is illustrated with a short movie. There are clips on how to set up a presentation, how to insert slides to outline narrative structure, how to insert narrative summary to just about every slide, how to include photos and structure slides, how to incorporate transitions to shows, and extra. For advice, check out the Instance Venture presented in the lesson to see an case in point of a storyboard created employing Google Slides. Go through each and every slide and review it with the guidelines in the lesson system. Make edits and customise the lesson to your personal educating wants. At the stop of the lesson, use the reflection activity to test college students comprehension. College students respond to the quiz and you go over their responses with the whole course. There is no software program down load or paid equipment involved in this lesson. All you will need is Internet-enabled desktops, entry to Utilized Digital Abilities website and Google Slides. If you do not currently have an account with Applied Digital Skills you need to generate one in advance of you start the lesson. When created, increase your course and share the class code with your college students.

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B.Ed Notes English Medium It is important to remember that every individual learns differently and thus has a unique learning style. Every person has one primary learning mode. Once you identify that mode, you can learn to maximize it and enhance your child’s education. Types of Learning Styles a) Visual learners b) Auditory learners c) Kinaesthetic learners (a) Visual learners 1) Learn through seeing 2) Think in pictures and need to create vivid mental images to retain information 3) Enjoy looking at maps, charts, pictures, videos, and movies 4) Have visual skills which are demonstrated in puzzle building, reading, writing, understanding charts and graphs, a good sense of direction, sketching, painting, creating visual metaphors and analogies (perhaps through the visual arts), manipulating images, constructing, fixing, designing practical objects, and interpreting visual images (b) Auditory learners 1. Learn through listening 2. Have highly developed auditory skills and are generally good at speaking and presenting 3. Think in words rather than pictures 4. Learn best through verbal lectures, discussions, talking things through and listening to what others have to say 5. Have auditory skills demonstrated in listening, speaking, writing, storytelling, explaining, teaching, using humor, understanding the syntax and meaning of words, remembering information, arguing their point of view, and analyzing language usage (c) Kinesthetic learners 1. Learn through moving, doing and touching 2. Express themselves through movement 3. Have good sense of balance and eye-hand coordination 4. Remember and process information through interacting with the space around them 5. Find it hard to sit still for long periods and may become distracted by their need for activity and exploration 6. Have skills demonstrated in physical coordination, athletic ability, hands on experimentation, using body language, crafts, acting, miming, using their hands to create or build, dancing, and expressing emotions through the body. Once students understand their learning styles, they can better adapt to their learning environment. When your child identifies his or her unique learning style, you can begin to build upon it. Understanding learning styles is only a first step in maximizing potential and overcoming learning differences Hints for Recognizing and Implementing the Three Visual, Auditory and Kinesthetic Styles Auditory learners often talk to themselves. They also may move their lips and read out loud. They may have difficulty with reading and writing tasks. They often do better talking to a colleague or a tape recorder and hearing what was said. Helpful Tips for (i) Turn notes into pictures, charts, or maps (ii) Avoid distractions (windows, doorways, etc.) (iii) Learn the big picture first and then focus on the details (iv) Make mind and concept maps instead of outlines (v) Color code parts of new concepts in your notes (vi) Use flash cards when trying to study vocabulary (i) Record lectures and then listen to them (ii) Repeat material out loud and in your own words (iii) Discuss materials in your study groups (iv) Read textbooks aloud (v) Listen to wordless background music while studying (i) Take study breaks often (ii) Learn new material while doing something active (e.g., read a textbook while on a treadmill) (iii) Work while standing (iv) Try to take classes with instructors who encourage demonstrations and fieldwork.

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Kwanzaa or Kwanza A festival, observed by many African-Americans from December 26 to January 1, that celebrates the rich heritage of black culture. Words nearby Kwanzaa or Kwanza MORE ABOUT KWANZAA What is Kwanzaa? Kwanzaa is a holiday in celebration of African heritage and Black culture and values that’s observed from December 26 to January 1. It is primarily observed by African Americans in the U.S. but is also celebrated in some other countries by members of the African diaspora—those whose ancestors came from Africa. Kwanzaa is an Afrocentric holiday but is not typically observed in Africa itself. As part of its celebration of the values of family and community, Kwanzaa has seven principles, each of which is named with a word in the African language of Swahili: - umoja (unity) - kujichagulia (self-determination) - ujima (collective work and responsibility) - ujamaa (cooperative economics) - nia (purpose) - kuumba (creativity) - imani (faith) Observation of Kwanzaa often includes the discussion of these principles along with daily lighting of a candle representing one of them. The seven candles (three green, one black, and three red, representing the traditional colors of Africa) are held in a candleholder called a kinara. The kinara and the candles it holds are two of the seven symbols of Kwanzaa, which also include a sampling of crops (fruits and vegetables), ears of corn, gifts, a ceremonial cup (kikombe cha umoja), and a mat on which all of these items are usually displayed during the holiday. Celebrations of Kwanzaa vary, but they often include family gatherings, music, and storytelling. A feast (karamu) is held on December 31. In the U.S., Kwanzaa is considered part of what’s known as the holiday season—the period that starts on Thanksgiving and continues until New Year’s Day and also includes the holidays of Hanukkah, Christmas, and New Year’s Eve. Although it occurs around other religious wintertime holidays, Kwanzaa is not a religious holiday, though some may observe it as a spiritual one. Many African Americans who celebrate Kwanzaa also celebrate other holidays that fall around the same time, including Christmas. Kwanzaa is sometimes seen spelled with only one a at the end, as Kwanza, but Kwanzaa is generally considered the proper spelling. Example: Every Kwanzaa, my grandmother tells the story of our ancestors and our homeland in Nigeria. Where does Kwanzaa come from? Kwanzaa was created in the 1960s by Dr. Maulana Karenga, an African American scholar and activist. He coined the name Kwanzaa from the Swahili word kwanza, meaning “first,” from the phrase matunda ya kwanza, meaning “first fruits (of the harvest).” The extra a at the end of the word is said to have been added so that the word would have seven letters, one for each of the children who were present at one of the early Kwanzaa gatherings. The seven letters of the word also echo the significance of the number seven in Kwanzaa (seven days, seven principles, seven candles, and seven symbols). Kwanzaa combines elements from several traditional African harvest celebrations, and the basis of its name reflects these roots. These elements and the values that Kwanzaa celebrates were intended to strengthen the community bonds of African Americans, especially in relation to the struggle for self-determination, equality, and justice. The holiday was conceived as a way to focus on Black culture in contrast to holidays celebrated by the dominant white culture in the U.S. Most people who observe it don’t consider it a replacement for Christmas (which occurs on December 25, the day before Kwanzaa begins). Did you know ... ? How is Kwanzaa used in real life? Kwanzaa is primarily observed by African Americans, many of whom also celebrate the nearby holiday of Christmas. It is considered part of the holiday season in the U.S. ❤️🖤💚 Is your family familiar with the history + celebration of #Kwanzaa? — Smithsonian's Anacostia Community Museum (@SmithsonianACM) December 5, 2020 25 years ago, I helped organize Harvard's very first #Kwanzaa celebration. It's principles remain just as relevant today. On this 5th day of Kwaanza, we focus on "Nia"- Purpose, making our collective vocation the building and developing of our community.https://t.co/1qI2hB3A9o — Kristen Clarke (@KristenClarkeJD) December 30, 2019 I hope more Black people celebrate Kwanzaa this year like Juneteenth. It’s a powerful holiday. — Guapo Jame$ (@GiftedGuapo) June 22, 2020 Try using Kwanzaa! True or False? Kwanzaa incorporates elements of several African harvest festivals. How to use Kwanzaa or Kwanza in a sentence As this list shows, punishments typically run to a short-ish jail sentence and/or a moderately hefty fine. Winners are solely responsible for any and all federal, state, and local taxes and/or fees that may be incurred. Winners will be solely responsible for any and all local, state, and federal taxes, and/or fees that may be incurred. Why aren't you as handsome and/or Canadian as Justin Bieber?Justin Bieber Isn’t Even 21, Yet Makes More Money Than Meryl Streep|Amy Zimmerman|November 25, 2014|DAILY BEAST This band is different from the rock groups that go in for charismatic lighting and sing of love and/or sex.The Stacks: Pauline Kael's Talking Heads Obsession|Pauline Kael|November 22, 2014|DAILY BEAST His name was Lefty something-or-other, and he was about the sneakiest stool the department had. Brass—or-molu—gilt platinum to give it weight; this is from Birmingham, not from Australia, nor nature.It Is Never Too Late to Mend|Charles Reade He wuz very peart and sassy, and it was take-it-or-leave-it-and-be-plaguey- quick-about-it all the time.Si Klegg, Book 2 (of 6)|John McElroy Meanwhile the whale had made what appeared to be a grand and final neck-or-nothing rush in the direction of the shore.The Norsemen in the West|R.M. Ballantyne Amatory, am′at-or-i, adj. relating to or causing love: affectionate.

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What distinguishes a good journalist? The public's champion How do ethics and critical thinking apply to everyday reporting? Get it in writing The public's champion How do you tell a basic news story? The story changes with the medium Background for your stories A journalist's skeptical research Plagiarism and Fair Use Working with sources Who gets the spotlight? How do you conduct an interview? How do you report what sources say? Working a beat Storytelling in other forms Leading with something different What about other kinds of news stories? How storytelling connects to larger forces Abbreviated table of contents Hello fellow educators, The materials on this website are in addition to those available through Oxford UP's system. The site is updated as of February 2022. We hope you and your students find the website useful. Wix has discontinued one of the functions that we used to design and organize many of our pages back when we built the website. It'll take us a bit to get through and reload all of the affected pages, but the links in adjacent text still work. We'll continue to update the site, but we also know that having a consistent resource center is important for creating syllabi and lesson plans across terms. We want this to be a go-to website for you and your students, so we'll balance currency with consistency. If you have comments or suggestions, please contact us at [email protected]. —Jennie Dear and Faron Scott The book is organized into six units. The first five units begin with a section called Habits of Mind. They foreground some ways of thinking that underlie the practice of journalism and of being a journalist, and they relate to one or more of the lessons in the unit’s chapters. The chapters in each unit are closely connected, and the book is designed so that you can reorder the units if you wish. We recommend that you begin with the first unit because we introduce concepts and terms that are used throughout the book. The sixth unit is the book’s conclusion. Unit 1 introduces students to the practice of journalism, making explicit some assumptions about what journalists do and what their project is—to serve their audience by providing useful, relevant, interesting information in an ethical way. The Habits of Mind section describes some characteristics a good professional possesses: initiative, persistence and curiosity. The unit provides some historical context to explain why good journalists take their public duty seriously. It introduces an ethical framework to structure a student’s critical thinking about reporting and rendering stories. It provides a case study that asks students to apply the ideas presented so far. Unit 2 introduces students to the ways that news is different from other kinds of narratives. The Habits of Mind section discusses how journalists frame reality for their audiences and also some ways for students to decide whether a story is newsworthy and why. The unit covers the basics of news language and story structure. It introduces students to some ways that the different media employ different storytelling strategies, even as the goal remains the same—useful, relevant, ethically presented information. Unit 3 teaches students how to conduct background research for their stories, including assessing website credibility. The Habits of Mind section gives students some historical context regarding the Internet. The unit includes instruction about plagiarism and copyright infringement because these issues can so easily arise when students use websites and social media to gather information. Unit 4 covers working with sources. The Habits of Mind section delves into how people can hold really different views of the world and that students' way of seeing isn’t necessarily going to match that of the people they interview—or of the audience. It also talks about objectivity in some depth, so that students know that the goal behind this idea is laudable, but that attempts to be objective often result in less accurate news. This section encourages students to keep an open mind and also to be alert for others’ biases seeping into their news stories. The unit covers source selection, interviewing, quoting, paraphrasing and working a beat. It also includes some instruction on privacy and defamation because these issues can easily arise as students gather information from human sources and make decisions about how to use that information. Unit 5 addresses writing beyond the basics the text has discussed so far, including different kinds of leads and story structures. The section on blogging introduces students to reporting with an opinion. The Habits section introduces students to logical fallacies so that they can recognize when someone’s argument contains fallacious reasoning—and avoid perpetuating it by repeating it in their own stories—and so that they can avoid illogical thinking themselves. The unit introduces the concept of pods as a structuring mechanism for longer stories and also how to create transitions. It looks in some depth at the purpose of opinion writing for the journalist, when it’s helpful and when it’s not. Unit 6 is a capstone unit that places the ideas and skills presented in the book into the context of some of the other forces students will contend with as they move into the profession. The unit introduces some basic theory about audiences and presents a case study to illustrate the concepts. It introduces students to ideas about how cultural, political and economic systems can influence their reporting. It sets them on the path of educating themselves about these systems, how they overlap and interlock so that, as professionals, they can engage in more expansive, less literal reporting. The unit closes with some inspiring words from professional journalists.

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How to Write a Detailed Character Description How your characters develop is essential to bringing your readers into your story and keeping them engaged in the plot. Readers will be more invested in your story if they can visualize what your characters look like and understand where they are coming from. Key elements of a detailed description include the character's appearance, personality, perspective and motivating goals. Introductions and Appearance When you meet someone for the first time, you observe his appearance and learn basic information, such as name and profession. Similarly, when you are developing your characters, physical appearance, name, where they're from and what they do are some of the first details to select. As you think about naming your character, think about meanings, origins and derivations of different names. Also consider any nicknames or pet names that could strengthen the relationship between your character and other characters. While your character's profession will be a basic element in your plot, think about how your character's appearance will affect the action. For example, is your heroine a short, thin, fragile-looking young woman who works in an office by day but is the unexpected assassin at night? When planning appearance, imagine your character's ethnicity, cultural background and any medical information that may affect your plot. Personality and Attributes Beyond a name, a character's personality begins to develop as he reacts to events and circumstances. These reactions may not only be to significant plot twists, but also to everyday life: for example, how your character reacts if another driver cuts her off, any addictions she struggles with, or family dynamics such as overbearing or distant relationships -- all add to your character's personality. Plan free-writing or other exercises to fully explore how your character will respond to situations. Communicate your characters' beliefs or religion through dialogue in everyday circumstances as well as through routine actions. Showcase their strengths and weaknesses through inner dialogue as well as character traits, such as forgiveness or compassion, through relationships with other characters. Perspective and Background The adage that you can't know where you're going until you know where you've been also applies to character development. As you design your character, map out the background story and events that formed his outlook on the world. Decide where he's from and how he got to the present moment in the story. Consider the type of childhood and adolescence your character had, and any changes that occurred. For example, was there an emotionally traumatic event or formative encounter that shaped the type of person he becomes? Also plan the family history and any influential relationships that shaped your character's past. If your character had a family, what were they like? Decide the dynamics with key figures, such as mother, father, siblings or grandparents, and how these dynamics affected your character's maturity. Motivation and Goals As you develop your character, decide what goals your character has, and why. A plot is driven by characters' quests and the pursuit of a goal. The protagonist has one goal while the antagonist has another, and as you develop these characters, define these goals as well as the reason your characters are pursuing them. Script the dialogue to reveal how your characters think and feel about each event. Consider background and personality when deciding what motivates your character. A character may be motivated by multiple things. For example, a villain may be motivated by greed as well as a desire to find approval from a distant father figure. Motivation is just as important as the name when developing your characters. Hannah Richardson has a Master's degree in Special Education from Vanderbilt University and a Bacheor of Arts in English. She has been a writer since 2004 and wrote regularly for the sports and features sections of "The Technician" newspaper, as well as "Coastwach" magazine. Richardson also served as the co-editor-in-chief of "Windhover," an award-winning literary and arts magazine. She is currently teaching at a middle school.

