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What is Mariachi Music? Stated in the simplest way, Mariachi is traditional Mexican music, but it embodies and represents so much more than those words describe. The roots of Mariachi date back hundreds of years. It is the music of Mexico’s country people, music that celebrates Mexican’s joys, struggles, and victories. It goes far beyond music. It is an artistic sum of cultural revolution expressed through a group of musicians dressed in traditional charro suits – it is the essence of Mexico and its people. In today’s world, most people associate Mariachi with the musicians now commonly seen in restaurants or strolling the streets, dressed in silver studded charro outfits with wide-brimmed sombreros playing a variety of musical instruments. That image has become an iconic association with the country of Mexico itself. Mariachi was born as a version of the Spanish theatrical orchestra containing violins, guitars, and a harp. Groups were small and generally were not known outside their local region. The musical form and ensemble of the Mariachi developed over time differently from region to region. The form that is familiar today began to take shape in the 19th century in the state of Jalisco. By the end of this time period the vihuela, two violins, and the guitarron had become the instruments of the Mariachi. Over time the Mariachi form has further evolved and has adapted to be able to perform an assortment of musical styles by incorporating additional instruments and musicians. Mariachi music is truly a team effort, there is no lead singer, and everyone in the ensemble performs some vocalization even if only during the chorus. Different musicians sing the lead in different songs. Commonly the voice selected for the song is matched with the type of song in order to deliver the piece’s emotion in the most authentic way. Historically men have been the musicians in Mariachi groups, but today’s wonderfully evolving world has increased acceptance and participation by women. The female voice brings a beautiful dynamic to the group allowing for increased diversity in their repertoire. The songs themselves speak about machoism, love, betrayal, death, politics, revolutionary heroes, and even animals. A Party’s Not a Party Without a Mariachi! The Mariachi has and continues to be a huge part of celebrations for the Mexican people. Mariachis are a common form of entertainment at weddings, baptisms, quinceaneras, funerals, and holidays. This music is so anchored in Mexican history that it has its place at nearly all gatherings and celebrations. Mariachis are also known for delivering musical messages of love with serenatas (serenade). Traditionally young people of the opposite sex were kept separated from each other and the serenata was a means of communication from a young man to a young woman that he is courting. The Mariachi delivers this beautiful message on the young man’s behalf usually beneath the window to the young lady’s bedroom. In Mexico, it is also common to be woken up by the sounds of Las Mananitas in the early morning. This is a traditional song used to celebrate saint’s days and birthdays. Mariachi music is no longer unique to Mexico, the lively and uplifting music has become globally recognized and appreciated. What Can you Expect During a Mariachi Performance? Undoubtedly you will enjoy a lively, colorful musical performance that exudes pure passion, history, and culture. The group will feature multiple musicians, using an assortment of musical instruments that are dressed in traditional charro attire. These aspects combine in a perfectly Mexican way to deliver a beautiful rendering of music and storytelling. Each song has its own rhythm, message, and style giving a Mariachi performance wonderful diversity that will leave you wanting more. The crowd around you will most definitely be singing along and having a great time so make sure to bring a good spirit and be ready to have some fun like you never have before! At its root Mariachi music is something cultural, spiritual, and traditional that is unique to Mexico. A live Mariachi performance is a lifetime experience not to be missed! Written By: Jessica Gomez

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It evolved over millions of years through adaptations to changing environmental conditions. Brains have grown in complexity and size over time. Old structures were preserved, and new ones emerged. As humans evolved into social creatures, our brains became more sensitive to the social world. Old structures were conserved, and new ones emerged. This has led to a great brain that can do everything, from monitoring respiration to creating cultures. The added complexity comes at a price. These systems must be developed and interconnected and must be correctly balanced and integrated to achieve optimal performance.Teachers face a challenge from this evolutionary history. Social neuroscience findings can be helpful for teachers, but they don’t replace the need for flexibility in the classroom to accommodate all students. Teachers and students are not one-size-fits-all, and they are a collection of diverse living human beings with complicated evolutionary histories, cultural backgrounds and life stories. We must admit that one-size-fits-all education will not work if we want to progress. These are nine scientific insights educators might be interested in. 1. The brain is a social organ. To survive and thrive, our brains need stimulation and connection. Without inspiration and challenge, a brain will eventually shrink and die. The modern brain’s immediate environment is made up of our social relationships. Close, supportive relationships are a great way to stimulate positive emotions, learning, and neuroplasticity. Teachers should create positive experiences for students in their classrooms. The neurobiological perspective of the teacher and the parent is very similar in terms of building the child’s brain. Positive attitudes towards students and the teacher have been proven to impact their performance positively. Social-emotional learning programs enhance learning, reduce student conflict, and foster positive social climates. 2. Two brains are possible. The cerebral hemispheres can differentiate themselves and have developed unique skills and functions. The left hemisphere is the most skilled in language processing, linear thinking and pro-social functioning, while the right hemisphere is more adept at visual-spatial processing and strong emotions. However, many tasks require both hemispheres to contribute, and it is crucial to learn how to engage both hemispheres in the classroom. Good teachers intuitively grasp this in their students. They will seek to balance the expression of emotion and cognition, encouraging overly rational students to be aware of and explore their feelings while helping anxious students develop the cognitive capabilities of their left hemispheres to regulate their emotions. Storytelling can help here, as stories can serve as powerful organising tools for neural network integration. Well-told stories with conflict resolutions and feelings will connect people and shape their brains. 3. It is essential to start learning early. Our earliest years of life are when our primitive neural networks control much of our emotional and interpersonal learning. Three of the most critical areas of education are attachment, emotional regulation and self-esteem. These three areas of learning are crucial to our ability to communicate with others, manage stress and feel valued. Teachers have the chance to explore their inner world when children act in ways they don’t understand. Children can reintegrate their neural networks of cognition, affect, and bodily awareness when they can name and consciously think about painful experiences. Please encourage students to keep journals and diaries of their experiences. This allows them to be the masters and reduces stress and anxiety. Studies have shown that writing about your experience can improve well-being, emotional regulation and reduce stress. 4. Conscious awareness and unconscious processes co-occur at different speeds. Every millisecond, the vast amount of neural processing is not limited to conscious awareness and explicit memories. You can do so many things without even thinking about them. Walking, breathing, balance, and even building sentences are all automatic. The brain can process information and analyse it using a lifetime’s experience to present it to us in seconds. The brain creates an illusion that the current situation is actual and can interpret it based on a lifetime of experience, and it then gives the information to us in a fraction of a second. This is especially true for prejudice. Fear conditioning doesn’t require conscious awareness. Therefore, our brain’s instinctive reaction to people of other races is not related to our conscious attitudes. Open discussion and more interracial exposure can help to prevent prejudice from being made into negative beliefs and behaviours. 