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World Tiger Day World Tiger Day is observed in the third week of July every year since 2010, is an initiative of the World Wide Fund for Nature (WWF) and a global tiger conservation event marked by the Tiger Project teams across their offices globally. World Tiger Day was created to build awareness about tiger conservation among people around the world. In 2015 World Tiger Day will fall on July 31. That year World Wide Fund for Nature has developed ‘Tiger Tales’, a storytelling platform that aims at moving people emotionally towards saving wild tigers. The World Bank designated 2011–2015 as The Decade of Tiger Conservation during which it pledged up to $240 million over ten years. Theme Of the World Tiger Day 2021 The Theme of world Tiger Day for this year is “Their survival is in our hands”. The importance of celebration of this day is necessary because the population of tigers is on the decline. According to World Wide Fund for Nature, there are only approximately 3900 wild tigers around the world. The population of the Tiger The population of the Tiger around the world Tiger Day coincides with World Tiger Day and World Rhino Day. World Wildlife Fund estimates that 3,890 tigers were living worldwide in the wild at the end of 2010. These numbers represent a drop from the 3,000 to 4,200 range reported in 2005 and 2006. Of the nine tiger subspecies, two have already become extinct. In China, tigers are classed as rare animals and are protected under law. There is considered to be an estimate of 70–80 Siberian tigers remaining there according to WWF’s Red List 2011. Discovery confirmed that they also live in Russia’s Far East Sakhalin Island grouping which has about 250-340 individuals. South Korean World Conservation Union for Nature (IUCN) has confirmed that there are at least 59 Amur Tiger living in South Korea. They have been noted to be thriving within the area. There are around 1,400 Indochinese tigers remaining of which about 800-1,000 live in Cambodia and Laos. World Wildlife Fund has described their existence as ‘critically endangered due to habitat loss and hunting for use in traditional medicine. The World Conservation Union (IUCN) estimates the total population of Sumatran Tiger to stand at 434–496 individuals; however, a 2006 study showed only 790 of them left in the wild. Singapore World Wide Fund for Nature places the number between 120-130 animals indicating an increase from previous years where it was in the region of 10-20 tigers. Countries with a greater population of tigers are India, Russia, and Indonesia. World Wildlife Fund has reported that the number of tigers in India could be as low as 2000-3000 while in Russia, World Bank estimates about 450 Siberian tiger animals live. There is no official data on the Indonesian population of tiger’s but World Wide Fund for Nature (WWF) believes there are at least 500 tigers living there. On the Other side, the World Conservation Union (IUCN) estimates there are at least 250 Sumatran tigers remaining in Indonesia. World Wide Fund for Nature informs that although the Bengal tiger population is stable in India the area they live in has been reduced to 12% of its original size due to deforestation by humans so this also makes them an endangered species. Maharashtra State World Wildlife Fund has estimated there are about 1500 tigers surviving within the country; twice the number they had predicted 15 years ago according to World Bank. In Bangladesh World Wide Fund for Nature believes there is a stable population of 70 Bengal Tiger left. There are also believed to be between 16 and 21 Siberian tiger animals living in Bhutan. Bangladesh World Conservation Union World Bank has estimated that the population of Bengal tiger is about 3,500 animals in India. World Bank indicates that tigers are at greater risk than most other species and should be the highest priority for conservation efforts. Today, an estimated 539 Siberian tigers remain within Russia, up from 480 last year World Wide Fund for Nature says but they still face problems due to poaching, logging, and climate change. World Wildlife Fund also states that there are less than 40 Amur Leopard left in South Korea The World Conservation Union (IUCN) estimates there is a total of 2000-3000 Bengal Tiger’s remaining across their range. World Wide Fund for Nature confirms with evidence that 450 Tigers live throughout Thailand. It has been observed that the extinction of tigers from different parts of the world is the lack of disturbance in their habitat due to climate change, hunting of their different species, and deforestation. There is a need to address the issues for the safe habitat for big cats and we should create survival opportunities for such rare species. This article is about the information gathered from different sources and the purpose of writing this article is to create awareness about our environment because we care about the environment. Global Earth Day World water Day International day of forests Global Recycle Day International day of Action for Rivers Facts about Air Pollution Facts about Deforestation What is Climate Change

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Many owners concerned about over-vaccinating their cats can now test their felines' titer levels to determine whether to vaccinate. However, some experts warn these tests may not be an effective way to measure the level of protection against diseases. Titer testing, also known as serology and antibody testing, is a simple blood test to determine whether a cat has responded to its vaccination with a specific “core” virus vaccine, including the rabies vaccine. Titers tell veterinarians if a previously vaccinated cat still has protective immunity and how long that immunity will last. Owners who want to avoid revaccinating their cats unnecessarily, or to confirm that a kitten is effectively vaccinated, may have their felines titered. Rabies is a very dangerous viral disease affecting the brain and spinal cord of all mammals, including cats, dogs and humans. In cats, rabies is most often transmitted through a bite from an infected animal, but it can also be passed on when the saliva of an infected animal enters the cat's body through mucous membranes or an open, fresh wound. Vaccination is the only sure way to keep your cat from contracting rabies and, in many states, it is the law. Mainly, cat owners choose to have felines titered to limit unnecessary revaccinations. Titers measure whether a cat's antibody levels against rabies are high enough for the immune system to attack the virus should the kitty be exposed to it and if so, many owners feel revaccinating is unnecessary -- if not damaging. While vaccines are very effective against the disease, for cats in particular those injections can cause vaccine-related illnesses, such as deadly vaccine associated sarcomas. Not all veterinarians provide titer testing, and even if they do it is expensive. Your vet may have to send a blood sample to a major lab or university to get results. Titer test results for cats are currently not accepted as a replacement of rabies vaccination in the US, and for cats titer testing is only done for panleukopenia and rabies. Many vets recommend a three-year rabies vaccination protocol for cats . Always check with your veterinarian before changing your pet’s diet, medication, or physical activity routines. This information is not a substitute for a vet’s opinion. Debra Levy has been writing for more than 30 years. She has had fiction and nonfiction published in various literary journals. Levy holds an M.A. in English from Indiana University and an M.F.A. in creative writing/fiction from the Bennington Writing Seminars.

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In reading, third graders focus on expanding skills that “good readers” develop to better understand and think about what they are reading. They are taught to make text-self, text-text, and text-world connections while they read. In the following unit, students learn about character development through the theme of friendship, focusing on the strategy of visualizing to create mental images while reading. Third graders also focus on asking questions while reading texts with the theme of prejudice. Students work on summarizing skills while reading The Courage of Sarah Noble by Alice Dalgliesh. Students learn what makes a book historical fiction. In the last units of the year, students take all of the reading skills they’ve learned throughout the year and use them to run literature groups. In these groups, students independently discuss what they read, modeled after an adult book club. The third grade writing curriculum is based on the 6 + 1 Traits of Writing program. This approach teaches students to focus on the traits of: ideas, organization, voice, word choice, sentence fluency, conventions, and presentation to improve their narrative and creative writing. Third grade students also learn how to write paragraphs to answer questions using reasons and details to support their answers. Students learn how to organize their ideas in a graphic organizer before starting their writing to help them have a more organized, thought out piece of writing. Grammar is taught using the Framing Your Thoughts program in which students learn to identify parts of speech and the structure of a sentence. Spelling units are individually assigned from the Sitton Spelling and Word Skills Program. Third grade math is taught using the ThinkMath! program. Initially, third graders focus on the basic operations: addition, subtraction, multiplication, and an introduction to division. They then learn different strategies to understand and solve problems using these operations. Time is spent focusing on place value and regrouping to better understand how to write numbers and perform calculations. During the year, as students become more fluent with their computation facts, they learn to define patterns through multiple units as well as increase skills related to graphing and fractions. Students complete a geometry unit, in which they examine two and three-dimensional figures. In addition, students identify different attributes to describe a 2-dimensional shape, such as numbers of sides, number of pairs of parallel sides, the size of a figure’s angles and the symmetry of a figure. Students also identify different attributes to describe 3-dimensional figures, such as faces, edges, and vertices. Finally, third graders practice measuring length, area, and volume and using appropriate corresponding units of measure. In third grade, students learn how to track their predictions, observations, data, conclusions, and learning in a science notebook. The first science unit focuses on the science of sound. Students explore how sounds are made, how the characteristics of an object can affect the sound made, and how they can then change the sound of an object. Students then learn how the ear works, which connects to learning about deafness. The next science unit in third grade focuses on light during winter, the darkest time of the year. They explore characteristics of light, learning about how light, as energy, interacts with objects. Subsequently, they learn about the different parts of the eye which leads to learning about blindness. This unit is taught in conjunction with Chanukah, the Jewish festival of lights. Students interpret different Jewish texts that mention light. Next, students explore the properties of water and study the water cycle. Students consider ways in which people can conserve water while learning about how water is cleaned. In our ocean unit, students explore oceans as ever moving and changing bodies of diverse life that are made of different biomes and structures. Students look at what defines different zones in the ocean. During this unit, students also learn how to create their own educational videos to teach others about the ocean. In the last science unit, students learn about whales. Students look at what makes these marine mammals unique inhabitants of the ocean and which adaptations they have developed to help them survive. Third graders study our state, Massachusetts. Students learn about our state’s geography, natural resources, and history. Third graders learn the differences between a primary and secondary source and how historians use them. Students discuss how to use an artifact to learn about history. As we explore our state’s early history, students learn about Native Americans who lived (and live) here, the Wampanoag, the first English settlers in Massachusetts, who are often referred to as the Pilgrims, and the historically accurate version of their first interactions and the “First Thanksgiving.” Third grade students are immersed in a completely Hebrew speaking environment. They learn directions and basic needs for everyday life which enables them to express themselves more comfortably in Hebrew. The Tal Am program is the foundation for Hebrew instruction. The first unit covers the classroom and school environment. Students learn verbs and vocabulary associated with their school day. Next, students learn about their home environment including clothing for all seasons, household items and appropriate verbs. Students also focus on food and nutrition; they learn how to categorize different items of food and how to create a balanced meal using Hebrew vocabulary. Additionally, Israeli childhood songs are introduced as a vehicle for teaching new vocabulary and Israeli culture. Torah is taught using the MaTok curriculum which examines Torah in Hebrew verses. Students learn to find meaning in the text with the goal of becoming comfortable with biblical Hebrew. Students learn how to identify characters in the text, roots of words, repetition of words, nicknames, places, and conversations. Using these skills, students are able to make connections to modern Hebrew and get the main idea from the text. Some deeper conversations are conducted in English, but students are able to discuss the text in Hebrew, as well. Through the parashot Lech Lecha, Vayera, and Toldot, students explore and discuss the following themes: brit (covenant) and peoplehood, welcoming guests, family relationships, and the struggle between good and evil. Students experience community tefila twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students’ spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings. As the school year progresses, students learn about the Jewish holidays in Hebrew through discussion and reading Hebrew stories.. They examine different customs and traditions associated with each holiday and continue practicing the corresponding blessings. Students compare and contrast how holidays are celebrated in America and in Israel. Students develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland. The goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through joyful discovery of classical and contemporary music, students cultivate musicality and knowledge. Third graders continue working on singing in-tune with expression and confidence while gaining confidence on stage. Third graders continue to learn to read music and play recorders. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics. Students work with a variety of drawing tools, paints, and papers. Students learn techniques for drawing, painting, weaving, printmaking, and collage. Third graders continue learning their elements of art such as line, shape, color, and texture. Emphasis is put on the creative process rather than the finished product. Art history is an important component of the curriculum. Throughout the year, art is integrated with units of study in the classroom which helps children visually understand subjects/content more clearly. Third graders begin the year discussing emotions and how they apply to different characters. Students break down stories and then act them out, working in teams. Students continue learning about stage mechanics and demonstrate their ability to work with a director by rehearsing and performing a short play. In third grade students create a play from scratch, working in groups to brainstorm, outline, write, and perform their own work. In third grade physical education, students participate in low and high energy activities. By developing physical coordination, sportsmanship and problem solving, students learn through teaching fundamentals and rules of major sports, as well as physical fitness, stretching, and agility. Units over the school year include soccer, flag football, basketball, handball, strategy games, and floor hockey. Through the incorporation of skills, age appropriate rules, and scrimmages, students learn new sports by developing their physical fitness, playing respectfully with peers and engaging in healthy competition.

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"Histories are the stories we tell about the past." —Peter Seixas and Tom Morton, 1 Why the Big Six Historical Thinking Concepts? Peter Seixas and Tom Morton, both historians and educators, recently published The Big Six Historical Thinking Concepts. It is a framework for teaching historical thinking—or developing competencies that enable individuals to think like historians. The big six are historical thinking concepts designed to be integrated into all aspects of teaching, from writing objectives, to selecting resources, to deciding on strategies, and to assessment. More than skills or outcomes, the big six historical thinking concepts are habits of mind. Seixas and Morton explain that because history is comprised of stories, there are inherent problems in its production. The most fundamental problem is the relationship between a historian and the past she or he is researching. This is because historians bring their own interpretive lenses to historical inquiries. Historians also make choices in order to draw coherence and make meaning from the past. This is another problem because different historians may make different choices, depending on their unique interpretive lenses. The distance between a historian's present time and the specific past she or he is researching is also problematic, because of the quality and type of evidence she or he is able to find. History arises from historians grappling with these problems—it “emerges from the tension between the historian’s creativity and the fragmentary traces of the past that anchor it” (Seixas and Morton 2). These traces of the past are the pieces of evidence that historians find—perhaps archival, architectural or archaeological materials—and then select as foundations to their historical arguments and storytelling. Historical thinking is the creative process undertaken by historians when they interpret evidence from the past and produce stories of history. It is a specific way of thinking and working, and it can be taught. Teaching historical thinking implies paying attention to the ways historians do their craft, rather than only to their final product, which is the story they tell. The six historical thinking concepts framework helps students and teachers think about how historians create history from the past, and to then begin creating history themselves. The first of the big six historical thinking concepts is Historical Significance. Historians decide what is significant, or important to learn about, from the past, and they always do this in context. For example, Antigua’s Spring Gardens Moravian Mission is significant to the story of Mary Prince because she was a member of that congregation, but the Mission may not be significant to the story of other historical actors. The second concept is Primary Source Evidence. Making a historical claim that others can justifiably believe requires finding, selecting, contextualizing, interpreting, and corroborating sources that will be the foundation for an historical argument. This website includes many primary sources for exploration that corroborate Mary Prince’s story. These are, for example, pages from Slave Registers of former British Colonial Dependencies for both Antigua and the Bahamas, and pages from A Complete Catalogue of all the Brethren and Sisters, who served in the Mission of the United Brethren at Antigua, and also of their Children, born in this Island. The third concept is Continuity and Change. Some things change over time, but others stay the same, or are modified. Take enslavement, for instance. Enslavement officially ended in the British Empire 1 August 1834, but, as of today, enslavement has not ended worldwide. Perhaps the clothing we wear, or the food we eat, was completely, or partially, fabricated or grown by modern day slaves. The fourth concept is Cause and Consequence. How has the interaction of human agency, coupled with the conditions of a specific time, shaped the course of events? For example, in the case of Mary Prince and her story, what was the consequence of the work of the collaborative storytelling, compiling, and editing team that brought The History of Mary Prince to print in 1831? Were there short-term consequences? Were there long-term consequences? The fifth concept is Historical Perspectives. Using evidence-based inferences, is it possible to “see through the eyes” of an historical actor without engaging in presentism? Presentism is when we impose today’s (the present time’s) thoughts, beliefs, and values onto historical actors. Can we, for example, use evidence to explain what it might have been like growing up as a wealthy Bermudian slave-owner’s son, with enslaved people of his own age also growing up in the same household? The sixth concept is The Ethical Dimension. This is tricky because in the face of past injustices—such as the transatlantic slave trade and colonial enslavement—an ethical stance is unavoidable. However, as with Historical Perspectives, where we must avoid engaging in presentism, we can tread carefully. We can ask these questions: “How should we judge historical actors? What are the implications for us, today, of the horrors and heroisms of the past? How can we use the study of the past to inform judgments and actions on controversial issues in the present?” (Seixas and Morton 6). For example, in the context of Mary Prince and her story, are we in any way informed about modern day enslavement? Do Mary Prince and her story invite actions regarding modern day enslavement? My goal in including the big six historical thinking concepts with this website is twofold. First, it is to introduce students and educators to the very important work of Seixas and Morton. Secondly, it is to provide a set of first stepping-stones for students to start thinking historically—like historians. For some, it might be the beginning of seeing our world in a new way.

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How We Learn (The Great Courses Series) Discover how the minds of your students acquire, process, store, and retrieve information. This course includes a fascinating, 24-video lecture series from The Great Courses that covers topics on learning theories, learning strategies, learning language, learning styles, the role of emotion in learning, cultivating desire to learn, and the domains of learning. This course will not only provide valuable, research-based learning theory, but will allow you the opportunity to make practical application to your teaching. Learning is a Lifelong Adventure It starts in your mother's womb, accelerates to high speed in infancy and childhood, and continues through every age, whether you're actively engaged in mastering a new skill, intuitively discovering an unfamiliar place, or just sleeping, which is fundamental to helping you consolidate and hold on to what you've learned. You are truly born to learn around the clock. But few of us know how we learn, which is the key to learning and studying more effectively. For example, you may be surprised by the following: - People tend to misjudge what they have learned well, what they don't yet know, and what they do and do not need to practice. - Moments of confusion, frustration, uncertainty, and lack of confidence are part of the process of acquiring new skills and new knowledge. - Humans and animals explore their worlds for the sake of learning, regardless of rewards and punishment connected with success. - You canteach an old dog new tricks. In fact, older learners have the benefit of prior knowledge and critical skills—two advantages in learning. Shedding light on what's going on when we learn and dispelling common myths about the subject, How We Learn introduces you to this practical and accessible science in 24 half-hour lectures presented by Professor Monisha Pasupathi of the University of Utah, an award-winning psychology teacher and expert on how people of all ages learn. We are all devoted to lifelong learning and may be surprised at how complicated the process of learning is. We have a single word for it—learn—but it occurs in a fascinating variety of ways, which Professor Pasupathi recounts in detail. She describes a wide range of experiments that may strike a familiar chord as you recognize something about yourself or others: - Scripts:We have trouble recalling specific events until we have first learned scripts for those events. Young children are prodigious learners of scripts, but so are first-time parents, college freshmen, foreign travelers, and new employees. - Variable ratio reinforcement:Children whining for candy are usually refused, but the few occasions when parents give in encourage maximal display of the behavior. The same principle is behind the success of slot machines and other unpredictable rewards. - Storytelling:Telling stories is fundamentally an act of learning about ourselves. The way we recount experiences, usually shortly after the event, has lasting effects on the way we remember those experiences and what we learn from them. - Sleeper effect:Have you ever heard something from an unreliable source and later found yourself believing it? Over time, we tend to remember information but forget the source. Paradoxically, this effect is stronger when the source is less credible. Dr. Pasupathi's many examples cover the modern history of research on learning—from behaviorist theory in the early 20th century to the most recent debates about whether IQ can be separated from achievement, or whether a spectrum of different learning styles and multiple intelligences really exist. What You Will Learn You start by examining 10 myths about learning. These can get in the way of making the fullest use of the extraordinary capacity for learning and include widespread beliefs, such as that college-educated people already know how to maximize learning or that a person must be interested in a subject in order to learn it. Professor Pasupathi then covers mistaken theories of learning, such as that lab animals and humans learn in the same way or that the brain is a tabula rasa, a blank slate that can absorb information without preparation. Babies might seem to be a counterexample, showing that you can learn from scratch. However, you examine what newborns must know at birth in order for them to learn so much, so quickly. Next you explore in depth how humans master different tasks, from learning a native language or a second language, to becoming adept at a sport or a musical instrument, to learning a new city or a problem-solving strategy, to grasping the distinctive style of thinking required in mathematics and science. Then you look inside the learning process itself, where many factors come into play, including what is being learned and the context, along with the emotions, motivations, and goals of the learner. You close by considering individual differences. Some people seem to learn without effort. How do they do it? Tips on Learning Along the way, Professor Pasupathi offers frequent advice on how to excel in many different learning situations: - Mastering material:Testing yourself is a very effective strategy for mastering difficult material. Try taking a blank sheet of paper and writing down everything you can recall about the subject. Then go back and review the material. Next, try another blank sheet of paper. - Second-language learning:Becoming fluent in a second language in adulthood is difficult because your brain is tuned to your native language and misses important clues in the new language. To overcome this obstacle, immerse yourself among native speakers of the new language. - Motivating a child:When trying to motivate a schoolchild to learn, avoid controlling language, create opportunities to give the child a sense of choice, and be careful about excessive praise and other forms of rewards, which can actually undermine learning. - Maintaining a learning edge:Middle-aged and older adults can preserve their learning aptitude by exercising to maintain cardiovascular health, staying mentally active, and periodically trying a new challenge, such as learning to draw or studying new dance steps. Adventures in Learning Winner of prestigious teaching awards from her university's chapter of Psi Chi, the National Honor Society in Psychology, Dr. Pasupathi brings today's exciting field of learning research alive. Her descriptions of ongoing work in her field, in which she is a prominent participant, are vivid and insightful, allowing you to put yourself into a given experiment and ask, "How would I react under these circumstances? What does this tell me about my own approach to learning?" By the end pf this course, you will appreciate the incredible breadth of what we learn in our lifetimes, understand the commonality and diversity of human learning experiences, and come away with strategies for enhancing your own adventures in learning. "Learning is a human birthright," says Professor Pasupathi. "Everything about us is built for lifelong learning—from our unusually long childhood and our large prefrontal cortex to our interest in novelty and challenge." And she finds reason for optimism about the future of humanity due to our almost miraculous capacity to learn.

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Any questions about this class? Use the Chat Button (lower left) to talk with us. Led by Michelle Schusterman, author of over a dozen critically acclaimed novels for middle grade and young adult readers. Her books have received starred reviews from Kirkus, Booklist, and Publisher's Weekly and have received honors including multiple Junior Library Guild selections, the CBCC Best of 2019 List, ALA's Rainbow List and Quick Picks for Reluctant Readers List, and the NC State College of Education Comic Relief Reading List. Discover the art of fiction writing and learn how stories are made: from imagination, to writing, to revision. Explore the writing craft with daily creation and writing activities that will help develop your unique voice and activate an understanding of fiction writing techniques. This 8-module workshop is for anyone interested in writing fiction in any genre. Each module focuses on a lecture combined with a writing activity designed to develop a particular area of storytelling, such as character development, plot and structure, and narrative voice. Students are encouraged to set a project goal for the course, such as “finish a short story” or “write the first three chapters of my novel.” Story Starters. How do you turn an idea into a story? Michelle kicks things off by sharing the three ingredients writers need to take that seed of an idea and create a plot around it, using her own novel Spell & Spindle as an example. The lesson will end with a writing activity designed to help writers find a plot for their story idea and get started. Perspective and Tense. Michelle will discuss the different perspectives and tenses writers use and how to choose the right combination of each for a story, using several examples from published novels to illustrate why authors choose past or present, and first, second, or third person, and what effect those choices have on the tone of the story. This lesson includes a perspective/tense-swap activity designed to help students think more critically about these important elements and settle on a perspective and tense for their story-in-progress. Character Motivation. Michelle will lead a discussion on maybe her favorite topic of all time: finding protagonists’ internal and external wants and needs. This lecture includes an analysis of several well-known stories and protagonists, along with a writing activity focused on characterization that will help writers get to know their protagonists even better. Postulates and Character Arcs. Michelle will introduce the concept of character postulates or beliefs and discuss how a character’s behavior drives their choices and pushes the action forward. Students will create a “Golden Triangle” to help find the shape of their character arc. Narrative Voice. Michelle will get into the nitty gritty details on the elusive topic of “voice” in fiction; what is it? How can we find our unique voice as writers? This lesson includes a “complex emotions” activity to help students show the reader how a character feels, rather than tell. World-building. Michelle will lead a discussion on the importance of world-building in any genre of fiction—it’s not just for sci-fi and fantasy! Writers will analyze excerpts from multiple novels in different genres to identify how the author incorporated details through narration and dialogue that helps the reader visualize the setting. This lesson includes a story annotation activity. Summary vs narration. Michelle will lead a discussion on the difference between summary/exposition and narration, and provide examples of her own writing to illustrate the process of turning exposition into narrative fiction. This lesson includes a writing activity that will help students strengthen their own narration, as well as identify unnecessary exposition. Revising and Editing. Michelle will lead a discussion on figuring out the end of a story. What makes a satisfying ending? Can you have a few loose ends? What about cliffhangers? This lesson includes a Book Map template to aid students in coming up with a game plan for tackling revisions of their stories. - Michelle is one of the best writing teachers I have ever had and I am very grateful for everything she has done to help me. Thanks to this course and her guidance, I have been able to start my book. I am indebted to her. - Michelle's course was AMAZING!!!! - Ms. Schusterman provided us with lots of advice and kindness. She was one of the best writing instructors I have ever had! - She's a real published author with her own wiki page and I can't believe I got to study with her! ONLINE COURSE STRUCTURE: This is an online video class with 8 modules spaced out over the course of 8 weeks. The weekly modules are entirely asynchronous, which means you complete the weekly assignments on your own schedule. Upon enrollment, you'll receive an invitation to activate your account in Thinkfic, our online platform for video courses. You can pay for the course in full or use Affirm or Shop Pay to pay over time with equal Monthly Payments. These options are available at checkout. Instructor: Michelle Schusterman Class video course starts upon enrollment Course is fully ONLINE; students can work according to their own schedule within weekly deadlines. Once you have enrolled, you'll receive an invitation to activate your account in Thinkfic, our online platform for video courses. Contact us HERE if you have any questions about this class. Michelle Schusterman is the critically acclaimed author of over a dozen novels, including Spell & Spindle and The Pros of Cons, as well as the Kudo Kids mystery series co-authored with Olympic medalists Maia and Alex Shibutani. Michelle’s books have received starred reviews from Kirkus, Booklist, and Publisher’s Weekly and have received honors including multiple Junior Library Guild selections, the CBCC Best of 2019 List, ALA’s Rainbow List and Quick Picks for Reluctant Readers List, and the NC State College of Education Comic Relief Reading List. In the last seven years, Michelle has led hundreds of creative writing workshops with organizations including Writing Workshops Dallas, Writopia Lab, and Lawson Writers Academy.

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Story goals need to be a catalyst for change. The goal is the thing that everyone in the overall story is, to varying degrees, for or against. How do story goals come about—through conflict! (See the next two weeks about external and internal character conflict). This is a short article to help set the stage for the character development, conflicts, needs, motivation, lies, and even the villain/antagonist of your fictional characters. Here is a formula to help you write the structure: Will _____________ help/destroy/side with the __________thus ___________. In other words: character + goal + internal conflict = plot. Your character must have a goal, and then you, as the author, write events that run the character into conflicts (internal and external interwoven make for the more powerful plots). Clarification of Internal Conflicts Gollum against his split personality Katniss must kill Peeta. She can’t! Aragon fighting the blood that runs through his veins Story Goal Example: What is the catalyst for conflict in the Hunger Games? The Games! They are designed to pit children again children to fight to the death to keep order in society. Yet, the moral conflicts that arise in Katniss show the reader that this is not as cut and dry as President Snow would have you think. Katniss volunteered to save her sister. She has some skills, but she is not entering thinking she can actually win. She knows that she must keep her sister. As she says goodbye to everyone, the reality of the games weighs heavy on her, and she snaps, she must survive. She must win. But her word, survive, means she will not engage in killing unless she absolutely has to. She has a moral conflict (internal) with the goal in front of her (external conflict), but she has to do it because her life is on the line. To be clear, the external conflict is when the character struggles to achieve their goal due to opposition from another character. Character + goal + external opposition = plot. Here are some other external examples: Frodo is against Saron’s Army Harry is against Voldemort Katniss is against President Snow/the Games Back to Katniss, the Game Makers’ external conflicts under President Snow’s direction build the tension and anger for the reader. The arena is the place that contains much of the external conflict. It is suddenly breached when Katniss buries Rue. District 12 snaps and can’t take it anymore more. Even though Katniss does not know what happened outside of the arena, the readers do. This helps to build the story to have the trilogy because the arena no longer contains the external conflict. It is now spreading. Thus this is how a rebellion starts. Back to the point of a Story Goal: the goal is the thing that everyone in the overall story is, to varying degrees, for or against. Authors, with that knowledge of your goal, it will help you set the stage for your plot, your characters, and the complexity that will happen as internal and external conflicts arise. Watch for internal and external conflict for the characters in the next few weeks; Happy writing!

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Fourth grade reading begins with the book Wonder by R.J. Palacio. Students work on the skill of understanding a character’s perspective and discuss the theme of choices. The second novel is The King of Mulberry Street by Donna Jo Napoli. This work of historical fiction connects to the social studies unit on immigration. Students then read biographies of famous individuals and perform monologues as the individual, outlining main events from the person’s life. Students also read Hana’s Suitcase by Karen Levine and Because of Winn-Dixie by Kate DiCamillo. As students read each book, they engage in conversations, complete comprehension questions, and answer writing prompts. After finishing each novel, the students complete a culminating creative project. Students also study poetry during which they are introduced to several forms of poetry, including rhyme, free verse, haiku, and concrete. Students analyze the structures, tone, imagery, and meanings of each poem, as well as look for examples of figurative language (similes and metaphors). The writing curriculum is based on the 6 + 1 Traits of Writing program. This approach teaches students to focus on the traits of: ideas, organization, voice, word choice, sentence fluency, conventions, and presentation to improve their narrative and creative writing. Grammar is taught using the Framing Your Thoughts program. Students are taught the structure of a sentence and learn to identify parts of speech. Students are assigned spelling units from the Houghton Mifflin Spelling and Vocabulary: Words for Readers and Writers program. The word lists are organized by principles, patterns, and word parts. Math is taught using the ThinkMath! program. One focus is on the main operations: addition, subtraction, multiplication, and division. Students become fluent with their computation facts and solve word problems that utilize their conceptual understanding of the relationship amongst these operations. Students complete a geometry unit, in which they label triangles, classify quadrilaterals, determine area and perimeter, and find the volume of 3D shapes. Students explore fractions and mixed numbers through comparing fractions, finding equivalent fractions, and modeling addition of fractions. Students locate decimals on the number line, connect decimals and fractions, represent decimals using pictures and money, and add and subtract decimals. Students compute with time and money, measure temperature, and measure length, capacity, and weight using units of measure in both the customary and metric systems. The first unit of study is the solar system. Topics include: the sun as our energy source, the phases of the moon, constellations, seasons, and the characteristics of the eight planets in our solar system. To conclude, students write a research paper about a particular planet and create a 3D model. The next unit focuses on the human body. Students learn about six of the body’s systems: skeletal, digestive, circulatory, nervous, respiratory, and muscular. Students also 3D print models of the body’s organs, muscles, and bones. The final unit is electricity. Students learn how batteries and wires conduct electricity to a light a bulb and what types of materials are conductors and insulators. Ultimately, students build a cardboard house and wire it to independently produce electricity in four separate rooms. The first unit of the year is mapping. Students learn how to read and interpret different types of maps including main features such as: compass rose, map scale, and legend. Students also learn to locate cities on a map using lines of longitude and latitude. The next unit is immigration which on immigration to the United States from Europe between 1840 and 1920. The students study reasons for immigration, the journey to America, and the experiences that immigrants had once they arrived in America. In conjunction with our reading of Hana’s Suitcase in language arts, students are given an age-appropriate introduction to the Holocaust. During this unit, students explore how individual actions affect others in the past, present, and future. As part of this unit, students participate in The Bandage Project, a California-based tolerance study where students collect bandages as a way to memorialize the children who perished in the Holocaust. For the final unit of the year, students independently research a country, analyzing its government, economy, geography, and people. Students continue to develop conversational skills, as they are expected to speak in Hebrew throughout class. The Yesh VaYesh program provides videos and activities for students to learn more about Israeli culture and Hebrew grammar. Students study the four seasons and learn vocabulary associated with weather terms, clothing, and activities. Students learn vocabulary used to describe people physically, their likes and dislikes, and hobbies. Students also learn the vocabulary of daily schedules at home and in school as well as food and nutrition. Throughout each unit, the students are taught Hebrew grammar. Discussions of modern life in Israel are infused into each unit. Torah is taught using the MaTok curriculum which examines Torah in Hebrew verses. Students learn to find meaning in the text with the goal of becoming more independent biblical Hebrew learners. Some deeper conversations are conducted in English, but students are able to discuss the text in Hebrew as well. Connections are drawn between modern Hebrew and biblical Hebrew, and students review specific strategies to “unlock” the text (characters, roots, verbs, repeated words). The parashot of Vayetze, Vayishlach, Miketz, Vayigas, and Vayhi are studied in depth. The themes of these these parshot are explored in connection to the text. Students experience community tefillah twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students’ spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings. As the school year progresses, students learn about the Jewish holidays in Hebrew. They examine different customs and traditions associated with each holiday. They also review any blessings that are connected to each holiday. Students focus on the history of different holidays and the connection to Israel. Students also read stories in Hebrew about many of the holidays. Students develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland. The goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through classical and contemporary music, students learn to sing in-tune with expression and confidence while gaining confidence on stage. They read music and play several instruments including ukuleles and drums. Students also explore music composition using technology such as Garage Band. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics. The curriculum fosters an atmosphere of fun, while teaching songs that enrich the children’s Hebrew literacy, knowledge of Judaics and love of the land of Israel. Students work with a variety of drawing tools, paints, and papers in sophisticated ways. Students learn techniques for drawing, painting, printmaking, and collage. Within each grade level, elements of art such as line, shape, form, color, texture, value, and space are taught. Emphasis is put on the creative process rather than the finished product. Art history is an important component of our curriculum; students study different artists and art movements from the past to the present. Some movements that may be included are: Impressionism, Abstract, Folk and Pop Art. Throughout the year, art is integrated with units of study in the classroom and teachers work collaboratively on skills and concepts to deepen learning. Fourth graders build upon previous years’ work by discussing how emotions can change over time and conveying this idea in improvised mini-scenes. During the year students learn different techniques for developing characters, focusing on how different energies can affect a person physically (for example, using different walks to show the difference in emotions and characters). Fourth grade is also a team-building year, working together towards the common goals of performance and prop/costume creation. Students also demonstrate the ability to self-improve by giving and accepting feedback from their peers as they work towards a performance. Students in fourth grade physical education participate in sports education, teamwork, physical fitness activities, and athletic strategy. In addition to gross and fine motor coordination, stretching and agility, middle school students are taught age appropriate sports skills and team communication through drills as well as game-like scenarios. Units include soccer, flag football, team strategy games, floor hockey, ultimate frisbee, individual problem solving games and basketball. Social team building and sportsmanship skills are woven into game-like scenarios to teach students, not only the skills to play multiple sports, but the interpersonal skills to function in a fast paced team environment.

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This is the fourth installment in a series at #TeachLivingPoets. The Poet Laureate Project features a different U.S. Poet Laureate each month during the 2019-2020 school year. Guest author Ann Cox highlights one or two of their poems, suggests activities to use these pieces in the classroom, and touches upon their contributions to the promotion of poetry in America. Ann Cox has over 20 years of experience teaching high school English, including AP Lit, Creative Writing, and Speech. She also spent several years as a teacher consultant for the Illinois State Writing Project. This month’s featured Poet Laureate is Louise Glück, who served as Poet Laureate from 2003-2004. Some of her many honors include a National Book Award, a Pulitzer Prize, and a Gold Medal for Poetry from the American Academy of Arts and Letters. Glück is well-known for her reworking of Roman and Greek myths, so I’ve chosen to spotlight her poem “A Myth of Devotion.” The poem is part of her collection entitled Averno, a series of eighteen poems about the myth of Persephone. Ways to Introduce the Poem Before reading this poem, students need to be familiar with the myth of Persephone and Hades. You can find various versions of the story online, such as this one. You might begin the lesson by showing the painting below, which depicts the abduction of Persephone by Hades. Ask students to consider the following questions: - Examine any connotative meanings of the words in the painting’s title. - Analyze the following elements of indirect characterization for each figure in the painting: appearance, action/movement, and effect on others. - Is the painting dominated by cool or warm colors? What symbolic meanings can be derived from the colors that the artist uses? Reflect upon your responses to questions 1-3 and describe the artist’s attitude towards the subject of this painting. Explain how two details from the work establish this tone. Working with the Poem I always like to read poems aloud–and read them multiple times–whenever possible. I’d suggest having various students read aloud a stanza the first time through; then you can read the poem aloud the second time as students focus further on the meaning of the poem. Once you’ve read through the poem, students are ready to annotate. Ask them to consider the following as they take notes: - Examine any connotative meanings of the words in the poem’s title. - Characterize Hades by analyzing the following elements: his thoughts, actions, and effect on others. - Mark examples of imagery. What mood do these images create? - Reflect upon your responses to questions 1-3 and describe the speaker’s attitude towards Hades. Explain how two details from the poem establish this tone. You might also use Jen Flisinger’s lesson Considering Diction in Poetry Using Concentric Circles as an alternative way to work through this poem. Either of these methods would produce some great class discussions. Note: Discussion of this poem may bring up the issue of sexual consent. For more information on how to address this sensitive issue in your classroom, check out this article from School Library Journal. There are several interesting pairings you could do with this poem: - Obviously, you could study “A Myth of Devotion” within a Greek mythology unit. - Pair with another of Glück’s poems “A Myth of Innocence,” which focuses on the same myth, this time from the point of view of Persephone. This could be extended into a writing opportunity: Choose another myth (or any story, really) and ask students to write from the point of two of the characters. - You could also pair “A Myth of Devotion” with other modern mythology poems that focus on point of view. Consider Margaret Atwood’s “Siren Song,” “Medusa” by Frieda Hughes, or even Suzanne Vega’s song “Calypso.” - Here’s an idea I’m excited about experimenting with: Put together a mini unit on point of view. In addition to Glück’s poem, include pieces that have intriguing viewpoints for characters students are already familiar with. Two great examples spring to mind: Neil Gaiman’s “Smoke and Mirrors” (which presents a whole new way of looking at Santa Claus) and Five for Fighting’s song “Superman (It’s Not Easy).” Students could then use those works as mentor texts for their own point of view pieces. I hope you found some inspiring ideas for introducing Louise Glück’s poetry to your students. Join us again next month, when the featured Poet Laureate will be Juan Felipe Herrera. Thank you for reading! Do you have a story, lesson, activity, or something else to share with TeachLivingPoets.com? Be a guest author! Email me at [email protected]. If you want to order a #TeachLivingPoets shirt, check out my awesome sister-in-law’s Facebook store Megan’s Makes. Shirt options are: white/black/gray/blue unisex crew-neck S-XXXL, black/white women’s v-neck S-XL. All shirts are $20, PayPal accepted. You can follow me on Twitter at @MelAlterSmith and please tweet all the awesome things you are doing in your class with the #TeachLivingPoets hashtag!