5. The mind, brain and body are interconnected. The brain’s ability to function at its best is stimulated by physical activity. Exercise has been shown in studies to stimulate the growth of neurons in the hippocampus. It pumps more oxygen into the brain, stimulating frontal-lobe plasticity and capillary growth. Learning requires proper nutrition and sleep. The brain weighs only about a third of our bodies, using approximately 20% of our energy. This makes healthy food an essential component of learning. While sleep enhances cognitive performance and education, sleep deprivation can reduce our ability to maintain vigilance or attention. It has been proven that sleep deprivation can also affect flexibility and decision-making. These biological realities can be used to change school start times, lunch programs, recess, and recess hours. Teachers can help students understand the importance of sleep and offer suggestions on promoting relaxation and creating a positive sleep environment. It is possible to incorporate healthy eating habits and regular exercise in schools. Students will benefit from scientific knowledge about how the brain and body interconnect and how learning works. This could help them improve their academic performance and physical health. Learning can also be enhanced or hampered by certain environmental conditions. Poor school facilities, inadequate classroom lighting, outside noise, and inadequacies contribute to poor academic performance. Insufficient support in chairs can reduce blood flow to the brain, leading to cognitive problems. Temperatures above 74-77 degrees Fahrenheit are associated with lower maths scores and comprehension. Learning can be improved by creating a more welcoming environment that meets the body’s physical needs. 6. For deeper learning to occur, the brain needs repetition and multichannel processing. Survival is influenced by curiosity, the desire to discover and seek out new things. Dopamine and opioids, which stimulate the brain’s feel-good chemicals, reward curiosity. Our brains are wired to be alert to changes in the environment and learn best when we have short breaks. Teachers should reestablish student attention every 5-10 minutes and shift their focus to new topics. Learning involves strengthening the connections between neurons. Neuroscientists say that repetition is a way to support education. However, exposure and lack of repetition can lead to its decline. To deepen learning, teachers would be wise to ensure that they reiterate important points during lessons. Multichannel learning engages each of the networks’ memory systems. This is because visual, semantic and sensory neural networks all have their memory systems. Our visual memory is fantastic and written or spoken information combined with visual information leads to better recall. Learning will be more generalised if organised across all sensory, emotional, and cognitive networks. 7. Learning is affected by stress and fear. Our brains have been shaped by evolution to be cautious and to feel fear when it is even remotely useful. Fear can make us less intelligent as amygdala activation interferes with prefrontal functioning, part of the fear response. Anxiety can also stop us from exploring, make our thinking more rigid and drive “neophobia,” which is the fear of new things. Chronic stress can cause problems with our ability to learn and even affect our physical health. Students’ ability and willingness to reduce stress are critical factors in their success at school. Incorporating stress-management techniques into the education curriculum is a straightforward application of neuroscience to education. This can improve learning, emotional well being, and physical health. Teachers can increase neuroplasticity and learning by using their positive outlook, empathy, and warmth. 8. We analyse others, but not ourselves: projection is the supreme power Our brains are wired to notice the emotions and behaviours of others. This processing is complex and fast, and it shapes our perception of other people milliseconds before they even become conscious of them. Our minds automatically create a theory about the thoughts of others, forming our ideas about their motivations, intentions, and next steps. We are quick to believe we know other people but slow to recognize our motives and flaws. It is possible to learn more about yourself and improve your empathy by taking our thoughts about other people and trying them out for size. Students can use simple exercises to help them see what and how they feel about other people, which will open up a door to self-awareness and empathy. To help students gain an objective view of their motivations, strengths and weaknesses, teachers can ask them to study the lives of historical characters and movie characters.

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What is Catholic modernism? Modernism, in Roman Catholic Church history, a movement in the last decade of the 19th century and first decade of the 20th that sought to reinterpret traditional Catholic teaching in the light of 19th-century philosophical, historical, and psychological theories and called for freedom of conscience. How did modernism change religion? Perhaps the most significant effect of modernity on religion is that of secularisation. For Bryan Wilson this refers to ‘that process where religious institutions, actions and consciousness lose their social significance. How did the Catholic Church respond to the reformation? The Catholic Counter-Reformation As Protestantism swept across many parts of Europe, the Catholic Church reacted by making limited reforms, curbing earlier abuses, and combating the further spread of Protestantism. This movement is known as the Catholic Counter-Reformation. Was the Catholic Church’s response to the reformation effective? The counter reformation was more successful. Starting in the Council of Trent from 145 – 1563 The Catholic Church reformed itself. The sale of indulgences was halted. The priests were required to be better education and held to a higher standard of spiritual discipline. How did modernism develop? Key Points. Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed by the horror of World War I. Modernism was essentially based on a utopian vision of human life and society and a belief in progress, or moving forward. What is modernism movement? Modernism refers to a global movement in society and culture that from the early decades of the twentieth century sought a new alignment with the experience and values of modern industrial life. What was going on during modernism? What is Modernism? In literature, visual art, architecture, dance, and music, Modernism was a break with the past and the concurrent search for new forms of expression. Modernism fostered a period of experimentation in the arts from the late 19th to the mid-20th century, particularly in the years following World War I. When did modernism start and end? Modernism is a period in literary history which started around the early 1900s and continued until the early 1940s. Modernist writers in general rebelled against clear-cut storytelling and formulaic verse from the 19th century. When did religious fundamentalism start? Fundamentalism as a movement arose in the United States, starting among conservative Presbyterian theologians at Princeton Theological Seminary in the late 19th century. It soon spread to conservatives among the Baptists and other denominations around 1910 to 1920. How did the Catholic respond to the ninety five theses? How did the Catholic Church respond to the Ninety-Five Theses? It condemned the list and asked the writer to recant it. How did the Catholic Church respond to the Protestant Reformation quizlet? How did the Catholic Church respond to the Protestant Reformation? Through the Catholic Reformation. The pope called for the council of Trent and reassured that salvation comes through faith and good works, the Christian bible is not the only source of trut. How did the Catholic Church respond to the challenges posed by Protestant reformers quizlet? How did the Catholic Church respond to the challenges posed by Protestant reformers? The church held the Council of Trent, at which church leaders both reaffirmed Catholic beliefs and addressed corruption in the institituion. How did the church respond to heresy? In the 12th and 13th centuries, however, the Inquisition was established by the church to combat heresy; heretics who refused to recant after being tried by the church were handed over to the civil authorities for punishment, usually execution. Why did the Catholic Church feel the need for reforms and what did church leaders do? A meeting of Roman Catholic leaders. Why did the Catholic Church feel the need for reforms and what did church leaders do? They found corruption in the Church. The change of the Catholic Church due to the Protestant Church.

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Remember the time when you were in primary grades, and the entire schools used to have only a handful of computers in the centralized lab? Well, that time has changed. Children, nowadays, have grown up in the world of ground-breaking technological environment. This advancement of technology has propelled some of the best IGCSE schools in Bangalore and other parts of the country to adapt to the interactive learning methods. According to a survey conducted by The National Council of Educational Research and Training in 2017, “school children who interact more ardently in classroom discussions and read stuff beyond textbooks are more likely to learn better than others.” Interactive learning refers to a more hands-on and relevant process of relaying knowledge in classrooms. This method encourages students to interact with each other and with the subject matter rather than sitting on the desks as passive learners ready to take notes from the blackboard. Making interactive education a better experience for both teachers and students, technology plays a vital role in shaping the face of education. Let’s look at some of the practical, interactive teaching styles to help your child learn effectively- - Visualization- Make dull textbook content visually appealing by incorporating technology like photos, videos, and audio clips. - Cooperative Learning- Promoting small class activities like conducting scientific experiments or acting out short drama skits. - Incident Process- Teaching children to solve real problems with real people by providing them details from actual incidents. - Buzz Sessions- Bringing children together in small groups to present ideas and thoughts on a given topic. - Writing Tasks- Assist kids with a writing assignment and encourage them to share their drafts with peers for a review. The methods mentioned above helps your child to become active members of the class while expanding their knowledge and communication skills. Keep reading to know more about the advantages of interactive learning techniques- - Enhances perceptive thinking and problem-solving skills- - In addition to engaging kids, interactive learning sharpens critical-thinking skills in the child and makes them ready to face real-world problems with ease. - Develops communication and interpersonal skills- - Plunging kids in interactive games and activities, interactive learning helps in developing strong communication, leadership, and teamwork skills in the child. - Increases concentration- - The most effective and engaging form of learning, interactive methods, increases the concentration power in a child to complete the given tasks with utmost dedication. - Promotes creativity- - Interactive learning methods usually involve creative activities, like writing, painting, storytelling, etc. This helps in encouraging the creative abilities and innovative thinking of the child. - Makes education fun- - With so many activities and games involved, interactive learning takes education away from the four walls of the classroom and makes it more fun and enjoyable for the child. In conclusion, rather than keeping your child bounded with the traditional ways of education, practice interactive learning techniques to help your child prosper in their career ahead by developing relevant life-ready skills. You can also choose some of the best CBSE schools in Bangalore or elsewhere for your child that provide a practical learning experience with interactive forms of education.

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Do you teach diverse groups of students? Are you looking for an effective way to address students from different cultures? You must adopt multicultural education and effective teaching strategies in your classroom Multicultural education enables students to understand the need to accept diversity and eliminate racism and issues based on ethnicity or diverse groups for a better future. Read to know how you can adapt education programs that incorporate the interests and backgrounds of all your students. Here are some additional points that talk about Multicultural Education. To view them click on the Download button. What is Multicultural Education? How to adopt them in the classroom? Multicultural education is a modern teaching model that aims to foster principles of equity amongst all students despite their varied cultures, ethnicities, races, beliefs, and backgrounds. It is an effective form of education that integrates the values, histories, and viewpoints of all student groups in a class. From language barriers to social skills, behavior to discipline, and classroom involvement to academic performance, multicultural education aims to provide equitable educational opportunities to all students. Furthermore, it is a set of teaching strategies formed to help guide a teacher to remove barriers faced in a multicultural class. It also helps teachers respond to the issues faced by diverse students and eliminate them. Regardless of social class, caste, gender, or creed, a multicultural classroom serves all students and nurtures young minds to learn together. It also seeks transparency and acceptance of all cultural identities in a class without any bias or partiality. A multicultural teacher hence accepts the differences, identifies the negativity, and is always conscious to procure the cultural identity of all the students. Why Do We Need a Multicultural Curriculum? Multicultural education is highly focused on bringing together students from all backgrounds and promoting collaborative learning. However, there are many more reasons to implement a multicultural curriculum in our classroom. A multicultural curriculum exposes students to various cultural values through activities, lectures, discussions, etc. It allows students to identify cultural as well as physical differences. It also develops a sense of respect amongst classmates. Implementing a multicultural curriculum at a young age nurtures students to reflect on their cultural diversity with pride. It implants patience, liberalism, and individualism in students. It fosters friendships, encourages interaction, and improves communication skills. A multicultural classroom boosts student engagement and improves the attention span. Students who are taught through a multicultural curriculum tend to have better confidence. A multicultural classroom is hence, more inclusive and positive. It also promotes critical thinking and problem-solving skills. It enables students to understand the need to accept diversity and eliminate racism and issues based on ethnicity or diverse groups for a better future. Eventually, a multicultural curriculum produces better thinkers and improves academic performance. Not just students, teachers who provide multicultural education reap many benefits as well: Interacting with students from different cultures accelerates the professional growth of a teacher. It provides the teacher with an opportunity to learn something new with each class. Catering to the needs of multicultural students makes a teacher more conscious, patient, and positive. It also keeps the teacher up to date and ready to face challenges. It nurtures a teacher’s experience and enhances the social as well as communication skills. Continuously inspiring the students to be open-minded and accepting improves the outlook of a teacher. It gives the teacher a great chance to elucidate issues of diversity, racism, ethnicity, etc., and connect it with education. Ways to Implement Multicultural Education in the Classroom In a rapidly changing world, it is becoming more and more important to promote education programs that cater to the needs of diversified students. If you want to adopt multicultural education in your class, here are some of the most effective ways to do so. 1. Understand Your Students First and foremost, it is very important to understand the cultural backgrounds of all your students. It helps in knowing all the cultures to address and lessons to plan. You can know your students by interviewing them on the first day of the class. You can also go through their personal records. To understand the students better, you can also ask the previous teacher about them. 2. Identify their Strengths and Weaknesses As an effective multicultural teacher, it is your responsibility to identify the strengths and weaknesses of your students to know how to eliminate them. You can do so by: Checking previous academic records Individually interviewing each student, and Frequently assessing the student’s performance in the class. 3. Encourage Them to Share Real-Life Experiences Organizing casual sessions where students share their past stories and experiences help them open up, relate with each other, and build strong communication skills. 4. Organize Open Discussions Selecting a current cultural or social issue and holding an open discussion on them allows the students to share their thoughts, be better listeners, and know about the issues faced by other communities. 5. Plan Group Activities Planning group activities that focus on teamwork and collaboration help overcome cultural barriers, increase student involvement, and embrace cultural differences in a class. 6. Cultural Food Swap Occasionally, you should ask the students to bring their cultural food for lunch and swap it with one another to help them embrace and know about various dishes. 7. Encourage Cultural Storytelling Every household has some folktales that are told to its children. Ask the students to share their cultural stories and draw moral lessons from each one of them. 8. Hold Multicultural Seminars & Events Bringing in guest speakers from different cultural backgrounds by organizing seminars and events helps boost multicultural education at its best. 9. Schedule a Monthly Culture Day You can encourage students to wear their cultural dresses once a month to help them learn about other students’ backgrounds. 