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When a child is able to focus its attention, it is able to learn. When attention is fragmented or fades too quickly, little learning takes place. In this post I will explain why rhythm has a strong role to play in strengthening working memory, self-regulation and cognitive switching. These three aspects of cognitive control influence the way that attention supports learning. A weak working memory is frequently described as an invisible ‘barrier’ to learning and is prevalent in specific learning difficulties such as dyslexia. Working memory is the blackboard of the mind - the mental space upon which mental calculations, tasks, plans or lists can be reordered, manipulated and stored for a short period of time. Children with a weak working memory are able to manipulate and recall a span of only three information units, whereas those with a stronger than average working memory have a span of nine or more information units. However, the ability to manipulate and store information need not be limited by working memory span. Infants acquire their mother tongue by detecting the rhythmical patterns in the overall stream of speech utterances (Saffran et al., 1996). Sensitivity to rhythm expands working memory by ‘chunking’ the information into rhythmical groups, which is why it is often easier to recite a phone number by clustering the digits together in threes or fours. This chunking strategy probably extends way back through thousands of generations. Preliterate societies have transmitted and conserved cultural practices through singing and storytelling, but also via rhythmical chanting and reciting of verses. Now that we are a predominantly literate society, we are a little out of touch with the ancient tradition of rhythmically chanting of large amounts of information. However, memory experts show that it is possible to extend the natural span of working memory substantially and to recall information reliably by using chunking strategies (Mathy et al., 2016). For example, Rajan Mahadevan memorised at least 30,000 digits of pi by chunking the digits into groups of ten, he practised recalling the digits and extending the list further day after day (Ericsson & Moxley, 2014). In classrooms, some children struggle to concentrate. Their attention is scattered rather than focused, or may fade before they can engage with learning. Failed attempts to focus are frustrating for them and often spark a negative spiral, which leads to low self-esteem. Mindfulness training has shown that focussing on the rhythm of the breath is an effective way to overcome distracting, negative thoughts (Siegel, 2007). However, teachers of children who have completed the Rhythm for Reading programme comment on visible improvements in concentration, which indicates that a ten-minute burst of rhythmic activity per week reinforces focussed attention and strengthens cognitive control. Children lacking cognitive control are usually impulsive and struggle with interpersonal skills. They are low in self-regulation, a form of cognitive control that involves willpower and the perseverance to resist distractions and inhibit impulses, particularly while working towards a particular goal or target (Zimmerman, 2000) and usually emerges in very young children prior to starting school (Rothbart et al., 1992). The rhythm-based activities of the Rhythm for Reading programme, which were first designed for a group of children with little or no inhibition or self-regulation, are immensely effective in cultivating self-awareness and self-regulation in line with increased sensitivity to rhythm. There is also a deeper engagement with reading towards the middle of the programme. Being better able to detect the rhythmic ebb and flow in the text, the focus of attention narrows during the process of reading, effectively blocking out distractions. Self-regulation becomes a form of metacognition as the children monitor their awareness of their reading experience. Their information processing becomes sharper, enabling a natural ease to emerge in both self-awareness and cognitive control of the reading process (Long, 2014). While self-regulation filters out distractions during reading, cognitive switching builds flexibility into reading behaviour. An obvious example would be that if the reader detected an error, they would need to be sufficiently flexible to stop the flow of information, backtrack in the text and then restart without losing the overall thread of the passage. A less obvious example might involve the reader in alternating their awareness between different points of view in a dialogue. A degree of cognitive switching would be involved until these points of view had been securely assimilated and integrated into the overall comprehension of the text. Sensitivity to rhythm assists flexibility during reading by supporting the overall security, stability and assimilation of the text, however demanding it may be. Cognitive control supports focussed attention and improved sensitivity to rhythm contributes to cognitive control in several ways: (i) organisation of information in working memory, (ii) inhibition of distracting thoughts and (iii) security during cognitive switching. Taken together, these functions support focussed attention, the development of skilled reading and independence as a learner, all of which are required to mitigate the effects of disadvantage (Heckman, 2006). A newly published paper on a randomised controlled trial shows the statistically significant effect of rhythmic training on disadvantaged children’s reading comprehension. Read more here. Ericsson, K. A., & Moxley, J. H. (2014). Experts’ superior memory: From accumulation of chunks to building memory skills that mediate improved performance and learning. In T. J. Perfect & D. S. Lindsay (Eds.), SAGE handbook of applied memory (pp. 404-420). London, UK: Sage Publishing Heckman, J.J. (2006) Skill formation and economics of investing in disadvantaged children, Science, 312, 1900-1902. Long, M (2014) “‘I can read further and there’s more meaning while I read’: An exploratory study investigating the impact of a rhythm-based music intervention on children’s reading.” Research Studies in Music Education 36.1: 107-124. Mathy, Fabien, et al. (2016)Developmental abilities to form chunks in immediate memory and its non-relationship to span development.” Frontiers in psychology 7: 201. Rothbart, Mary K., Hasan Ziaie, and Cherie G. O’Boyle. (1992) Self‐regulation and emotion in infancy.New directions for child and adolescent development 55: 7-23. Saffran, Jenny R., Richard N. Aslin, and Elissa L. Newport. (1996) Statistical learning by 8-month-old infants.” Science 274.5294: 1926-1928. Siegel, D. (2007) The Mindful Brain New York: Norton Zimmerman, B.J. (2000). Attaining self-regulation: A social cognitive perspective. In M. Boekaerts, P.R. Pintrich, & M. Zeidner (Eds) Handbook of self regulation (pp. 13-39). San Diego: Academic Press

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- For his 10th birthday, Greg was given a handheld videogame system. His parents allowed him to pick any two games. They knew the games might contain violence, because there was a violence rating sign posted on the games, but rationalized that they were only games and other kids play them. Greg would quickly finish dinner and run up to his room to play his games.His parents were pleased to observe that Greg enjoyed their present so much. After a week, his parents noticed that he wasn’t turning off the videogames at bedtime, and had begun turning homework in late. He was up so late playing that he would not get up for school without argument. His parents decided that enough was enough and took the video games away. Greg threw temper tantrums and persuaded his parents to buy him a computer after convincing them that it was necessary to keep up at school. Greg soon returned to the same pattern of behavior where he spent long hours and late nights at the computer. This time, his parents felt a false sense of security that he was doing his homework. One day, his curious parents decided to scan the computer history to see what Web sites Greg was browsing. To their horror, they discovered that Greg was spending many hours online playing interactive, sometimes violently graphic, games on the Internet. He was also chatting with other “gamers”. Before confronting Greg about his behavior, his mother and father agreed to investigate what types of intervention strategies might be available within their community. They have come to you, a behavioral consultant, for advice.Click to Read the Kaiser Family Foundation Study: Generation M2. Media in the Lives of 8- to 18- Year Olds.Describe the issue of exposure to videogame violence in today’s society as related to Greg’s situation. Explore issues such as: - Prevalence (e.g., age, gender, racial diversity, etc.) - Given Greg’s developmental level, what are possible dangers of exposure to media violence? Be sure to address this in the context of his cognitive and socioemotional development. - Risk and protective factors, including predisposition to violence (e.g., are all children who play violent videogames likely to become more aggressive? What protective factors might mitigate the possible outcomes for Greg? - Discuss the possible outcomes if Greg’s behavior continues unchecked. - Discuss types of intervention strategies you would expect his parents to find at a community level, such as in community centers, schools, and social service agencies, to assist children like Greg who are at risk due to ongoing exposure to media violence. - What would be a good plan to recommend to Greg’s parents? - Compare the dangers of exposure to videogame violence with other forms of violence. What are similarities and differences between videogame violence exposure and the other type of violence you chose to compare? - What are the costs of videogame violence to the family and the community and society at large and the other form of violence you chose for comparison? By the due date assigned, format your paper in APA (6th edition) style, using information you learned in your textbook and from the Kaiser Family Foundation Study to support your response. Your paper should be between 4 and 5 pages in length. Include a cover page, abstract, and reference list, which should cite any information used from your assigned textbook, Kaiser Family Foundation reference, and other sources such as online course content. Writingexpert.net helps students cope with online college assignments and write papers on a wide range of topics. We deal with online discussion classes, academic writing, creative writing, and non-word assignments. Phone: +1 (940) 905 5542

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Creative writing prompts for kids What happens when you ask your child to write a story? It’s a common homework task for primary school kids, and a key part of the English National Curriculum, but while some children are overflowing with inspiration, others find it hard to come up with ideas. That’s where creative writing prompts – any tool that is used to kickstart the writing process, such as a picture, an opening sentence or a piece of music – can come in useful. Download a FREE Creative Writing toolkit! - KS1 & KS2 workbooks - Bursting with fill-in prompt sheets and inspiring ideas - Story structure tips, style guides and editing suggestions ‘Creative writing prompts can be anything that gets children thinking outside the box,’ explains Julia Skinner, founder of the 100 Word Challenge writing programme and The Head’s Office blog. ‘Some children find it hard to get going with creative writing, and really benefit from having a more thought-provoking starting point.’ Creative writing prompts: the benefits Often, children are given a creative writing task based on a set title, such as: ‘Write a story about a dragon’. ‘This might not be a problem for a child who has lots of imagination, but it can be a challenge for those who find it difficult to come up with ideas and don’t consider themselves to be very creative,’ says Julia. A creative writing prompt such as a picture or opening sentence can help to fire this creative process. ‘It gives children both the freedom and encouragement to develop their ideas by thinking beyond the obvious and immediate,’ Julia explains. ‘Giving them something specific and concrete can help them to develop their ideas in ways that they would usually struggle with.’ Prompts can help children to come up with a far more diverse set of ideas than they might usually. ‘If you give a whole class a set title, you tend to get a very generic response,’ says Julia. ‘But if they have a prompt, they can use it to take their story in any direction they choose.’ Using prompts also encourages children to use all their senses to inspire their writing. Giving them a title alone is likely to inspire a one-dimensional response, whereas showing them a picture can help them to imagine themselves in the scene and use all five senses to explore what their characters might see, hear, smell, taste and touch. How to use a creative writing prompt The key to using a creative writing prompt, says Julia, is to not just put it in front of your child but to spend some time exploring it together before they put pen to paper. ‘Creative writing shouldn’t be something where you leave your child to their own devices,’ Julia explains. ‘It really needs some input to draw out your child’s ideas. Set aside 20 minutes to discuss the story, starting with the prompt and asking questions to build on what your child suggests.’ It’s important to make sure your child knows that there are no boundaries where creative writing is concerned. ‘The testing culture in schools has led children to think that there is always one answer to aim for, but in creative writing, there is no right or wrong,’ says Julia. ‘We need to build children’s confidence to write about whatever they’re seeing or thinking, and prompts are a great way to encourage this.’ It’s also essential to let your child write freely when they’re using a writing prompt, without getting too caught up in spelling, punctuation and grammar. ‘Children need to be able to write creatively and without restriction,’ Julia agrees. ‘They need to feel free to express themselves, knowing that they can come back and put in the capital letters and full stops later.’ Six of the best creative writing prompts Pictures are probably the most obvious creative writing prompt. You can use any sort of picture – a cartoon, a photo, a piece of classic artwork – to inspire children’s imagination. ‘One of my favourite picture prompts is a photo of a smashed chocolate egg, surrounded by tiny model workmen,’ Julia says. You can either leave the picture blank, or add a caption to encourage children along the right lines: for example, a speech bubble on a person saying, ‘Where am I going?’ We love Coram Beanstalk's Make Your Own Story Dice (illustrated by Nick Sharratt) – you can download the templates for free, then colour in, stick together and use for endless storytelling! Another good prompt is to give children a sentence – typically the opening sentence of a story – to build their writing on. Giving them a starter such as, ‘How was the dragon going to tell his father what he had done?’ can prompt a huge and varied range of storylines, from adventure to comedy to tragedy. A page from a book A picture is said to be worth a thousand words, so taking a page from a children’s picture book and removing the text is a great way to kickstart a piece of creative writing. Using music as a prompt can help your child to think about how they use their senses in their writing. Typically, instrumental pieces work best, otherwise the lyrics put words in your child’s mouth, but you can use any genre, from classical to rap. Encourage them to think about how the music makes them feel; what they think is happening; what sort of character would play that music, and so on . A feely bag Put a selection of small, tactile objects into a bag (for instance, a golf ball, a fork, a comb…) and ask your child to pick one out at random. Use this as the starting point for their piece of writing, building a plot around it. For children who are motivated by rewards, taking part in a writing challenge can help to prompt them to write. The 100 Word Challenge, run in association with Night Zookeeper, gives children a weekly writing prompt; they then put together a piece in 100 words and can upload it to the website where other children can read and comment on their, giving them extra motivation to write. Story-telling advice from top authors An online storytelling tool, Storycraft offers video tips and inspiration from over 50 top children's authors including Julia Donaldson, Chris Riddell, Cressida Cowell and Jeremy Strong. Lots of different story genres and techniques are covered and it's all free!

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The Nametag project begins the school year with students creating a piece that visually represents who they are and presents the challenge for them to speak to the entire class. This assignment creates an opportunity for students to introduce themselves to each other, while also offering opportunities for creative expression and personal connections. It is a good way to informally introduce the concept of symbols, and explicitly teach strong oral communication skills. English Course Pack: Unit One – Literacy Skills This assignment is part of the The Full English Course Park. This piece is part of Unit One: Literacy Skills, which focuses on creating a strong foundational understanding of literacy skills, PEE paragraph writing, and embedding quotations as textual support. If you would like to say thanks, consider buying me a coffee. But that is neither required, nor expected. 1.01 – The Name Tag Assignment Step One: The Fifteen Points Begin this assignment by providing students a copy of the assignment package. Ask them to fill out the fifteen points – five adjectives that describe them, five things they enjoy doing, and five locations that are important to them. Reminding them that a location can be as broad as the universe, or as specific as the chair in the corner of their room. I suggest providing five minutes for students to complete this task, and then reassessing based on the needs of your students. They should all be able to complete this within ten minutes. If that seems unlikely, encourage them to ensure that they have at least one item in each of the three columns. Once complete, encourage students to share some of their points with the class, or elbow partners. Step Two: Selecting their Points Next, students should choose which of the points from each column best relates to them. These are the things that they will visually represent on their name tag. Because of this, students must write how they will represent this. They could choose to draw a bird to represent the fact that they like birds, or they could draw a bird to symbolically represent the fact that they like singing. This is a great moment to introduce the idea of symbols, and symbolic representation without formally introducing the topic. Students may choose to draw a thumbnail sketch of their visual representation or simply write the word under the visual representation column. Once complete, they will need to select a fourth item (from any of the three columns) and select a visual to represent it. Finally, students should be encouraged to share one of their four final selections with the class. Step Three: Explaining their Representations This is a very early introduction to paragraph writing, and it will allow you to assess your students’ abilities at the beginning of your course. This is an excellent opportunity for some diagnostic feedback, or to gauge the class-wide needs of your students. I would suggest not using this as an opportunity to teach paragraph writing, but rather just as a way to check sustained writing over fifteen or twenty minutes. If you like, you can draw attention to the paragraph exemplar on the final page of the package. Step Four: Planning and Creating the Name Tag This stage introduces the visual planning. Once planned (or if this piece is skipped in the interest of time, or engagement) students can fold a piece of paper three times (using hamburger folds, not hot-dog folds.) They should fold the paper when held in portrait, not landscape for those who aren’t familiar with elementary paper-folding terminology. How to Fold Once folded, they should draw their four images, integrating them with their largely written name where possible. The letter L could become a hockey stick, or an M could become a mountain range. These nametags should be fully coloured in, including the background (even if it’s just shaded one uniform colour). Next up are the rubrics. These are not well designed, fully crafted, rubrics. And, there’s a reason for that. These rubrics exist as checklists, slowly introducing the concept of rubrics while transitioning from what students like likely more familiar with from Grade 8. I explain that these pieces will all be graded through the use of levels, and that five checkmarks may still only result in a level 3+ rather than a 4+ based on quality. However, you are free to allow five check marks for the Media piece to equate to a perfect grade, as a way to encourage students to maintain their high levels of success. These checklists also allow you to demonstrate the skills you are looking for. Be sure that enough time is taken to go over, demonstrate, and explain each of the ten oral communication skills that you will be evaluating them on. Step Five: The Oral Presentation Prior to presenting, ensure that you stand in front of the classroom, and highlight all ten of the skills required for strong oral communication skills. Demonstrate tone by removing it from your voice, or volume by shifting from being quiet to loud. Ultimately what students should take away is that the audience is engaged when things are changing. The audience is tricked into refocusing if tone or volume shifts effectively, they are tricked to focus when the speaker moves slowly or gestures with their hands. Feel free to be a little hyperbolic and over-excited as you demonstrate these pieces. And then, if you wish, quickly invite each student to demonstrate their skills by reading a three sentence piece from a book of their choosing (from a pre-arranged selection). I like to include: - A cook book - An old science fiction book - A Young Adult Thriller - A how-to guide from many decades past You want students to read something that is a little “silly” so that they won’t feel self conscious, but will have already got up in front of the entire class. Once students have completed their name tags, learned and practiced oral communication skills, and had a chance to perform their presentations with small groups, they will present to the class. I allow students to pre-record their presentations, or present in front of the class. Neither choice is “easier” than the other, but it allows students to select what works best for them. You can then encourage students to choose other options if you like, as they progress. Now, on the second day of class all of your students will have created something wonderful, felt comfortable enough to speak to the entire class about a familiar subject, and created name tags that you can use for name-to-face recognition. Taking in these name tags at the end of each class and handing them out at the beginning of the next one helps cement student names. Once you feel the name tags are no longer required, they can be placed on the wall to honour student work, and create a sense of ownership for them in the classroom. I have also used these posted name tags as sticker charts, awarding one sticker for each piece of work that is handed in on time. Since, I do not believe that late marks should not be deducted the fear of missing out on a sticker goes a long way to encourage students to adhere to deadlines. Not only that, but the visual representation of stickers on name tags also serves as quick feedback for you, as the teacher, to understand what students might need more one-on-one focus and intervention. English – Unit One: Literacy Skills The Questioning slide deck follows the same framework that all the literacy skills slide decks do. It starts by asking students what the skill entails, … Continue reading 1.08 – Questioning: Slide Deck (English Lesson) Terry Bisson’s story, They’re Made Out of Meat, is a perfect way to put inferring into practice. After reading the story aloud, students are asked … Continue reading 1.07 – Made out of Meat – Short Story Visualizing and Inferring (English Lesson) This slide deck introduces students to the literacy skill, Inferring. It is designed to be moved through slowly, scaffolding an understanding of Inferring for students … Continue reading 1.06 – Inferring: Slide Deck (English Lesson) The Drawbridge Character Monologue assignment builds upon the now-familiar text that was explored in 1.04 – The Drawbridge: PEE Paragraphs, asking students to consider the … Continue reading 1.05 – The Drawbridge: Character Monologues (English Lesson) The Drawbridge PEE Paragraph activity brings together all of the learning that has taken place so far. The beginning of the lesson should be run … Continue reading 1.04: The Drawbridge: PEE Paragraphs (English Lesson) Embedding Quotations is a necessary skill that students will use throughout their years in secondary and post-secondary education. This slide deck introduces the idea of … Continue reading 1.03: Embedding Quotations: Slide Deck (English Lesson) Alligator River is a short story that will have your class yelling at each other, screaming at each other, becoming enraged at each other. And … Continue reading 1.02: Alligator River (English Lesson) English Course Packs: Full Units Unit One: Literacy Skills Unit Two: Poetry Unit Three: Literature Circles Unit Four: Creative Writing & Choose Our Way Tales Unit Five: Essay Writing Unit Six: Culminating Tasks Michael Barltrop has been teaching since 2006, integrating comics, video games, and TTRPGs into his classroom. He has been the head of English, Literacy, and Universal Design. Feel free to reach out through Twitter @MrBarltrop! Feel free to support the website hosting by buying him a coffee or sharing this post on facebook, twitter, or whatever social media is trending these days.