10. Celebrate Native Festivals Celebrating cultural festivals also helps each student feel valued and eventually make the classroom culturally responsive. Classroom Resources for Multicultural Education If you want to nurture inclusivity in the classroom and promote collaborative learning, you can plan interesting games and activities. Organizing group activities encourages students to learn quickly, involve & perform better, and share their heritage. Hence, the best classroom resources for providing multicultural education and encouraging student interactions is to plan lessons and group activities beforehand. Here are some of the most effective classroom resources that you can adopt to involve students in your classroom in different teaching styles. No matter how contemporary our teaching methods are, textbooks can never be missed upon. Reading stories from different cultures and in various languages is the best way to promote multiculturalism in a classroom. You can choose stories that focus on characters from different cultures to help the students relate even more. Board games allow the students to interact with each other. You can find various board games related to different subjects and academic concepts such as maps, business, vocabulary, etc. You can organize quizzes based on different themes to motivate students to respond timely and improve their cognitive skills. Arts and Crafts Form student groups and allot multicultural art projects to each one of them to help them engage and share what they know. Frequent debates on thought-provoking topics improve the oratory skills of the students and help them embrace other cultures. The Bottom Line There are endless benefits of providing multicultural education in a classroom. It not just helps each student feel welcomed and represented but also empowers ethnic minorities. Moreover, students who study in a multicultural classroom easily adapt to their new surroundings when they opt for higher studies or work in a new place. Eventually, it also promotes secularism and socialism needed to establish a peaceful society. This blog tells us about multicultural education and effective teaching strategies that can be used in the classroom. It highly focuses on bringing together students from all backgrounds and promoting collaborative learning. Also, helps teachers interact with students from different cultures that accelerate the professional growth of a teacher. So, in a rapidly changing world, it is important to promote multicultural education programs that caters to the needs of diversified students. Cuemath, a student-friendly mathematics and coding platform, conducts regular Online Live Classes for academics and skill-development, and their Mental Math App, on both iOS and Android, is a one-stop solution for kids to develop multiple skills.Understand the Cuemath Fee structure and sign up for a free trial. Frequently Asked Questions (FAQs) What is the main goal of multicultural education? Multicultural education focuses on nurturing admiration and appreciation about diverse ethnocultural heritage, in young minds. Children are imbibed with greater knowledge and understanding about how to behave in a more culturally responsible manner. They acquire skills to navigate various cultures. What are the four approaches to multicultural education? James Banks, one of the most famous researchers in the field of multicultural education, identified four approaches: (1) the contributions approach; (2) the additive approach; (3) the transformation approach; and (4) the social action approach (Banks and McGee Banks, 2004). The contributions approach. What is an example of multicultural education? Instructionally, multicultural education may entail the use of texts, materials, references, and historical examples that are understandable to students from different cultural backgrounds or that reflect their particular cultural experience—such as teaching students about historical figures who were female and disabled

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The Carden Method Created by Mae Carden and maintained by the Carden Foundation The Carden Method® is a proven teaching technique that combines rigorous academics and character development, essential components of a whole-child education. We strive to educate our students in an atmosphere that is warm and nurturing, to provide an education that is thorough and challenging and to develop each child’s capacity for leadership. Carden Conejo offers the tools necessary for students to become superior in reading, mathematics, language arts, science, public-speaking, literature, listening and analysis while allowing for personal expression within a well-rounded experience in the arts. Carden allows for an awakening of both the left and right sides of the brain. Growth begins with three-year-old children and continues through elementary school, each level reinforcing and building upon the strengths gained by the student during the previous year. The Carden Method® is a curriculum developed to mirror the way children think and learn. It offers the tools necessary to establish a full depth of understanding in the areas of spelling, reading, language arts, writing and reading comprehension. Using both sides of the brain to analyze written material, form a mental image, rhythmically group words in sentences and apply rules that govern our English language, students are able to not only spell with superior skill but learn comprehension techniques that will serve them throughout their educational careers. The Carden Method not only meets Common Core Standards for Language Arts, it surpasses it. The Carden Language Method® presents the English language so pupils gain an understanding of their native tongue and attain the ability to use it correctly when reading, speaking or expressing thoughts in written form. The goal of the Carden Language Method is to teach pupils to think using analysis of the sounds of the English letters and the rhythmic grouping of words within sentences. The Carden Method® introduces pupils to reading through a reading-readiness program, Learning to Listen. As the children answer a lively series of questions, they develop a thinking process: look – observe – relate. The teacher helps children: - Improve their powers of observation - Develop their visual imagination - Develop their ability to communicate ideas correctly - Enunciate their words properly - Improve their ability to concentrate The Carden Reading Method® uses five components to teach reading: - Analysis of words using the sounds of English letters in their many combinations - Rhythmic grouping of words within sentences - Identification of the keyword of each sentence - Summarization by using the keyword to create a title - Recalling events in sequence Reading instruction also includes applying functional grammar and developing vocabulary. These tools aid comprehension and offer each child: - Security in learning - Development of self-reliance - Development of good study habits The phonetic foundation for reading begins by training the child in listening to words spoken rhythmically. This technique awakens in the child a realization of the rhythm of the spoken word. The child is taught to listen to a word, recognize it and say the word. The teacher helps establish correct enunciation and pronunciation, verifying that each child understands the word by clarifying the child’s mental image of the word and giving the child an opportunity to communicate their thoughts. Once the children are able to recognize reading’s phonetic foundation, consonants are introduced. Each consonant is associated with a familiar object, person or act, to help children avoid confusion in the identification of letters. When recognized, the name and sound of each consonant is introduced. As the children learn the names and sounds of the consonants, they are taught the construction of the eight letters formed using the shape of the letter c (c, a, d, g, q, o, e, s). The children do not copy the letters; they construct them. After learning the letters formed on letter c, the children are taught the paired letters (lh, nm, ij, kf and rt) and the letters with bent legs (v, w, y, z, u and x). The letters b and p are presented following mastery of the other letters. Children are then introduced to the vowels, and are taught to identify vowels in given words. With these letter identification tools at their command, children are taught the two-vowel rule, applied in words where the first vowel gives its “name sound” due to the presence of a second vowel, which is silent. Children are given a reader and a workbook, which uses only words following this rule, providing children the opportunity to apply this rule with security and success. As children gain confidence in their reading, they are taught spelling of words which are constructed with e as the second silent vowel. Children learn techniques for developing rhythmic reading and correct word groupings when sentences are introduced. Teacher questioning helps children recognize the presence of a keyword or keywords within a sentence. Further questions aid vocabulary development, enabling children to organize the content of a single sentence. The Carden Method aims to enable children to read sentences, not words. As soon as children master the concepts of phonics, rhythmic reading and keyword control of sentences, they are introduced to the skill of grouping related sentences into a unit of thought. This process of developing reading competence using consonants, vowels and applying the two-vowel rule is repeated for the single vowel, the vowel combinations with r and with w, and other combinations of the vowels and consonants. Many spelling difficulties are avoided by training children to recognize the pitch of the long vowels, which are controlled by the placement of the second vowel within a syllable. Words varying from the general rule are grouped together and their variation from the regular pattern is explained. French and Greek phonetic rules that apply to English words are explained and mastered through the use of special readers and workbooks. In order to address individual differences, children are divided into groups, with each group proceeding at its own pace. Self-teaching enrichment material is provided for children after successfully completing the Carden material and the basic readers (of any series). Our curriculum teaches two or three classics at each grade level as a part of the enrichment reading program. Once correct oral reading habits are established, children engage in silent reading, followed by oral and written questions. Reading speed increases steadily by combining the techniques of rhythmic reading and sentence analysis. The skills mastered for reading become the tools by which the child learns to construct sentences, paragraphs and compositions. The writing of original stories is encouraged. Pre-primary to sixth-grade materials consist of teaching manuals, charts, subject manuals for each grade, readers, workbooks, spelling workbooks, language books and monthly tests. Carden academic materials are available through the Carden Foundation and require annual teacher training to ensure the integrated Carden Method is taught correctly.

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Book Resource Guide of Literary Elements and Terms Literary elements are techniques and devices that writers use to help make their writing more interesting. While some literary elements are specifically inserted by the writer, such as dialogue and conflict, other elements like themes exist in a more subtle way. These latter types of elements may not be consciously created by the writer, but rather it is up to the reader to find them. Knowing about literary elements not only helps you as a writer, but it also helps readers to understand the text better. Have a look at the following glossary of literary elements to get started. Allegory – A story (or certain elements) that is used as a veiled reference to other ideas. These are often political, religious, or moral ideas. Alliteration – An auditory effect caused by using several words close together that all contain letters that sound the same. Allusion – This is a reference to something that usually exists outside of the story. Antagonist – The antagonist is usually a character who opposes the protagonist. In most scenarios, the antagonist is the “bad guy”. Aside – When a character speaks directly to the audience or reader without the other characters’ knowledge. Ballad – A type of narrative poem with brief stanzas and repetitive refrains. Characterization – Characterization is a method of describing (or assigning traits) to places, objects, animals, or people. Conflict – In literature, conflict is the main problem or issue that needs to be solved in order to end the story. Connotation – Ideas, meanings, or feelings that are implied with a word. Denotation – The very literal and exact meaning of a word. Denouement – The transition between the height of the conflict and the conclusion. Dialogue – Conversation and speech among the characters. Didactic – Writing that is purposely instructive and informative. Elegy – A poem of mourning and grief about death or for a person who has died. Epigram – A concise, witty or satirical saying that expresses an idea, sometimes contradicting itself. Figurative Language – Using figures of speech to convey a meaning without stating it literally. Flashback – A scene that jumps back to an earlier point, often to give readers insight into previous events. Genre – A category for literature (and other works of art). E.g.: Comedy, drama, tragedy. Foreshadowing – This is a technique that gives the readers hints as to what will happen later in the story. Hyperbole – Emphasis of a particular point through extreme exaggeration. Irony – A figure of speech that conveys an idea by stating the opposite. Lyric – An expression of the writer’s emotion or thoughts in a brief verse. Metonymy – Substituting the name of something with one of its attributes or descriptive words. E.g.: “A room full of suits” instead of “A room full of businessmen”. Metaphor – A comparative technique that eliminates comparative terms. For example: “the inky black sky” instead of “a sky as black as ink”. Motif – A prominent or distinctive idea carried through a work of literature. Myth – Usually an old traditional story, passed down from generations. Myths usually contain exaggerations and supernatural characters or events. Narrative – An account of events related by the narrator. Narrator – A person in the story who relates the story to readers. Parable – A story that is specifically intended to convey a moral or principle. Persona – The combination of a character’s role and traits that affect how people perceive him or her. Personification – Bestowing human-like qualities upon an animal or inanimate object. Point of View – Point of view is the position or vantage point from which the story is being told. Protagonist – The main character in a story is the protagonist. Most of the plot tends to revolve around them. Rhyme/Rhyme Scheme – Words or phrases that have a similar sound or pattern. Setting – The setting is the place and time of a story. It usually has much influence on the development of the characters and events. Short Story – Usually a concise work of fiction, around the length of a chapter. Simile – A comparison of two things using words like “like” or “as” to transfer characteristics of the latter to the former. For example, “These cookies are like cardboard,” or “are as dry as cardboard” infers that the cookies are dry and tasteless. Sonnet – A poem containing fourteen lines, written according to a formal rhyming scheme. Symbolism – Symbolism is when the significance of an idea is tied to and represented by something else. Synecdoche – A figure of speech that uses a partial term to refer to a whole. E.g.: “New York won the game” to refer to the New York Yankees. Theme – The theme in a piece of literature is the main subject or an idea that the story revolves around. - How to Understand Literature – This article helps readers with tips on how to get more out of literature. - Literary Theory – A free online guide offers plenty of resources on reading and critiquing literature. - Approaches to Literature – Read the nine main ways of approaching a work of literature. - Reading Literature (DOC) – This useful guide outlines ways to read literature and understand it completely. - Reading Hints (PDF) – Use this list of hints and questions to understand your reading material better. |Popular Book Notes|

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If you want to be taken seriously as a data professional, there are some things that you just need to know. The difference between a Bar Chart and a Histogram is one of those things. This post is a little cartoon illustrated explanation of the differences. In short: the difference between a Bar Graph and a Histogram. Histograms are a bunch of bars connected to each other, visualizing a distribution of a some continuous quantitative variable. Bar graphs (or bar charts) use proportionally sized rectangles to visualize some type of categorical data. The purpose of a histogram (where you often see histograms). So I started my career as a researcher, spending a lot of time looking at survey data. One of the first you do after data collection (or really during data collection), is create a report with all the response frequency tables. For the categorical data you would visualize the frequencies with a bar chart. With any quantitative data, you would visualize the frequencies with a histogram. Histograms let you see the data distribution, and this is one of the first things most researchers will look at when analyzing quantitative data. Calling a histogram a bar chart (or connecting your bars) is the data person equivalent of using the wrong “there.” Does it really matter that much? I don’t know…but it will draw attention in certain crowds. Some of the main differences between bar charts and histograms. - As already discussed, the whole continuous variable vs categorical variable thing. - The bars touch in histograms. - You can’t change the sort order with a histogram (or I guess you could, but you shouldn’t). - Histograms require you to bin your numerical data. Putting your data into Bins. Bins are the groupings you put your data into. It’s kind of like grades in school. Is there a huge cognitive difference between kids born in June and October of the same year? Is it any different from kids born in February and June? I would think not, but at some point people needed to decide the cutoff point for a certain group of kids they wished to educate together. So they split them into bins (in this case they called them grades). There is no set rule saying “you must bin like THIS!!!!” So a lot of bins are based on the judgement of the data analyst. Take age for example, it’s a continuous variable. Let’s say you have a community survey and your responses ranged from a 17 year old to a 93 year old. How would you bin it? You could use 5 year bins starting (for example 16-20, 21-25, 26-30…) or 10 year bins (11-20, 21-30, 31-40…). Histogram and Bar Chart Resources - Want to create a Histogram in Excel? Here is a short guide from Excel Easy. - More interested in creating bar charts? I have a post on How to Create Bar Charts in Excel. - I also have a sister post on How to Create Bar Charts in Adobe XD. - Don’t like my explanation and want someone else to explain the difference between bar charts and histograms? Storytelling with Data also has a Histogram vs Bar Chart post. - Want a more comprehensive guide to setting bin sizes? Here is one from Statistics How To.