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03rd August 2021 For your GCSE English Literature exam, you’ll have to go further than just learning Romeo and Juliet’s character traits. Understanding all the major and minor characters can not only prepare you for a potential question, but will aid your overall understanding of the play. We’ve listed out a complete overview of the Montagues and Capulets character traits below. For more GCSE revision support, have a look at these resources: Shakespeare presents Lord Capulet as a domineering character who progressively becomes more controlling throughout the course of the play. In the early scenes, he gives up some of his power and says he will give Juliet a “scope of choice” when deciding on her suitor. Contrary to what he promises, he orders Juliet to marry Paris, and when she defies his order, he declares that she is a “disobedient wretch”. This dehumanising language, which is aimed at his own daughter, suggests that he cannot handle being disobeyed, which further emphasises his controlling nature. But does Lord Capulet just want the best for his daughter (who could be perceived as being too young to decide on matters of marriage) or is he just a close-minded, possessive father? It is up to you to decide, but make sure you backup your points with evidence! Her character traits are very much based on a stereotypical Elizabethan woman, who tends not to stray from the rule book. Since she married young, which was normalised at the time, she expects Juliet to follow in her footsteps. Lady Capulet’s authoritative character trait also causes her to appear cold and unempathetic. She does not engage in conversations about feelings with Juliet and instead asks the nurse to “come back again” to avoid dealing with it. This shows she does not have the maternal instincts that we would typically see from a mother. Romeo’s father, Lord Montague, is conveyed as a hot-headed and angry man. This is demonstrated through his desire to fight the Capulets when he sees them. Lord Montague’s violent nature shows that he wants to establish authority and preserve his pride, which again is very stereotypical of a man of that status in the Elizabethan era. His aggression could also have influenced his son, Romeo, who we also see become violent throughout the play. We are also exposed to his loving side after the deaths of Romeo and Juliet: he makes amends with the Capulets and states he will “raise her a statue in pure gold”. This exaggerated language depicts his character development from being aggressive and violent to becoming an emotional, caring man. Lady Montague contrasts her violent husband. She is very gentle, peaceful and delicate, which are character traits that help her to stop Lord Montague from getting into a fight. She states “thou shalt not stir one foot to seek a foe”, which reveals that she does not agree with aggression. This quote also foreshadows to the audience that the conflict might go too far. Her sensitive nature is amplified after she learns of Romeo’s banishment from Verona, and dies of grief. This highlights a large contrast with Lady Capulet, who appears to be less emotional and cold. Both Lord and Lady Montague worry about Romeo’s wellbeing, which causes them to appear a lot more kind and concerned than the Capulet parents. In fact, both the Capulet and Montague families emulate upper-class parenting in the 16th Century. The Capulets depict how daughters were expected to abide by their parents, whereas the Montagues reveal how boys were given more freedom. This is also shown in the form and structure of the play. The Montague family does not have as much stage presence as the Capulets, which reveals that Romeo has more freedom. Download our worksheet to help you revise the Montagues and Capulets character traits Did this article help you understand the character traits of the Montagues and Capulets? We can help you with even more Romeo and Juliet GCSE revision. Our Romeo and Juliet course includes 10 lessons with supporting videos, worksheets, quizzes and more that delve into: Romeo and Juliet Plot Summary Character of Romeo Character of Juliet The Characters Mercutio, Tybalt and Benvolio The Capulets and Montagues Theme of Religion and Fate Theme of Family and Marriage Theme of Conflict Theme of Love Access all of the above and more with a free trial of Your Favourite Teacher today! Prefer to listen on the go? No problem! At Your Favourite Teacher, we've got an array of helpful GCSE English Literature podcasts to teach you everything you need to know to ace your exams. You can tune in below to learn more about Romeo and Juliet or browse our other English literature podcasts for more content.

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Today’s storytelling exercise is an excerpt from my book, Story Drills, which is packed with fiction-writing exercises designed to impart the basic techniques of storytelling. Today’s exercise is from chapter thirty-five. It’s called “Motif.” Enjoy! A motif is a recurring idea, element, or symbol in a story. A story can have multiple motifs, and they can be just about anything, including an oft-repeated word, phrase, or gesture. Motifs serve a variety of purposes. Repeating elements of a story’s setting can reinforce the tone, mood, or atmosphere. Repeating a character’s behavior establishes their personality. Repetition of broad concepts can support—or even form—a story’s theme. The film Titanic is packed with motifs. Wealth is represented throughout the film with recurring images of expensive artwork, jewelry, and other finery. Oppression is another motif, which is represented with Rose being dominated by Cal, the third-class passengers trapped below deck as the ship sinks, and Jack barred from leaving the third-class accommodations to visit Rose in first class. This contrast in motifs (wealth and oppression) contributes to the film’s thematic statement, which deals with the choice between freedom and security. Motif can often be summed up in a single word: liberty, blood, love, water, power, money, and fear are just a few examples of motifs that could appear in a story. Concrete images are often used to form an abstract motif. Let’s say you want a motif of liberation in your story. You might include a bird flying free from a cage, a prisoner being released, and a hostage escaping captivity. While no single image is repeated, the concept or idea of liberation is echoed in each of these images. Motifs don’t have to be deep, serious, or even meaningful. Any repetition can form a motif, even the recurring appearance of a caterpillar in a children’s story. Choose a favorite book, movie, or television show. Make a list of all the motifs you can identify. Explain the meaning of each motif, and list the instances when it appeared in the story. Make a list of three motifs that could work together in a story. Choose one that is material (a rose), one that is intangible (dreams), and one that represents a big idea (freedom). Write a short summary of the story, explaining what it’s about and how these motifs would be presented throughout the story. Do all stories contain motifs? Can you think of any that don’t? Do you think motifs are important? Why or why not?

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Language Arts in fifth grade begins with the book Because of Mr. Terupt by Rob Buyea. Students work on the skill of making inferences to understand a character’s perspective. The second novel is The Egypt Game by Zilpha Keatley Snyder; students analyze the author’s use of foreshadowing as a literary technique. Students also read Tuck Everlasting by Natalie Babbitt. Finally, the students read Sophia’s War by Avi. As students read, they are exposed to vivid descriptive language and complex vocabulary. This historical work of fiction connects to the social studies unit on the American Revolution. As students read each book, they engage in conversations, complete comprehension questions, and answer writing prompts. After finishing each novel, students complete a final creative project. The writing curriculum is based on the 6 + 1 Traits of Writing program; this approach teaches students to focus on the traits of: ideas, organization, voice, word choice, sentence fluency, conventions, and presentation to improve their narrative and creative writing. Grammar is taught using the Framing Your Thoughts program. Students develop mastery of identifying the parts of speech of words in a sentence. Students are assigned spelling units from the Houghton Mifflin Spelling and Vocabulary: Words for Readers and Writers program. The word lists are organized by spelling principles, patterns, and word parts. The fifth grade math curriculum includes the following topics: multiplication, factoring, fractions, graphs, decimals, division, and geometry. For multiplication, students work on determining partial products to multiply multi-digit numbers. Students distinguish between composite and prime numbers and utilize divisibility rules to write the prime factorization of numbers. For fractions and decimals, students compare rational numbers and start to add, subtract, and multiply them. Students learn how to interpret data from graphs and create their own scatter plots from given information. When developing the division algorithm, students use their understanding of multiplication and area models to determine partial quotients. In our geometry unit, students explore the attributes of two-dimensional shapes and three-dimensional solids, and determine how to find area, perimeter, surface area, and volume. In the fall, fifth grade science students practice their lab skills to calculate the length, mass, volume, temperature, and weight of objects in metric units. They also look at the differences between qualitative and quantitative observations and carry out conversions between metric units for mass, volume, and length. Students apply their knowledge of physical and chemical changes to real-world situations and identify the type of change present in their lab observations. Near the end of the trimester, students build simple machines and explain their importance in everyday life. In the spring, fifth graders examine the steps of the Scientific Method and apply their knowledge to complete various experiments as well as conduct a scientific inquiry project for a science fair. At the end of the year, students delve into earth science, examining the three main layers of the earth and the theory of continental drift. They also unearth properties of rocks and minerals and look at the natural processes that shape Earth’s surface. In fifth grade social studies, students learn about ancient cultures as well as the foundations of American History. A variety of assessments such as creative writing assignments, analysis of primary sources, and project-based learning are used to determine student comprehension and progress. Students also read novels that are connected to the social studies units to deepen their appreciation for the historical time period. During the first semester, students analyze the most important ancient civilizations such as Sumer, Babylon and Egypt. Students determine why these places were so successful and the inventions that helped them thrive. The remainder of the year is spent studying the founding of the American colonies and the events that led to the American Revolution. Students explore the town of Marblehead as an example of colonial America’s role in the revolution. Using the Tal-Am curriculum, students in fifth grade Hebrew read stories to work on reading comprehension, vocabulary development, and grammar. Student also write about the text they read and act out short stories/skits using the new vocabulary to strengthen conversational skills with new words and phrases. Students learn to write and speak in both the present and past tense and have multiple creative writing assignments. Students use the Hebrew online program, “Ivrit Beclick” to complement their vocabulary and conversational skills in their creative writing assignments. During Torah studies, fifth grade students explore the book of Shemot (Exodus), which covers the main events in the life of Moshe and following the exodus of the Israelites from Egypt. Students are assigned a special project about ancient Egypt to help them better understand Egyptian culture, which complements much of the simultaneous teachings in fifth grade social studies. Students experience community tefillah twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students’ spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings. In Jewish Studies, students deepen their understanding of Jewish holidays and their historical, natural/agricultural, and faith-based foundation. They learn how our customs and traditions enrich and strengthen them as individuals within our Jewish community. Prayers and blessings related to the holidays are recited and Hebrew stories connected to the Jewish holidays are studied. Students develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland. The goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through classical and contemporary music, students learn to sing in-tune with expression and confidence while gaining confidence on stage. They read music and play several instruments including ukuleles and drums. Students also explore music composition using technology such as Garage Band. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics. Students work with a variety of drawing tools and multiple types of paints and papers in sophisticated ways. Students learn techniques for drawing, painting, printmaking, and collage. Within each grade level, elements of art such as line, shape, form, color, texture, value, and space are taught. Emphasis is put on the creative process rather than the finished product. Art history is an important component of our curriculum; students study different artists and art movements from past to present. Some movements that may be included are: Impressionism, Abstract, Folk and Pop Art. Throughout the year, art is integrated with units of study in the classroom and teachers work collaboratively on skills and concepts to deepen learning. In fifth grade students learn and practice debate skills, along with speaking skills such as diction and projection. Students then apply these skills to presentations throughout the year. Fifth graders also continue creating characters and bringing them to life physically and through the creation of improvised and written scenes. Throughout the cultural and performing arts curriculum, fifth graders continue to work together as a team to create scenes, mini-plays, and improvised scenes; students begin to create scenes based around props. Students are introduced to Shakespeare; his monologues are used to bring together presentation skills with character work, feedback, and direction from the teacher and peers. Students in physical education participate in sports education, teamwork, physical fitness activities and in game strategy in class. In addition to gross and fine motor coordination, stretching and agility, middle school students are taught age appropriate sports skills and team communication through drills as well as sports strategy. Units include soccer, flag football, team strategy games, floor hockey, ultimate frisbee, individual problem solving games and basketball. Social team building and sportsmanship skills are woven into game like scenarios to teach students not only the skills to play multiple sports, but the interpersonal skills to function in a fast paced team environment.

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The instructions for this week’s sketch involve the following: Create a system for generating stories. - The system should be based on some kind of formalism or abstraction about narrative—maybe one that you read about in the reading, or maybe one that you’ve devised yourself. - Be weird and opinionated. - Your system should provide a set of instructions to follow (or an interface to interact with), and at the end produce some kind of story. - The system should be expressive, i.e., following the instructions multiple times should produce noticeably different stories. Phytomorphologic narrative system - First, I don’t consider the system as something that defines one standard narrative structure. I’d rather think of it as a way to create different narratives using metaphors already present in our world. In this case, our metaphors will be inspired by plant morphology. - Specifically, we use the shape of a plant to define how to tell the story of a person’s life. The health of the leaves, the number of nodes, and the degrees of separation between them define the structure to follow while telling it. - The system is based on the idea of several events that compose a longer narrative structure. Each of these compact and definable events is seen from the perspective of an entity (or character) in the story. As I will explain in a moment, each of these events may also fragment into the perspectives of different entities, while still pertaining to the internal time of the story. - Look for a plant with leaves. Hopefully, it will have several stems, with smaller stems and leaves protruding from it. Something like the image below is what I chose in this case. - Make a 2D representation of it. I chose to draw it. 3. Identify the start and end of the plant/ plant section you chose. Count the number of nodes, leaves, and tips. Each of these will correspond to different elements in the narrative structure. You can see an example below: 4. Consider the main stem of your plant as the total internal time of the story. Each node in the main stem is an event or micro-narrative that begins at that precise moment in the timeline of the story. I have identified them with red dots in the image above. 5. The number of leaf or stem tips on the plant determines the number of entities(characters) in the story. One event, or stem, might have several bifurcations that correspond to these individual entities. 6. An event derived from a node in the main stem means it is being told by someone/something in the first degree of relationship (Immediate Family, partner, offspring, etc. A sub-node inside the event indicates the second degree of relationship with the main character or the first degree of relationship with the character in the secondary stem. 7. The health of each of the appendages also determines the sentiment in which the narrative discourse is formed. An unhealthy stem and leaf set a different emotional setting than a healthy one in terms of how the story is being told.

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This teacher’s day, we celebrate the revolutionary women who fought for women’s education in India. For centuries women were constrained in the four walls of the house, and education was reserved for the upper caste men. The work of these educators and activists form the backbone for a more equitable world for women. A wider prevalence of women’s education didn’t just mean more women being educated, but it meant women entered the public sphere. It paved the way for women to be leaders, women in science, and a life of independence and dignity for them. Savitri Phule was the first female teacher in the first school for girls in India. Along with her husband, Jyotirao Phule she worked throughout her life for the dignity of life for oppressed-caste people and women. After being married at 13, she was educated by her husband and other activists. Her role as a headmistress marked a monumental entry of women into the public sphere of modern India. Along with Fathima Sheikh, they started the first school for girls in 1948. By 1951 they had three similar schools running in Pune. In 1853, Savitribai and Jyotirao established an education society that opened more schools for girls and women from all classes, in surrounding villages. This was unprecedented as education was reserved for upper-caste men at this time. She also started Mahila Seva Mandal to educate women about their rights, dignity and social issues in 1952. Savitribai’s struggle was fraught with many difficulties and despite that, she continued her work peacefully. Men would purposely wait in the streets and pass lewd remarks. They sometimes pelted stones and threw cow dung or mud. Along with her husband, she was ostracised for helping widows, providing shelter to rape victims and others that were marginalised by society. She is the mother of Indian Feminism, and her contributions towards women’s educations amongst her other fights for the oppressed castes and women leave an indelible mark in History. Fathima Sheikh worked closely with Savitribai Phule for educating girls. She is widely regarded as the first female Muslim teacher in India. Fatima and her brother, Usman Sheikh, offered refuge to Savitribai and Jyotirao Phule when they were forced to leave their home in Pune for challenging the norm and educating Dalits and women. Here she also helped Savitribai set up their first girls’ school called “Indigenous Library”, in her own house in 1948. She challenged both upper-caste Hindu men and orthodox Muslims by going against the stringent patriarchy that existed at that time. She enrolled in a teaching course with Savitribai Phule and taught Dalit, Shudra, Adivasi and female students until 1856. Her solidarity to the struggle of Jyotirao Phule and Savitribai Phule is noteworthy, as it came at a time when their own families and community had alienated them. Unfortunately, very little literature is available on the life and works of Fatima Sheikh. Ramabai Ranade was one of the first women social workers and educators, born in 1863. She was married at the age of 11. Her husband, MG Ranade was a social and educational reformer, and one of the founders of the Prarthana Samaj. He encouraged her to get educated and tutored her in Marathi, English and the social sciences. Ranade quickly gained recognition for her oratory and leadership skills and started a Hindu Ladies Social Club that trained women in public speaking and handwork like knitting. She became actively involved in the Prarthana Samaj and also in the Seva Sadan. Here she emphasised on the need for women’s education and oversaw various programmes. She also organised vocational and professional training for poor women, widows and abandoned wives. Unlike other institutions of the time which focused on higher class women, her efforts were directed towards the working-class women. She balanced traditional aspects of Maharashtrian society with these reforms. While she was targeted by conservative men and women for her ventures, she successfully created a network for women to avail vocational training, healthcare information and established the first high school for women in India. Chandraprabha Saikiani was the pioneer of the women’s movement in Assam. She fought hard for her sister and herself to be educated. She travelled long distances every day to study at the Boys’ school, as there was no school for girls. Being educated herself, she started her first school at the age of 13, under a thatched hut, to ensure other girls too could be empowered. Receiving a scholarship to study at the Nagaon Mission School, she continued to strive for women’s education. She also fought to get hostel accommodation for all girls, even those that didn’t convert to Christianity. In 1921, she started the Asam Pradeshik Mahila Samity, which is still operational in Guwahati. The organisation aimed at spreading women’s education and then further employment. The forum provided a place for women to discuss and deliberate their own place in the social movement and also stressed on economic independence for women, by promoting handloom goods. The Tezpur University established a women’s centre in her name, Chandraprabha Saikiani Center for Women’s Studies (CSCWS) in 2009 for promoting women’s education in Northeast India. Anutai Wagh was one of the pioneers of preschool education in India. Her pedagogy focused on curriculum that was indigenous, used low-cost teaching aids and was aimed at the holistic development of the students. She stood first in the Vernacular Final exam in 1925. She then completed the Primary Teacher’s Certificate course at the Women’s Training College in Pune in 1929. She taught in a school in Chandwad Taluka in Nashik District where she faced a lot of backlash from conservatives groups for educating young girls. After coming up across a pamphlet on child education by Tarabai Modak she enrolled in a night school and completed her matriculation and graduation at the age of 51. Anutai began her work in the Bordi – Kosbad area (in Dahanu taluka, Palghar). With Tarabai Modak, she set up a Balwadi (playschool) in a thickly forested tribal area in Bordi. There was no road, electricity or any kind of communication. There was hostility amongst the tribal people towards educated very small children, so she took up the responsibility of bringing them to school, washing them, feeding them and dropping them back home. Her work at the ‘Gram Bal Shiksha Kendra’ formed the basis for the development of preschool education – one that used storytelling, songs and was deeply intertwined with local and indigenous cultures. This article was published by shethepeople – THE WOMEN’S CHANNEL. Refer this for more such articles: https://www.shethepeople.tv/