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Creating the Module Empathy and Elaboration: Using 21st Century Tools to Enhance Creative Writing has been through several implementations and revisions – each time, we look at what works, what does not, and how we can better enhance active engagement and learning with the tools available. This is a collaborative process, heavily involving teacher input and feedback. Key to this and every module we create are the opening and closing activity reflections. These reflections help the teacher gauge where the students are, as well as help the students clarify and demonstrate their understanding of abstract and difficult concepts. The opening reflections are to be informal and non-threatening, and the closing reflections only slightly more formal – their answers can be written down here for documentation of improvement. However, even the closing reflections should be approachable. These are not exams in the formal sense, but they do allow the teacher to grade a student’s performance. If the student can articulate the answers to these questions such as why x was a good context for learning y, they have a deep understanding of the concept. Activity 1: Microblogging (Tweeting) in character: Students use Twitter to post real-time updates as characters in a source text Activity 2: Drafting a Collaborative Poem Using the Class Twitter Feed: Students appropriate content from the class Twitter feed produced in the previous activity and from the primary text (Tim O’Brien’s The Things They Carried) to build a collaborative poem on the theme of war Activity 3: Drafting Fan Fiction: Students develop speculative fiction that draws on and transforms elements of a primary text Activity 4: Networked Peer Review: Students collaborate on reviewing and providing feedback to each other on their fan fiction artifacts Activity 5: Formal essay: Students submit a formal essay that offers an analysis of how their own or a classmate’s fan fiction work interacts with the source text End-of-Activity tasks:Students will reflect on their learning by considering how they understand and practiced Common Core Standards In studying achievement, it became clear quickly that in order to tackle something as abstract as character empathy, the students would need to have some way to practice empathizing with a character in an engaging way, preferably using some medium that intrigued and sparked interest. Twitter has become wildly popular, and we found it particularly interesting because in order to tweet effectively, a person must clearly and concisely convey meaning in a small number of characters. The implications for education became clear, and Twitter took its place in the module. Students take on the personality of a character in a novel – in the early implementations, teachers used The Things They Carried– and begin to converse in short tweets with other characters in the story. This encourages students to dig into their character and speak for them, thereby allowing the students to gain a better understanding of and to empathize with that character. As Atticus states, “you never really know a man until you stand in his shoes and walk around in them” (Lee, chapter 31). This activity allows students to walk in the character’s shoes, and speak from the character’s perspective. Additionally, students are encouraged to discuss the tweets themselves, and the representations of each character. They are asked to reflect upon their own work and the activity itself. When the students embark on the activity of extending a character or storyline, they must first understand the characters and storylines intimately to write effectively. Tweeting has helped the students empathize with the characters, and therefore has assisted in preparing them to write an extension of the story. In this activity, students now elaborate on the types of messages they were sending in tweets, but now they must articulate in fluid sentences the full meaning of their character’s feelings or the emotion of the story. By extending the story rather than analyzing the characters, students are encouraged to continue exploring empathy, and the role the reader plays in interpreting a text. As the Fan Fiction is written, students demonstrate their ability to empathize with a character and understand their point of view, which in turn helps them learn to analyze a character deeply. Students are asked throughout the module to reflect on the contexts, the concepts, and the practices. The reflections begin at the surface and gradually ask students to think deeper not only about the context in which they are studying the concepts, but about the concepts themselves, and how they might use these concepts in other aspects of their lives.

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Summary: Computer coding is the world’s universal language. People that know how to code will be able to communicate across countries and cultures, be more innovative, and solve issues more quickly than those who do not. Learning to program at an early age will assist your children in solving common difficulties and preparing them for a lifetime of chances. The Advantages and Results of Learning Programming at a Young Age Most people still regard computer coding or programming as a highly technical or even nerdy pastime that only a small percentage of the population finds appealing. Coding is, in fact, a relatively new sort of literacy. It’s a skill that comes in handy in everyday life, especially in today’s digital age. Most people will find it easier to use a smartphone, connect gadgets, and manage files across many platforms if they have at least a rudimentary understanding of programming. Consider all of the advantages of encouraging your children to learn programming at an early age; you can even learn alongside them by assisting them. 1. Educational Advantages Computers are used in primary schools for testing and other activities, but computer programming is not part of the curriculum. Many schools around the world began incorporating a computer programming skills portion into the school day during the Year of Code. This sort of schooling enables children to understand the fundamentals of computer operation. Kids can feel proud of themselves if they can get a computer to accomplish what they want. This foundation can prepare children for a lifetime of successful technology use and management in their daily lives. 2. Computational Intelligence The ability to articulate your thoughts in a systematic and logical manner is known as computational thinking. This type of mental process is similar to how a computer follows step-by-step instructions. It’s also the methodical process of generating and solving problems that could be repeated by a machine. This way of thinking is used by software engineers, computer programmers, and logistics specialists to solve challenges. Advanced mathematics, algorithm development, and reasoning are all part of computational thinking. Consider a problem and break it down into single-action stages in order to develop computational thinking. Each of these processes is carried out as quickly as possible. Computational thinking also includes an element of abstraction, which enables your child to move from a specific answer to a specific problem and generalise it to other circumstances. As a result, there has been a paradigm change in how people think about the world. 3. Flexibility of thought and creativity Children’s minds are creative and elastic, allowing them to think “beyond the box.” The practically limitless possibilities for coding and problem solving might motivate children to develop. You can demonstrate to your child that coding is similar to storytelling. The story and the program have a logical beginning, progression, and conclusion. These abilities can help students succeed in school by preparing them for written and oral communication, and happily, the introduction of IT basics in primary schools is becoming more prevalent. 4. Employment Opportunities In order to compete in the future employment market, the current generation of children will need to be technologically literate. It will be akin to not knowing how to read if you don’t know how to code. The majority of employment necessitate basic IT skills, and even retail and fast food jobs necessitate the use of technology and computers. On the current market, coding professionals are well-paid and in high demand, and chances for these competent workers will grow in the future. The Benefits Learning Process, Possibilities, and Results Learning to code is easier when you’re young, just like learning to ride a bike. Even four-year-olds can understand the fundamentals of computing. Learning to code is becoming easier and more enjoyable as new types of software and updated educational methods emerge to keep children interested and enthusiastic about computer programming. There are also online programmes, such as the popular Codecademy, that may assist kids learn to code for free. Kids will not have to devote hours to learning the intricacies of coding. They can instead utilise games and applications to teach them the fundamentals of computer coding. These advantages of learning programming at an early age assist children in thinking, processing, and communicating more effectively. These abilities will eventually assist children in becoming more innovative, which can be used to practically any job. Knowing how to design and develop computer programmes and software can help anyone succeed, from doctors to musicians.

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CC-MAIN-2022-21

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Scribbles. A vertical line. Some dots. These are the early marks you can expect to see on drawings from a toddler, such as the children in the Silver Room. Each child makes their marks in similar and yet individual ways. Some will sweep from the shoulder making long vertical or horizontal lines. Some will push with force on their crayon or chalk so the colors are vivid and lush. Some will make light dots. Each of these marks tells the teachers a little story about how a child makes their mark in the arts, how they are expressing themselves in that moment. It tells us if they have the muscle strength to create vivid lines, if they move more from the shoulder or from the wrist, or if they are more interested in color or form. These are the beginning stages of a new language for them, a way to express how they feel in a way they can see and touch. They can reflect on what they see, remember it later by looking at it hanging in their classroom or at home. One day at the easel a child says “Draw you” to a teacher and makes 3 vertical lines. The child turns to look at the teacher, who replies “Look at me! You made me green and I’m standing tall!”. The child is realizing that drawing can represent a real three dimensional object in her everyday life. She had an idea, shared it, and then executed it. Children in the Silver Room have been exploring bingo (or dot) markers. This is completely different from “regular” markers and much more challenging. The markers have to be held at the right angle and a certain amount of force is required to make a mark. But it also holds space for loud, rhythmic percussion with each dot. We created our own song that changed with the pattern of each child’s dot making. We could feel and see the music as we created a physical piece of mark making! There is more to learn in any language than just vocabulary. And in the language of the arts, before we can express ourselves utilizing them, we have to know how they work. Children will squeeze the tint from markers, scrape their fingernails along oil pastels, taste paint. They will draw on paper, on walls, on floors, on themselves. Right now there is very little context for “how art supplies are used”, so experimentation is natural. Puzzles are a language too! Puzzles have an outline (the frame) holding images that might suggest a story: animals from the American Midwest, buildings and animals found on a farm, a train going through a tunnel. The imagery is often the most compelling part of puzzles when children first encounter them and they often are drawn to imagery that interests them. Exploring these images is the first step in puzzle solving, noticing the details or the commonalities, the curves or straight lines. In the Silver Room, puzzle image exploration is the stage we’re at. Once we’ve become familiar we’ll move to the next stage: making connections between the shapes on the frame and the puzzle pieces. “Math” is more than just recognizing numerals and counting things. It’s about shapes, same and different, greater than and less than, spatial relationships and so much more. Puzzles bridge the interests of storytelling and mathematics. One child likes the feel of the puzzle pieces on his feet. He takes them out and walks across them, then walks across the frame. So curious! I wonder if he can feel the shapes in his feet. Another child re-visits the same puzzle many times. He seems to want to experience it deeply and know it well. When we know the materials deeply, know what they can and cannot do, how they feel when we use them, our use of them can become more nuanced and creative. We won’t be stuck in “how do I do this” and can move on to “what will I create?” We will continue to watch these new languages emerge in our toddlers, with great interest and excitement. As part of our Reggio Emilia inspired approach, we believe that children communicate in many, many languages, all we need to do is listen! Reflection by Susan Missett-King and Zoe Wolfe, Silver Room Co-Teachers

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The eighth grade language arts curriculum blends reading, writing, discussion, and creative projects. Each student learns the importance of close reading, analysis, and interpretation. In writing, students focus on drafting and revising as they refine their writing of thesis statements, body paragraphs with evidence, and conclusions. Students advance their analytical skills by identifying how word choice and structure affect the audience of a text while also tracking themes and motifs in literature during classroom discussions. The class will read classic novels such as To Kill a Mockingbird and Whirligig, as well as Shakespeare’s Othello. Students will also read two novels to pair with each of their social studies units. They will read Warriors Don’t Cry by Melba Patillo Beals during their unit on the Civil Rights Movement and Night by Elie Wiesel during their unit in World War II and the Holocaust. The eighth grade math curriculum focuses largely on solving, graphing, and analyzing different types of equations and inequalities. Starting with linear equations, students explore slope and y-intercept and use them to graph lines in the coordinate plane. Students apply their understanding of graphing equations to graph linear inequalities, systems of linear equations, and systems of linear inequalities. They use their knowledge of solving equations and inequalities to solve compound inequalities and absolute value equations. Students explore rules for exponents and use them to simplify exponential expressions. When working with polynomial equations, students learn how to multiply polynomials, factor polynomial expressions using multiple strategies, and solve certain polynomial equations. This includes learning and applying the quadratic formula to solve quadratic equations and graph parabolas. In eighth grade science, the major topics of study are chemistry and genetics. Students start the year by learning about scientific notation and density. Students then study atoms and examine atomic models devised by famous scientists. Students explore the organization of the Periodic Table and use their knowledge to determine the properties of elements. They later study the different types of bonds in molecules and compounds, as well as their structural formulas and balance equations. During the unit on acids and bases, students complete a series of labs, including an antacid titration and measuring the pH strength of various substances using pH indicators. Students utilize TinkerCad and BlocksCAD to design a 3D printed model of a compound or molecule that they research. Near the end of the year, students are introduced to the field of genetics. They use Punnett squares to predict genotypes and phenotypes. Eighth grade social studies uses the Facing History and Ourselves curriculum to discuss the Civil Rights movement in the South during the 1950’s as well as the Holocaust. 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. The first half of the year focuses on racial inequality in the South, primarily on school integration in Little Rock, Arkansas. Students read first hand accounts from people who were involved in these events as well as the novel Warriors Don’t Cry, by Melba Patillo Beals. The second half of the year is centered around World War II and The Holocaust. Students analyze the factors that led to Hitler’s rise to power and the tactics used to gain support in Europe. Students in eighth grade Hebrew continue to improve fluency in speaking, writing, and reading. The focus is on using present, past and future tenses seamlessly while also learning advanced grammatical structures and idioms. Major emphasis is on spoken fluency. Students read a full-length novel in class to expand vocabulary and experience Israeli literature. Students analyze and describe major events, themes, and concepts in Hebrew. Students are introduced to modern biblical commentators and their interpretations and style. Students also study and learn about the Torah service along with discussing the weekly Torah portion. 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 eighth 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 in eighth grade focus on the rise of modern Israel since the establishment of the country in 1948. They explore major events, culture, peoplehood, military history, and day-to-day life as well as current events. 