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Time was when preschool literacy was understood as young children’s ability to read and write in simple ways – like knowing and reading the alphabet and perhaps writing a few However according to recent early education pedagogy, literacy is understood in much broader terms that include children learning to express themselves and communicate through a range of forms and symbols. In keeping with this, the EYLF has defined literacy as the “capacity, confidence and disposition to use language in all its forms. Here are some significant takeaways from the definition. Literacy Begins With Communication Literacy is not just a set of skills that pre-schoolers need to develop in order to be ready to join full-fledged school. Instead the EYLF’s definition of literacy recognises that it develops from birth as humans learn to use gestures, sounds and language to express feelings, exchange thoughts and connect with others. Thus even before infants acquire language, they use sound, gesture and body language to communicate their needs and feelings. When adults talk to, sing songs or rhymes with babies, the latter are able to respond by showing what they’re interested in. In this way, even before being able to speak words, babies can ‘lead’ the conversation by pointing or holding out something for responsive adults to see. Oral Language Sets The Scene For Literacy In the first two years, before children are talking a great deal, they are listening and learning about what language is and what language does. This early learning is the beginning of a child’s awareness of sounds in the home language, combinations and sequences of such sounds and its patterns usually conveyed most enjoyably through rhymes, jingles and songs. As children learn more words, they take turns in a conversation and begin telling stories, thus acquiring oral language. Various Modes Of Communication Apart from talking, reading and writing, the EYLF understanding of literacy makes it clear that it incorporates a range of modes of communication including music, movement, dance, storytelling, visual arts, media and drama. All such modes allow pre-schoolers access to forms and materials to express and communicate complex ideas and feelings for which they may not have adequate vocabulary. Texts Include More Than Books Traditionally ‘texts’ has referred to books, magazines and advertising material and to film and TV. However the EYLF defines ‘texts’ as ‘... things that we read, view and listen to and that we create in order to share meaning’. The most significant implication of this understanding is the inclusion of digital texts which have made our literacy world ‘multi-modal’. In an increasingly technological world, the ability to critically analyse contemporary texts like electronic and print-based media is a key component of literacy. Using information and communication technologies helps children to explore their world, interact with others and make their own meanings. Reading aloud is one of the best-kept secrets. It has a tremendous impact on the child’s mind and helps them gain a good start on their education and learning. It also supports children to become emergent readers through the use of repetitive listening and using familiar words while reading. Importance Of Reading To Children Literacy skills cover the ability to read and write words, sentences and language. Since such skills are not just the basis of effective communication but also determine future academic progress, it is important to support literacy skills from early childhood. Developing and Enhancing Literacy Skills - Implementation Guidelines For Indicators Of Preschool Numeracy and Literacy in Government Preschools, Department Of Education South Australia - Becoming Literate, Department Of Education South Australia

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“Animation offers a medium of storytelling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.” – Walt Disney Research indicates that one of the most effective ways students learn is by teaching others. In my new book, Hacking Digital Learning Strategies: 10 Ways to Launch EdTech Missions in Your Classroom, students are sent on a mission to instruct others by creating their own video tutorials. Other ways students can teach others is by creating explainer videos (sometimes called One Take Videos), Do It Yourself (DIY) videos, or How-To Videos. These videos help students visualize and explain in their own words their understanding of the topic. Additionally, these videos save you time if you are flipping instruction and need a library of instructional videos. No need for you to create the videos. Your students will have a much valuable learning experience if they create their own. Future students can learn with these videos and create others to demonstrate the same concepts. Below are some tips, web tools, and resources to get your students started. Get your copy of Hacking Digital Learning, The 30 Goals Challenge, or Learning to Go. Ask me about training your teachers, [email protected]! Process and Resources First show students examples of the type of video they will produce. Find several examples in the list below: Students choose a topic for their explainer, DIY, or instructional videos. These videos should be no longer than 3 minutes and some can be as short as six seconds. Give students time to write the scripts for their videos and storyboard them. Students will need time to gather their props or create illustrations for their videos if this is the option you choose. Check out this video showing a group of students behind the scenes creating their Common Craft videos. A better option is to choose a web tool or app with a template to create their videos quickly. This will cut down the amount of time students spend completing the task. Suggested free web tools with templates- My Simple Show, Biteable, Powtoon, Wideo, RenderForest, Moovly, Raw Shorts, and WeVideo. Suggested free web apps- create how-to videos with the Darby iOS app, Get-Puppet iOS app, Explain Everything iOS/Android app, Lensoo iOS/Android app, Show Me iOS/Android app, and Educreations iOS app. Students produce their videos and get their peers to view them, complete the tasks, and provide feedback. Challenge: Get your students started creating their own instructional videos using any of these resources or ideas! Subscribe for FREE to receive regular updates! Interesting essay samples and examples on:

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What Is Effective Comprehension Instruction? Effective comprehension instruction is instruction that helps students to become independent, strategic, and metacognitive readers who are able to develop, control, and use a variety of comprehension strategies to ensure that they understand what they read. To achieve this goal, comprehension instruction must begin as soon as students begin to read and it must: be explicit, intensive, and persistent; help students to become aware of text organization; and motivate students to read widely. Explicit, intensive, persistent instruction To become good readers, most students require explicit, intensive, and persistent instruction. In explicit comprehension strategy instruction, the teacher chooses strategies that are closely aligned with the text students are reading. The teacher models and "thinks aloud" about what a given strategy is and why it is important, helps students learn how, when, and where to use the strategy, and gives students opportunities to apply the strategy on their own. Modeling is followed by practice, guided by the teacher, who works with students to help them figure out how and when to use the strategy themselves. As students read, the teacher provides feedback and engages them in discussion. In subsequent lessons, the teacher asks students to apply the strategy on their own to other texts.2 Students are encouraged to plan before reading so that reading has a clear goal or purpose, to continually monitor their understanding during reading, and to apply repair strategies when breakdowns in understanding occur. To improve self-monitoring, the teacher may model for students how to do one or all of the following: - think about what they already know before they start reading and during reading; - be aware of whether they understand what they are reading; - employ strategies to identify difficult words, concepts, and ideas; - ask themselves: "Does this make sense?"; and - be aware of how a particular text is organized. One of the most important features of explicit instruction is the teacher's gradual release to students of responsibility for strategy use, with the goal that students apply strategies independently. However, teachers do not ask students to work on their own until the students have demonstrated that they understand a strategy and how and when to use it.3 Awareness of Text Organization Text organization refers to the physical patterns and literary conventions of a particular text structure, or genre. The ability to identify and take advantage of text organization can contribute to students' comprehension.4 The two major text structures, narrative and expository, place different demands on readers' comprehension. Narrative Text. Broadly defined, narrative text tells a story. It is found in the form of short stories, folktales, tall tales, myths, fables, legends, fantasies, science fiction — even in the reporting of news stories or in biographies and autobiographies. The narrative structure most often features a beginning, middle, and an ending. It most often also features clear story elements, or story grammar, including: - a central problem, or conflict - a sequence of events that form a story line, or plot - a resolution to the conflict Helping students learn to identify recurring story grammar elements provides them with a story schema. When they encounter a new narrative text, students can then call on this story schema to make predictions about what might happen in the story, to visualize settings or characters, or summarize plot events. Instructional practices that facilitate students' understanding of narrative text include: - focusing discussions on story elements and encouraging students to relate story events and characters to their own experiences; - encouraging students to compare the structure of one story to that of other stories they have read; and - preparing visual guides, such as story maps of the structure of a story, to help them recall specific story elements. Expository Text. Broadly defined, expository text is factual. Its primary purpose is to inform, explain, or persuade. Examples of expository texts are textbooks, biographies and autobiographies, newspapers, diaries, journals, magazines, brochures, and catalogues. Most of the reading students do throughout their schooling — indeed, throughout their lives — will involve expository text. Without an understanding of the organization of such text, students often have difficulty understanding what they read. Unlike a narrative, an expository text has no familiar story line to guide students' reading. To read expository texts successfully, students must learn that authors may use a variety of structures to organize their ideas, including cause-and-effect or compare and contrast relationships, time-and-order sequences, and problem-solution patterns. Indeed, students need to know that authors may use some or all of these structures in any given chapter or section of a text. Students also need to learn that expository text can differ from narrative text in the way it is presented on a page. For example, expository text may be organized by means of text headings and subheadings, and may contain extensive graphics, such as tables, charts, diagrams, and illustrations. Instructional practices that facilitate students' understanding of expository text include helping them learn how to: - chunk information in a text by grouping related ideas and concepts; - summarize important information in a text by grouping related ideas and concepts; - integrate information in a text with existing knowledge; - apply information in a text to real-world situations; - interpret and construct graphics such as charts, tables, and figures; - synthesize information from different texts; and - develop presentations about the text. Motivation to Read Widely Motivating students to read widely is integral to comprehension instruction. Motivation plays an important part both in helping students learn to read and in promoting higher levels of literacy. Wide reading experiences enhance students' abilities to comprehend an increasingly wider array of text types and texts of increasing difficulty. It is no surprise that students who are good readers read a great deal-both in school and on their own. They read a variety of texts for a variety of purposes-to learn, to keep informed, to satisfy curiosity, and to entertain themselves. The reading experiences, attitudes, and perspectives of students determine the ways in which they perceive the purpose of reading and value its benefits. Instructional practices to promote students' motivation to read widely include: - providing daily opportunities for students to read both self-selected and teacher-and peer-recommended texts; and - providing frequent opportunities for both student- and teacher-led discussions of what students are reading. - organizing cooperative learning groups in which students can discuss what they read, help each other choose the strategies that are most appropriate for a specific text; - encouraging students to read so as to learn about a concept or topic that is meaningful to them; - involving students actively in reading-related activities; - encouragement for students to read independently; and - opportunities for students to choose from texts that reflect different genres and reading levels. Click the "References" link above to hide these references. 1. E.g., Pearson, P. E., & Gallagher, M. C. (1983). The instruction of reading comprehension. Contemporary Educational Psychology, 8, 317-344; Rosenshine, B., & Stevens, R. (1984). Classroom instruction in reading. In P. D. Pearson, R. Barr, M. L. Kamil, & P. Mosenthal (Eds.), Handbook of reading research (pp. 745-799). New York: Longman. 2. Honig, W., Diamond, L, & Gutlohn, L. (Eds.). (2000). Teaching reading sourcebook for kindergarten through eighth grade. Novato, CA: Arena Press; National Reading Panel, 2000. 3. Dole, J. A., Duffy, G. G., Roehler, L. R., & Pearson, P. D. (1991). Moving from the old to the new: Research onreading comprehension instruction. Review of Educational Research, 61, 239-264. 4. Dickson, S. V., Simmons, D. C., & Kameenui, E. J. (1998). Text organization: Research bases. In D. C. Simmons & E. J. Kameenui (eds.), What reading research tells us about children with diverse learning needs: Bases and basics. Mahwah, NJ: Lawrence Erlbaum Associates. 5. See, e.g., Turner, J. C., & Paris, S. G. (1995). How literacy tasks influence children's motivation for literacy. The Reading Teacher, 48, 662-675. Comprehension Instruction, 12-15. Retrieved from http://www.netxv.net/pm_attach/67/TRI-Comprehension_Instr.pdf.

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About the Holiday Martin Luther King Jr. Day celebrates the life and legacy of the man who dedicated his life and work to teaching—as Coretta Scott King once stated—“the values of courage, truth, justice, compassion, dignity, humility and service” and led a non-violent Civil Rights movement to enact racial equality and justice throughout state and federal law. President Ronald Reagan signed the holiday into law in 1983, setting it on the third Monday of January to coincide with Martin Luther King Jr.’s birthday on January 15. The holiday was officially observed in all 50 states in 2000. Today, learn more about the life and work of Martin Luther King Jr. We still have a long way to go before there is justice and equality for all, but this year – even this week – gives us a new start. Look for ways you can offer help and hope. Martin Luther King Jr. (Little People BIG DREAMS) Written by Maria Isabel Sánchez Vegara | Illustrated by Mai Ly Degnan “Martin Luther was a spiritual boy from Atlanta who came from a long line of preachers.” It was thought that he might grow up to be one too. One day, a White friend invited him to his house to play, but when his mother wouldn’t let him in, Martin “realized something terrible was going on.” He discovered that Blacks weren’t welcome in the same places as Whites. Businesses, transportation, and other public places were segregated, which meant there were separate areas for Black and White people. Martin and his friend even had to go to different schools. Martin believed people should speak up when something is wrong. He decided that he would “fight injustice with the most power weapon of all: words.” As he grew up and went to college, he learned about ways people could peacefully protest things they felt were wrong. After he graduated, Martin did become a preacher in Alabama. On Sundays, he encouraged his congregation to make their voices heard. When Rosa Parks was arrested for refusing to give up her seat to a white man on a city bus, Martin asked people to avoid taking the bus until the law was changed, and they responded. For nearly a year people walked and the buses were empty. Finally, segregation of buses ended. This was only the beginning of peaceful protests aimed at overturning the country’s segregation laws. Despite being attacked and arrested, Martin and his followers remained peaceful. Martin “knew that hate can’t drive out hate; only love can.” In a huge protest march on Washington DC, thousands of people assembled to hear Martin speak. His speech began with “four simple yet powerful words: ‘I have a dream.’” The next year, Martin was awarded the Nobel Peace Prize. Little Martin’s words and dream still ring in your heart, and if you listen you can help make that dream “of a world where we are judged by our character, not by the color of our skin.” A timeline of Martin Luther King Jr.’s life, accompanied with photographs, follows the text. Maria Isabel Sánchez Vegara’s series of biographies for youngest readers are little gems that create a personal connection between the reader and the subject while presenting a clear overview of the person’s life and work. A highlight of the series is Vegara’s early focus on events in the subject’s childhood that changed their perspective and informed their later profession or influence and which will resonate with kids. Here, these include his family’s legacy, a forbidden friendship, and his discovery of the philosophy of Mahatma Gandhi. Vegara’s storytelling is simple and straightforward, presenting the facts of formative events in language that young children will understand but which never talks down to them. She highlights times when community members were instrumental in changing the laws of segregation, showing children that they too can affect change through their actions, words, and the way they treat others. She then leaves children with words of hope and encouragement on how they can carry on Martin Luther King Jr.’s dream. Mai Ly Degnan’s stylized and sophisticated illustrations invite children to learn about Martin Luther King Jr.’s life through images they will connect with intellectually and emotionally. Kids will enjoy seeing Martin dressed up in his father’s robe that pools around his feet as he preaches to his friends and will not need words to understand the angry face and outstretched pointing arm of his friend’s mother. Other events, such as Rosa Park’s arrest and the bus boycott are depicted from the community’s viewpoint, allowing children to be part of the audience or crowd. Other images, such as Martin’s arrest, a peaceful protest, and the awarding of the Nobel Peace Prize, give children and adults opportunities to discuss and expand on the text. Degnan’s final spread echoes back to the day when Martin was sent away from his friend’s house – but this time with acceptance – as a Black boy stands with his arm slung over the shoulder of his White friend as they stand in a diverse crowd of people. Empowering and informative, Martin Luther King Jr.: Little People BIG DREAMS is highly recommended for home bookshelves and is a must for school and public library collections. The book can also be found as part of a boxed set Little People BIG DREAMS Black Voices, which includes biographies of Maya Angelou, Martin Luther King Jr., and Rosa Parks. Ages 4 – 7 Frances Lincoln Children’s Books, 2020 | ISBN 978-0711245679 | Little People BIG DREAMS Black Voices, 2020 | ISBN 978-0711262539 You can connect with Maria Isabel Sánchez Vegara on Twitter. To learn more about Mai Ly Degnan, her books, and her art, visit her website. Martin Luther King Jr. Day Activity Martin Luther King Jr. Portrait To inspire your dreams of a better future for all, c olor this printable coloring page and hang it in your room! You can find Martin Luther King Jr. (Little People BIG DREAMS) at these booksellers To support your local independent bookstore, order from Picture Book Review Picture Book Review

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In 6th Grade Language Arts, students analyze a variety of literary themes and genres. The class will read classic novels like The House on Mango Street, The Giver and So Far From The Bamboo Grove and frame them in their social and historical contexts. At the end of the year, students will read A Soldier’s Secret by Marissa Moss. This story is about a young girl fighting in The Civil War and is chosen to further enhance the Civil War unit in students’ Social Studies class. Students also get a taste of Shakespeare when they read Twelfth Night and read a variety of poetry from both contemporary and classic poets. Vocabulary is taught from the texts being studied and grammar instruction in embedded in writing lessons. Students develop their critical writing skills and cultivate their author voice through closely examining word choice, mechanics and sentence structure. The topics included in the sixth grade math curriculum are decimals, data analysis and displays, fractions, ratios, percents, geometry, and probability. Students work on performing all four operations on fractions and decimals and converting between fractions, decimals, and percents. They also apply percents to real-world situations including taxes and discounts. For data analysis, students find averages and learn multiple ways to display data. Sixth graders write and compare ratios and use proportions to analyze maps and create scale drawings. Our geometry unit includes exploring attributes of angles, as well as two-dimensional shapes and three-dimensional solids. In probability, students apply the counting principle and determine the number of possible combinations or permutations for given situations. In the fall, sixth grade science students participate in a Metric Olympics to review measurement skills and they apply their knowledge of the metric system to converting between metric units. Students use water to examine the four states of matter and their phase changes. Students also conduct lab experiments to observe physical and chemical changes while determining the properties of matter. Later in the trimester, students dive into the field of ecology, including learning about the three types of symbiotic relationships, food chains, and biomes. In the spring, students learn how to properly use a compound light microscope. After observing various specimen under a microscope, students identify the structure and function of cell organelles. Students later create a 3D-printed model of a plant or animal cell. This project leads students to an introduction of coding and programming Lego Mindstorms EV3 robots. Students work together to plan and program their robots to carry out various tasks and challenges, such as moving objects to given targets and navigating through an obstacle course. In sixth grade social studies, students study the events following The American Revolution through The Civil War. A variety of assessments such as creative writing assignments, analysis of primary sources, and project based learning are used to determine student comprehension and progress. Students also read novels that are connected to the social studies units to deepen their appreciation for the historical time period. Sixth grade students begin by analyzing the failures of the Articles of Confederation and follow the progression to the framework of the United States Constitution. Students then learn about the events that led to Westward Expansion and the development of the United States as a country. The major causes of The Civil War and the events that led to the Union’s victory are studied in the spring. Students in sixth grade Hebrew focus on being able to speak, write, and read using the present and past tense. Reading fluency is developed through varied texts such as short stories, poetry, and print media. Students read a full-length novel in class to expand vocabulary and experience Israeli literature. Students also analyze and describe major events, themes, and concepts in Hebrew. Students study biblical events from an historical context and follow the progress from biblical to ancient Israel. They explore many different themes such as family, leadership and interpersonal relationships. Students learn how to navigate through the Tanach and find specific verses in English and Hebrew. Students experience community tefillah twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students’ spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings. In sixth grade Jewish studies, students deepen their understanding of Jewish holidays and their historical, natural/agricultural, and faith-based foundation. They learn how our customs and traditions enrich and strengthen them as individuals within our Jewish community. Prayers and blessings related to the holidays are recited and Hebrew stories connected to the Jewish holidays are studied. Students develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland. The goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through classical and contemporary music, students learn to sing in-tune with expression and confidence while gaining confidence on stage. They read music and play several instruments including ukuleles and drums. Students also explore music composition using technology such as Garage Band. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics. Students work with a variety of drawing tools, paints, and papers in sophisticated ways. Students learn techniques for drawing, painting, printmaking, and collage. Within each grade level, elements of art such as line, shape, form, color, texture, value, and space are taught. Emphasis is put on the creative process rather than the finished product. Art history is an important component of our curriculum; students study different artists and art movements from the past to the present. Some movements that may be included are: Impressionism, Abstract, Folk and Pop Art. Throughout the year, art is integrated with units of study in the classroom and teachers work collaboratively on skills and concepts to deepen learning. Sixth grade students continue to build on character work and presentation skills from the previous year by holding mock debates. Students deepen their ensemble capacity as they work together to perform the spring musical performance. Students also strengthen their character work by analyzing text in order to discover character motivation and learn how to bring that out in their performances. Students demonstrate the beginning mastery of all their skills during rehearsals and performances of the spring musical. Students in physical education classes are encouraged to participate in sports education, teamwork, physical fitness activities and sports strategy. In addition to gross and fine motor coordination, stretching and agility, middle school students are taught age appropriate sports skills and team communication through drills as well as game-like scenarios. Units include soccer, flag football, team strategy games, floor hockey, ultimate frisbee, individual problem solving games and basketball. Social team building and sportsmanship skills are woven into game like scenarios to teach students not only the skills to play multiple sports but the interpersonal skills to function in a fast paced team environment.

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Social stories are a powerful and fun tool that can be used to help young students to understand and cope with different situations. These skills teach students what is expected in social behaviors and different settings such as school, with friends, appointments, or shopping. Goals of Social Stories The goal of social stories is to focus on specific behaviors that students with developmental delays, autism, or those who struggle with social challenges to develop coping skills for these situations, reduce anxiety, and prepare them for the consequences of different behaviors. As a Speech Therapist and parent of two Special needs sons, who required intensive Speech, Occupational and Physical therapy in all areas, I hope to bring a unique perspective to my posts. Situations where Social Stories can be Used Social stories can specifically help with: - New experiences – first day at school, going on an airplane, going to a doctor or dentist - Transitions – moving from one activity or environment to the next - Social skills – sharing, taking turns, resolving conflicts - Learning routines – bedtime routine, morning - Setting expectations for behavior – visiting the library, road trips - Specific behavioral issues – spitting, hitting, name-calling What is Sequencing? Sequencing, which is presenting a series of ideas in chronological order to assist the student to comprehend and anticipate each step of a situation and to evaluate what he has learned. Social Story – A Visit to The Dentist or Doctor A typical story about a visit to the dentist or doctor: Prepare the student by telling them the name of the dentist/doctor, his special interest in working with students ,the route to the office dentist, and the layout of the reception area. The options to avoid sitting with many people in the waiting room could be discussed. When you are at the office, sit on the floor with the student if age-appropriate and reinforce the social stories with repetition and play with a toy stethoscope, plastic toy syringes, masks, and gloves. It is recommended that a parent starts preparing the young students for the visit to the dentist/doctor two weeks before going to the appointment. Parents as First Educators Parents must be aware that they are the first educators and that their early input is essential to their student’s early development. Once the student is at school, teachers and therapists must adopt a team approach and augment the parent’s input, and parents must still be involved with the therapy process. Behavioral Issues and Social Stories Speech Therapy, Occupational Therapy, Physical Therapy, and Psychotherapy are all used to address the behavioral issues that the student presents with. Adaption of Social Stories for Different Students The student’s behavior will vary the difficulties with which they present. Students with Autism, delayed development, and/or Cerebral Palsy are prone to specific behaviors, such as anger outbursts, blaming others for their difficulties, anxiety regarding new situations, tearfulness, and fear of failure. These students need different kinds of social stories for their unique challenges. Age, comprehension, and cognitive ability are important determinants for the adaption of social stories appropriate to them. To reinforce the content of the social stories, charts with positive quotes can be valuable. A User Manual for New Experiences In conclusion, when adults want to learn something new or start a new experience, we often start with some sort of manual – a set of instructions with steps to follow, things to remember, and processes to learn. Social stories can be miniature manuals for young students. At the Therapy Place we present these instructions through the art of storytelling so we can teach students about behavioral norms, routines, and expectations in an engaging and relatable way with the goal of enabling the students to self-regulate their behaviors in different situations so that they become socially appropriate. The Therapy Place is here to help you in any way they can, please feel free to reach out to our friendly office at (848)285-5121. True friends share- share this blog with a friend who you think will benefit from our content. References: (APA 7th Edition) Home – the therapy place. (2020, November 22). Therapyplacenj.Com. https://www.therapyplacenj.com/ Kylie Rymanowicz , Michigan State University Extension. (n.d.). Once upon a social story: Advantages, writing and presenting social stories – MSU Extension. Msu.Edu. Retrieved November 23, 2021, from https://www.canr.msu.edu/news/once_upon_a_social_story_advantages_writing_and_presenting_social_stories Logsdon, A. (n.d.). The important role of parents in special education. Verywellfamily.Com. Retrieved November 23, 2021, from https://www.verywellfamily.com/parental-importance-special-education-2162701 Pierce, R. (2020, December 17). How to write A social story (A step-by-step guide). Lifeskillsadvocate.Com. https://lifeskillsadvocate.com/blog/how-to-write-a-social-story/ Social Stories. (n.d.). Sensoryprocessingdisorderparentsupport.Com. Retrieved November 23, 2021, from https://sensoryprocessingdisorderparentsupport.com/social-stories.php Social stories in special education – Watson institute. (n.d.). Thewatsoninstitute.Org. Retrieved November 23, 2021, from https://www.thewatsoninstitute.org/resources/behavior-stories/ Social story for going to the dentist …. (n.d.). Pinterest.Com. Retrieved November 23, 2021, from https://za.pinterest.com/pin/561824122247725294/ Whimsy Workshop Teaching. (2019, November 17). Teaching social skills with social stories – whimsy workshop teaching. Whimsyworkshopteaching.Com. https://whimsyworkshopteaching.com/ideas/teaching-social-skills-social-stories/

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When Did Writing Begin In Britain? How did writing come to the United Kingdom? The answer to this question will depend on your perspective. For many people, writing was a natural outgrowth of their growing letters-mail list and printing business. Whatever your views on the nature of literature, it’s clear that writing has been a part of our social life for at least 10,000 years. In the early years of the Common Era, people who produced literature and art held high offices in society. People who wrote and wrote about these things gave a lot of thought to their own history, and their reflections on it shaped who they were and what they wrote about. The early Romans, for example, wrote about their own past and future, and Britain has a rich and long history of writing about its own past and future. So, in what ways did writing in Britain come to be? Here’s a look at some of the connection points. Before we get into the nitty-gritty of when and why writing came to be a part of British culture, it’s worthwhile to look at where it started. To get an idea of where this might be going, consider the evolution of other arts and the evolution of writing in other cultures. The transition from an oral to a written language was rapid in many parts of the world both before and after the advent of printing. Modern writing can be traced to Cantino Bandung, the 12th-century writing in the Indonesian archipelago of the Achaemenid Empire, which was the first recorded instance of a written language being used. As we continue on in history, we see the spread of printing, and with it the development of a technological imperative that demanded that all forms of written communication be easily portable. Some of the most significant developments in printing include the development of movable type, the development of black and white printing, and the transition to a digital format. Early Writing in Britain A number of early examples of British writing can be traced back to a single period: c. AD 1000-1000. The oldest surviving book in Britain is The Canterbury Tales, written between 1025 and 1031. Canterbury is also known for its prolific author: Geoffrey Chaucer. The first surviving book printed in Britain was a wooden handbook from 1056 known as the “Hare and Fox” handbook. This was followed by a similar handbook printed in 1057 called The Adventurer’s Almanack, and a few years later, the first printed book in English, the Bible in the first English Hutt. The popularity of the Bible in the Hutt and the Hutt Valleys of Cornwall grew in tandem with the rapid spread of printing. The first printed Bible in Britain, probably from France, appears to be the 1572 Forerunner of the Vulgate, which contained many English words and phrases as well as many previously unknown ones. There are many other clues as to the origins of the first printed book in Britain, such as the fact that its first printing was done in France, and that it contained some words and phrases that are familiar to English speakers but which are not found in other languages. The Rise of the Novel Although virtually all texts before the 15th century were written on paper, there was a retrenchment of sorts during the 15th century. By this time, most people had become well used to reading with their hands, and the writing had largely disappeared from common conversation. Instead, people were more likely to think about language and writing in terms of their potential for entertainment rather than for a serious purpose. In addition, printing technologies were becoming more popular, and booksellers were increasingly seeking new products and services to attract customers. As bookselling became more common, book publishers saw an opportunity to make a name for themselves. One such company was the London book dealer George Steevens, who in 1595 released his first book, a novel called The Alchemist, which was followed by several subsequent books, including his translation of the Iliad and Odyssey into English, as well as a large number of introductions and biographies. The Development of the Theatre During the 15th century, England experienced a boom in the production of plays, particularly tragedies and comedies. These Broadway shows were wildly popular, drawing crowds of both villagers and cities, and changing the face of British culture. The most significant event during this period was the birth of Sir Walterrapstead, the first professional playwright in Britain. The playwright had been active as a playwright in France for some time, but he was the first person to bring his work to a fully modern form. The popularity of the plays inspired by Sir Walterrapstead grew, and by the 16th century, there were regular official theatrical events in London. These included the Drama Festival, the Royal Dramatic Theatre, the Academy of Dramatic Art, and the British Theatre. The Reception of the Scroll and Key Although the Ready Player One film series has focused attention on the power of technology, the actual origins of the Ready Player One marketing campaign can be traced back to a different source: the opportunity to read and write a blog post on the Ready Player One website. In early May 2016, the blog post was published, and within hours it had become one of the most popular articles on the site. The reason for this is not only the content itself, but also the chance to read and respond to comments from readers. Although the blog post was originally published in 2014, the popularity of the website didn’t happen until 2016, making it likely that the reference to the Ready Player One website was a later addition. Conclusion: What does Writing in Britain have to tell us? It’s hard to say whether or not writing will ever become fashionable again in Great Britain, but it’s important to remember that the first steps were taken many, many years ago. Whether you choose to be a writer or not, it’s important to remember that the things that make us who we are were created by us, and that means everything. So, if you want to open yourself up to new ideas and become more versatile, try to keep these things in mind: Pay attention to your needs, not your wished-for skills. Don’t try to impress other people, but instead, take the time for yourself to develop your skills. Keep an open mind, and don’t take anything for granted. What does Writing in Britain have to tell us? The British writing tradition is rich in examples of literature being read and shared, as well as inspiration for new work. It’s also important to remember that the quality of writing does not determine who you become as a person, but rather what you do with this knowledge. To end this article, let’s look at one last example of how writing has shaped our culture, in this case, the art of storytelling. Thanks for reading!

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An autobiography is a book about a person written by that person. The word comes from the Greek, autos self, bios life, and graphein, to write. Autobiography is written with a timeline, often beginning with the author’s birth, or the birth of the writer’s parents. Facts, research, and interviews, along with letters, certificates of birth, school records or employment, may be used by the author. The writer situates the story with history, place and setting. Autobiography is a more formal style of writing, although the author may use their own voice and other writing devices in order to make the book interesting. Memoir, on other hand, is written usually from memory and does not require extensive research. Memoir writers are free to use an informal style, and they have the freedom to recreate scenes or people or events in a creative manner. “The urge to write one’s autobiography , so I have been told, overtakes everyone sooner or later.” Agatha Christie The word autobiography has been attributed to British essayist William Taylor. He first wrote about the word in 1797 in an essay on the emergence of writing by people who wanted to record their lives for posterity. Traditionally, autobiography was written by religious leaders, royalty, philosophers, or writers and artists. Advances in printing and the publishing field fueled the popularity of the genre during the 18th century when restrictions of printing were lifted. The proliferation of public libraries gave increased access to books, therefore giving incentive for persons to write their autobiographies. As education became more available to the public, a greater number of readers emerged, and therefore, more writers. Virginia Woolf, author of A Room of One’s Own, told how the rise in literacy began when middle-class women began to write and publish their autobiographies. Current debate centers on the numerous autobiographies available to readers, the worth of topics, and the qualifications of the people who write about themselves. Edward Gibbon, author of The History and the Decline and Fall of the Roman Empire, penned in his 1796 six-volume autobiography, Memoirs of My Life and Writings, that readers identify not with someone’s great works, but with minor traits attributed to all. One advantage to reading autobiographies, both for the general reader and students of history, is gaining an awareness of the world. Mark Twain wrote that his own autobiography was a mirror in which he looked at himself. Another debate concerns censorship. Closed societies may view certain autobiographies of people as a threat, and may forbid their citizens to be exposed to historical or current events. On the other hand, global citizens may discover old or forgotten biographies on the internet, and in bookstores or libraries. The invention of electronic books, which can be accessed on tablets, computers, and cell phones, provides readers of autobiographies exposure to different lives. Anthropologists, who research writing systems, consider hieroglyphics and other symbol-based writing systems to be autobiographies because they tell the story of certain people or groups. Autobiography gives the author the opportunity to examine their life and to enter into a journey in order to find answers to common human questions such as who they are and where they come from. To write an autobiography, the person must go back in time and search for information about their personal history. Once the ancestor’s history has been located, the author is able to situate their own story by place, time, setting and other literary devices. The quest often allows the author permission to enter into a discussion with their self and the story, much like a journalist would interview the subject of a piece for an article or other written work. The inspiration to write an autobiography may be to uncover secrets, personal or family scandals, to locate themselves within historical events, or as a method of leaving their story for posterity. Psychologists consider autobiography valuable for personal identity and psychological well-being. J. Lenore Wright, in her book The Philosopher’s “I”: Autobiography and the Search for the Self, writes that autobiography is a method of reinforcing our unique existence among humanity, to communicate ourselves to others, to add continuity to ourselves, and make ourselves and our identity transparent to people. Autobiographical memory, events and experiences that we remember about our life, can be divided into episodic and semantic events. Wright states that our episodic memories are recollections of people, memories of what happened to us and where those events occurred, whereby we are able to remember emotions experienced during the event and the context in which the event occurred. Human-Memory.net explains in an article titled Episodic and Semantic Memory, how semantic memory gives us the ability to remember facts and general information and knowledge of the external world. Neuroscientists John S. Simons and Hugo J. Spiers view autobiographical memory as anatomical. Encoding, storage and retrieval of autobiographical memories are all associated with the medial temporal lobe. In Autobiographical Memory, memory is composed of three categories, General Events, a focused memory; Lifetime Periods, a memory of certain periods of life; and Event-Specific Knowledge (ESK), highly detailed memories of events or people. ESK has a psychological basis that can be a template for writing an autobiography as it has similarities to composition. Originating events, Turning Points, Anchoring Events, Analogous Events, Personal Information, Reconstructive vs Copies of Memories, and Generic vs Specific are outlines for an autobiography. In the past, autobiography had three categories. Apologia is a defense of a person’s beliefs and actions. Orations were autobiographies that were personal and not to be recited in front of an audience, but to oneself. A Confessional autobiography was written as a method to reveal the author’s transgressions and mistakes in life. The study of autobiography has many applications to the scientific field. Research has uncovered benefits for the treatment of mental illness, elder care and for people with disabilities. In the educational field, some universities offer majors in Autobiographical Studies. In the community, writers conduct classes and seminars in the study of autobiography. Life story researchers, centers for biographical research, and guided autobiography groups are a few types of organizations involving autobiography. Kay Castaneda, MA “Autobiographical Memory.” Explorable.com. Explorable Psychology Experiments, 25 Sept. Web. 24 July 2014. Bauer, P. J. “The Life I Once Remembered: The Waxing and Waning of Early Memories. Zero to Three.” Understanding Autobiographical Memory: Theories and Approaches. Ed. Dorthe Berntsen, and David C. Rubin. Cambridge: Cambridge University Press. 2009. Print. Bell, Robert H. The Rise of Autobiography in the Eighteenth Century: Ten Experiments in Literary Genre – Augustine, Bunyan, Rousseau, Locke, Hume, Franklin, Gibbon, Fielding, Sterne, Boswell. New York: Edward Mellon, 2012. Print. Cantelli, Veruska. Ethical Pact: Storytelling in Contemporary Autobiography. Diss. New York: City University of New York Press, 2012. Print. Cleary, Anne M. “People with Extraordinary Autobiographical Memory: The Unique Brains of Those with Highly Superior Autobiographical Memory (HSAM).” Psychology Today 9 Jan. 2013: n. pag. Web. 27 July 2014. DeBoer-Langworthy, Carol. Life writing: Annual Biographical and Autobiographical Studies. Vol. 1. Brooklyn: AMS, 2012. Print. “EPISODIC & SEMANTIC MEMORY.” The Human Memory. Human-memority.net, n.d. Web. 27 July 2014. Poletti, Anna, and Julie Rak, eds. Identity Technologies: Constructing the Self Online. 1st ed. Madison: U. of Wisconsin, 2014. Print. Wisconsin Studies in Autobiography. Twain, Mark. Autobiography of Mark Twain. Ed. Harriet Elinor. Smith and Benjamin Griffin. Berkeley: U of California, 2010. Print.

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Classroom Activities for Teaching Shakespeare William Shakespeare, the world’s most famous and influential writer, has long served as the poster boy of ELA curriculum. Some students get a kick out of all the droll melodrama, sharp-tongued insults, and sword fights. Others find the Bard tedious, a reaction most teachers hope to reverse. What if you could teach these plays in a way that helps your students tap into a love and appreciation for literature, history, and even humankind? With these fun and engaging classroom activities for teaching Shakespeare, you’ll accomplish that mission. Build a Character What makes a character uniquely Shakespearean? For centuries, these personas have sustained as cautionary tales and pertinent reflections of modern events. And that’s because the Bard used a strategic formula for creating his characters, a template that storytellers continue to borrow today. In this Shakespeare classroom activity, students will create their own character. Adaptable for a wide range of age groups, this endeavor could take the form of a trading card with stats and short bios or a short play your students pen and perform. As long as students grasp the concept of literary attributes, this lesson will prove successful. The recipe is subject to change, of course, but suffice it to say, the Bard built his characters based on: - Strong desires and principles that drive the action forward. - A fatal flaw or hamartia that either impedes a goal or causes a downfall. - Complex motivations that often make them sacrifice their morality, question their loyalties, or go through uncomfortable changes. - A tragic waste that gives way to a moral lesson or catharsis. Pop Culture Connections You’ve seen the Lion King, right? In case you need a refresher, the movie’s about a prince who loses his father, flees his home, gets visits from said father’s ghost, and returns to honor a legacy. In other words, Simba is Prince Hamlet. No doubt Shakespeare’s influence on pop culture and modern storytelling endures. In fact, the Guinness Book of World Records reports 410 cinematic renditions of the Bard’s plays. Some are direct adaptations while others are more subtle or otherwise modernized to reflect what the world looks like today. West Side Story, My Own Private Idaho, Ran, and 10 Things I Hate About You represent a small sample of modern reimaginings. If your kids don’t jive with lofty Elizabethan language, perhaps they’d connect with a teenage romance or a superhero. For this classroom activity, we recommend your students write profiles of existing fictional characters and draw thematic lines between shared traits. Here are some pop culture icons and movies that you can use to illustrate parallels between modern society and drama from the Sixteenth Century: - Batman is a crusader version of Hamlet, a character whose mission involves honoring a dead parent. - Walter White is an ambitious and cutthroat individual who continues lowering the moral bar to gain power, a modern foil for Macbeth. - Kat Stratford (10 Things I Hate About You) is a sardonic and hyper-critical individual who becomes the gatekeeper of her sister’s social life. The movie is a loose but honorific adaptation of “The Taming of the Shrew.” Yes, we know, teachers are supposed to discourage name-calling. But the scathing attacks Mr. Shakespeare penned bring such sheer delight that it’s hard not to partake in a little verbal warfare. In the spirit of fun, you can facilitate the development of Shakespeare insults. For starters, let’s take a look at some of the Bard’s most acidic roasts: - “Come, come, you froward and unable worms!” - “I am sick when I do look on thee.” - “I’ll beat thee, but I would infect my hands.” - “More of your conversation would infect my brain.” - “Thine face is not worth sunburning.” - “Your brain is as dry as the remainder biscuit after voyage.” In terms of classroom activities, you can divide your students into groups, have them write over-the-top (ahem, clean) insults, and then take a vote on different categories, e.g., funniest, most original, etc. Sidebar: for a little inspiration, the internet has a handy Shakespearean Insult Generator. Kinesthetic Reading, or “Exit, Pursued by a Bear” This author did not intend his plays for silent reading, and yet that’s how many students become acquainted with his work. Shakespeare’s tragedies and comedies were meant to be performed and experienced, and there’s no place like the classroom to reverse the trend of silent reading and dry recitation. If you’re a major Shakespeare aficionado, you’re probably familiar with literature’s most famous stage direction: Exit, pursued by a bear. Imagine the fun you can have in your classroom, simply by following the plays’ directorial notes. No one expects teachers to erect elaborate stages, but it’s more than possible to have kids participate in kinesthetic reading. Yes, we mean the students get up, move around, and perform the stage directions. Here are a few simple ideas for using everyday classroom items as impromptu stage prompts. - Use a desk as cauldron substitute for the prophecy scene in “Macbeth.” - Use an apple or random trinket as a makeshift skull for the gravedigger scene in “Hamlet.” - Use a water bottle to represent poison in the death scene in “Romeo and Juliet.” Living in the information age means our society craves a bite-sized synopsis of all newsworthy happenings. Can you reduce Shakespeare’s complex work to a shareworthy soundbite? The assignment might prove challenging, but nevertheless fun. Here are a few of examples that your students can use as inspiration: - “After Seeing Father’s Ghost, Prince Avenges Wrongful Death” (“Hamlet”) - “Retiring King Makes Grave Error in Power Disbursement” (“King Lear”) - “Wealthy Dynasties Make Truce After Family Tragedy” (“Romeo and Juliet”) - “Mischievous Fairy Creates Dangerous Love Triangle” (“A Midsummer Night’s Dream) - “Roman General Gets Culinary Revenge on War Prisoners” (“Titus Andronicus) We hope that your students unlock a lifelong love of literature, from Shakespeare and beyond. Help your students get excited about reading and writing with these ELA professional development courses from Advancement Courses: - Shakespearean Literature: Never be intimidated by Shakespeare again! Immerse yourself in the European Renaissance and Elizabethan England, and see how Shakespeare’s sonnets, comedies, histories, and tragedies changed the way we view dramatic literature and humanity itself. - Active Reading vs. Passive Reading: Teaching Students to Become Better Readers: Getting students to block out all distractions and focus on a single task—especially reading—can be quite challenging. Explore techniques to strengthen your students’ reading skills and inspire deeper learning and a greater love of reading. - American Literature: Discover how literature has both shaped and reflected the evolution of American culture. You’ll read colonial and slave narratives, writings from the Revolutionary War and women’s suffrage eras, and works from Edgar Allan Poe, W. E. B. Du Bois, Emily Dickinson, Mark Twain, and more. - British Literature: What can British literature teach us about present-day social change, public crises, and scientific advancements? Explore writings from the Anglo-Saxons through the mid-1700s to see how analyzing British literature can enrich your understanding of past and present. - Multicultural U.S. Literature: Develop a rich, more diverse cultural perspective by exploring great works of poetry, fiction, and nonfiction written by and about members of diverse cultural groups in the United States. In addition to these, Advancement Courses offers K–12 educators more than 280 online, self-paced professional development courses covering both foundational topics and emerging trends. All courses are offered for both graduate and continuing education credit for your salary advancement or recertification needs.

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English Language: A-level Exam Board: AQA Entry Requirements: Grade 5 or above in GCSE English Language and English Literature. watch our video about English Language A-level A fascinating exploration of language in our society In this course we will study English both as a medium of communication and as a topic in its own right. Using a multitude of texts, we will consider the roots of English, explore theories about its influence on our attitudes, and evaluate different views of its power and usage - both positive and negative! Students will also work independently to research aspects of language in use and on their own creative use of language. Overall, this is a rich linguistic course which will be fascinating for students with an interest in history, psychology, politics, philosophy, sociology, and, not least, English! We study the way groups such as young people, those with ethnic backgrounds and those with a disability are represented in the media. To do so, we will use key theories of language to better understand how and why language can influence society’s attitudes towards these groups. We will also explore how children learn to speak, read and write language and debate how education and society affects children’s development and social status. Skills developed include writing for a non-specialist audience, discursive essay writing, detailed analysis and evaluation of data, and applying a variety of theories and concepts to answers confidently. The non-examined component (worth 20%) is an independent language investigation and a piece of original writing. Past examples include: - Does gender affect the language used in social network posts. - The semantic change of the word ‘like’. - The language of a specific social group. - The dialect of my South Yorkshire family. - How is language used by a political group? - How a child with autism communicates with close family members. Beyond the classroom Past activities have included: - A debating club. - Public speaking competitions. - Trips to the theatre and cinema. - Support for entering students into national creative writing competitions. An English A-level is a valuable asset when applying to university or to potential employers. It shows that you have good communication skills, and that you are able to persuade, inform or connect with someone. It can lead to a higher or further education course in English or communications, as well as careers in journalism, teaching, the media, public relations, marketing, broadcasting, linguistics and law. It is a useful qualification for all courses, developing analytical skills and providing evidence of the ability to use language successfully.

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Definition of Denouement The denouement of a story occurs just after the climax and is the final moment in which there is resolution for any remaining conflicts in the plot. All the loose ends of the plot are tied up in this last scene, secrets are revealed, and there may be a sense of catharsis for the reader or audience member at this point. It is also a return to normalcy for the characters, though there may be a “new normal” after the intricacies of the plot have occurred and been revealed. Generally, in a comedy the characters end up happier than they were at the beginning of the plot (a “happier ever after” scenario), while in tragedies the characters end up worse off than in the beginning, often with one or more deaths. The word denouement comes from the French word desnouer, which means “to untie” (originally from the Latin word for knot, nodus). In a sense, the definition of denouement is the untying of all the knots created throughout a piece of drama or fiction. Common Examples of Denouement Certain world events can be seen as having a similar structure to dramatic plots, broken into rising action, a climax (or set of climaxes), falling action, and denouement. Here are some examples of denouement as seen in the real world: - World War II: The denouement of World War II could be seen as the official surrender of Japan in 1945. This comes after the surrender of the Germans in May of 1945 and the horrific “climax” of the atomic bombs being dropped, the moment in which nothing could be the same afterwards. - American Revolution: Though the United States celebrates 1776 as the year of independence from Great Britain, the final denouement came in 1783 when the final British troops left New York City and Washington resigned as Commander. - Good Friday Agreement: This agreement was signed in Belfast on Good Friday, April 10th, 1998 as part of the Northern Ireland peace process. The signing of the agreement itself is a sort of denouement, as it comes after many years of strife and violence, and then later at the end of several years of talks, referendums, elections, pledges, and so on. There were many events leading up to this important agreement, and the final signing of it represented a certain end of the story, though of course it did not completely solve all discord immediately. Significance of Denouement in Literature Most works of fiction and drama include a denouement as a way of wrapping up the story and providing a conclusion, whether or not it is ambiguous. Only in some post-modern stories is there no real denouement. The German novelist and playwright Gustav Freytag developed the pyramid theory of narrative structure in the 1800s to describe classical dramas such as Ancient Greek and Shakespearean plays. However, his theories are easily applied to many modern plots as well. Freytag broke the elements of a story into five parts: exposition, rising action, climax, falling action, and denouement. While many stories are more complex than this five-part scheme, Freytag’s pyramid is useful for understanding the development and resolution of conflict, which is so necessary in all stories. Examples of Denouement in Literature PRINCE: A glooming peace this morning with it brings; The sun, for sorrow, will not show his head: Go hence, to have more talk of these sad things: Some shall be pardon’d, and some punished: For never was a story of more woe Than this of Juliet and her Romeo. (Romeo and Juliet by William Shakespeare) This is an example of denouement from a tragedy. The climax of the play is the scene in which the two young lovers, Romeo and Juliet, commit suicide. Afterward, the other characters in the play rush in to see what has happened and find them dead. The Prince ends the play by giving a short eulogy for the couple, which leads to the new normal of the Montagues and Capulets putting an end to their animosity. PUCK: If we shadows have offended, Think but this, and all is mended: That you have but slumber’d here While these visions did appear. And this weak and idle theme, No more yielding but a dream, Gentles do not reprehend. If you pardon, we will mend. (A Midsummer Night’s Dream by William Shakespeare) Unlike the first example, this finale to a William Shakespeare play comes at the end of a comedy. The character of Puck addresses the audience in this final epilogue, after the happy couples have all married each other. Puck makes light not only of the episodes that have occurred in the play, but also of the concept of going to a play. It’s appropriate for a comedy that the audience should leave feeling uplifted, and Puck makes sure of that here. The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which. (Animal Farm by George Orwell) This is an interesting denouement example from George Orwell’s Animal Farm. The entire plot has been about the animals of a farm rebelling against their human oppressors, but after some time the pigs begin to see themselves as better than the other animals. In this final line, the other animals cannot distinguish between the pigs and their original oppressors, showing that they have become one and the same. Before reaching the final line, however, he had already understood that he would never leave that room, for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth. (One Hundred Years of Solitude by Gabriel García Márquez) Gabriel García Márquez’s novel One Hundred Years of Solitude ends with the above excerpt. A wizardly character has left parchments to be deciphered by the central family in the novel, and the moment in which the character Aureliano Babilonia finally decodes them is concurrent with the end of his family line. It is almost as if the final revelation of secrets in this denouement example is actually one of the causes of the family’s destruction. Very few castaways can claim to have survived so long at sea as Mr. Patel, and none in the company of an adult Bengal tiger. (Life of Pi by Yann Martel) Throughout the contemporary novel Life of Pi, there is some ambiguity about whether the tiger Richard Parker is an actual creature or a metaphor for something (or someone else). While many have taken the story at face-value that the main character Pi Patel survived a shipwreck on lifeboat with a Bengal tiger, this final line of the novel casts some doubt on whether this unlikely survival story could really have happened. Thus, this denouement example is an ambiguous one, open to reader interpretation. There was some open space between what he knew and what he tried to believe, but nothing could be done about it, and if you can’t fix it you’ve got to stand it. (“Brokeback Mountain” by E. Annie Proulx) E. Annie Proulx’s short story “Brokeback Mountain” is about the difficulties that two men face when they fall in love in a culture that is rabidly homophobic. This final line shows the utter tragedy of their story—the characters of Jack Twist and Ennis Del Mar fantasize about escaping from disapproving society, yet they cannot fix it. Ennis comes to the painful realization that all he can do is “stand it.” Test Your Knowledge of Denouement 1. Which of the following statements is the best denouement definition? A. The beginning of a work of literature. B. The most important action that happens in a plot, after which nothing can be the same. C. The very end of a story after the climax has occurred and final secrets are revealed. |Answer to Question #1||Show| 2. The following quote is the very last line from a William Shakespeare play: Myself will straight aboard, and to the state This heavy act with heavy heart relate. Based on this denouement, would you guess that this is the final line of a tragedy or comedy? |Answer to Question #2||Show| 3. Which of the following statements is true? A. In a comedy, the characters often end up worse off at the end of a plot than they are at the beginning. B. In a tragedy, the characters’ fortunes generally get better after the opening, but then fall at the end. C. After the denouement, there is a final conclusion. |Answer to Question #3||Show|

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Anglo-Saxon Riddles Image Credit: http://www.utm.edu/staff/ngraves/shakespeare/OERiddles.htm The Riddles Were recorded in the Exeter Book – the largest known “anthology” of Old English poetry and verse. Literary Terms (page 17) The following terms are found in much of the Anglo Saxon poetry that we will study. As we study the riddles and poems of this time (including Beowulf) always be on the look out for these devices at work. The use of these devices made it easier for poets to “sing” the songs to their audiences. They aided memorization. Kennings Two-word poetic renamings of people, places, or things. Poetic synonyms EXAMPLE: Whale road = sea EXAMPLE: Trumpet blarer = Mrs. Wood EXAMPLE: Knowledge vessels = you students Alliteration Repetition of the same initial consonant sounds in poetry. EXAMPLE: Peter Piper picked a peck of pickled peppers. EXAMPLE: Every day she danced and dared to be her best. Caesura A natural pause in a the middle of a line of poetry. Give time for poet to take a breath. LOOK FOR: Punctuation in the middle of a line EXAMPLE: Grendel, who haunted the moors, the wild Marshes, and made his home in a hell Not hell but earth. He was spawned in that slime, Conceived by a pair of those monsters born of Cain, murderous creatures banished… Assonance The repetition of vowel sounds in unrhymed, stressed syllables. EXAMPLE: Batter the ramparts Riddles What is a riddle? What do riddles sound like? Do you know any riddles? What is the point of the riddle? If you are going to write one, what are you trying to do? What makes a good riddle? Directions Find your group. Read through all the riddles in the packet Fill in your chart for each riddle. Focus on solving the riddles and observing the poetic devices being used. When you are finished with the chart, we will go over the answers. 15 minutes – We will come back together as a class. Write your own riddle. Minimum of 12 lines Do not put your name on it. Type/write big font and neatly – so can be read easily. Answer on back in pencil. Put in alliteration, caesura, and one example of kennings. One example of each minimum. These WILL be shared/read tomorrow. You WILL be asked to show where you included the literary elements.

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