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 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 process of creating art 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. Eighth grade is the culmination of all the theater, debate, and speaking skills that students have been learning throughout their time at EHS. Students will be able to demonstrate their speaking skills during a debate showcase, including projection, diction, and body language. Students will also have the opportunity to perform a variety of individual and group scenes, written and improvised, using props and costumes that they have built and/or designed. Students will continue their character work studies, using Shakespeare and scenes that they’ve created. At the end of the year, eighth graders will be able to collaborate on the spring musical and act as leaders for their peers during the rehearsal process. The final performance will showcase all of the 8th graders’ acting and public speaking skills that they have been practicing during the year. Students in physical education classes are encouraged to 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 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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It goes without saying that technology has given us tremendous freedom to communicate, interact and develop as professionals. We can’t escape it as it dominates every aspect of our teaching life; our classes have state-of-the-art equipment such as laptops and interactive whiteboards, there are amazing web tools available, not to mention the countless sites offering online exercises and games. However, I sometimes wonder “How would I teach if I only had access to the very basics? Would I be as creative as I am now?” In other words, I often think if there is a way to “reinvent” the simple, everyday objects each one of us has on their desk/handbags and spark our students’ creativity without resorting to technology. So, I’ve decided to start a series of ideas on how to see class objects from a different angle. My goal is to inspire other professionals as well so that we can all come up with alternative classroom activities. The object I’ll start with is the PENCIL. As you will notice, in the activities I’m suggesting below the pencil is seen as a means of teaching grammar, speaking, creative writing etc.! I’d really love to read your comments and any further suggestions you might have! - The life cycle of the pencil: That’s a great way to introduce the present simple passive. Tape a pencil on your board (preferrably, in the middle). Draw arrows all around it leaving some space in between for the different stages of the cycle. Ask your students to tell you what pencils are made from. Go to the first arrow before the pencil and draw some pieces of wood. Then, ask them where wood comes from. Wood comes from trees but trees are cut in order to make pencils. Go to the second arrow before the pencil and draw a tree. Keep asking and drawing until you have a picture of what would look like the life cycle of the pencil. - Miming game/ Cooking instructions: Use a pencil in order to mime actions like writing, cooking, playing the drums etc. (Present Continuous practice). If you want to practise Present Simple, ask your students to imagine your pencil is a large spoon which they will use to “cook”. Give your class a recipe and ask each student to come up and act out a part of it using their pencil aka spoon. - Break it! For me, it’s one of the simplest yet best ways to show your class how Present Perfect Simple is used for actions that have just happened or actions that happened in the past but their result is still visible in the present. - Make it the star of a story! Tape it on the board and draw a speech bubble next to it. Ask your students to imagine your pencil can actually speak. What could it say and who would it talk to? - Where am I? – Past tenses: Draw a question mark on the top of the board. Tape a pencil pointing downwards in the middle of your board and draw 3 small circles. One on its left and right and a wider one below its tip. Now you have a pencil looking surprised:) Point at your lesson’s date (eg. 09/01/14) and tell your class that this pencil lost its way and found itself in your class today. Ask them to imagine where it was and what it was doing/had done when/before it got lost. - Pencil puppets – Pencils can be used as puppets in different role plays. You could give them names according to their colour (eg. Mr Red) or ask your students to glue pieces of paper on them and decorate them any way they want to. Apart from role playing though, pencil puppets are also a nice way to introduce descriptions.

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truth (aesthetics) The factual, historical, social, cultural, aesthetic and individual criteria by which a story is judged to have validity: truth is a criteria for accepting or rejecting a story. A statement or representation that claims factual truth can be measured, tested and argued in relation to actual event/s, often as these event/s have been recorded and represented in a range of narratives and as a part of social and/or individual history and knowledge. Then a story has truth because the event/s it narrates did happen or are believed to have happened. Factual truth is often discussed as the key criteria for truth, but this is just one test. It can be agreed, believed that a particular event/s occurred, the event/s are true, they happened, but even when there is an agreement that an event or events occurred, and this is uncontested, the narrative that presents this can be rejected or denied as it relies on selection, viewpoint and construction. A story is a form of rhetoric and it presents a reality that is congruent or divergent from the audience’s beliefs. The audience will accept some narrative versions of events and reject others. Here viewpoint in storytelling becomes crucial as this articulates value in relation to events: One version of a story shows that the actions were good, another version of the story shows that the same actions were evil. Narratives confirm or contest histories, moral values, customs and accepted norms and so both fact or fiction can be accepted as offering truth. A fictional account be more truthful in this context than a historical account: what is a true depiction of slavery, of marriage? In different societies at difference times the accepted narratives related to slavery and marriage would be completely divergent. Here, one can see that truth is socially and historically specific, and narratives that are praised for their truth in one era are false and contrived in another. We accept, consume, deny and reject narratives based on our own truth. Truth, here relates to the concept of Grand Narratives: these are the histories, identities, conceptions of the self, of nature, of reality of lived experience that are embedded as truth within an individual, a group, a society, a culture, a Civilisation. Arguments over objective viewpoint and subjective viewpoint are carried on as if they might be resolved by empirical measurement, by rational thought, by psychological explanation, but belief systems validate truth in relation to a narrative being accepted or rejected. The individual events in a narrative, their relationship to actuality are tested for truth, and the construction of a narrative, its plot and viewpoint is tested for truth, and the judgement of truth in a text also shifts to a judgement of taste in relation to aesthetics: what stories should or should not be told, and in what form is it acceptable for a story to be narrated? Taste acts as permission or restriction on what can be told and accepted; taste acts as a form of censorship: no matter if a story is true to the fact, this does not make it valid unless it is narrated within certain parameters of form: Should God be shown singing in a musical? What topics can be mocked and ridiculed, what topics need to be treated with sincerity and reverence? Truth is a test of acceptability and taste is part of this: they are combined in terms of audience reaction. The question of truth has a sense of superficiality. It’s not a coherent judgement, the truth that is claimed for a story is not shared by all, but truth and taste do act as significant constraints and permissions on storytelling. Truth has a bias, in that what is judged to be true is not the congruence of narrative to actuality as the primary and decisive test, but what is acceptable: choosing the right story to tell in the right way. A filmmaker can make a claim to their story offering truth, but this judgement passes to the audience who will make their own judgement to accept or reject the narrative. A filmmaker may understand that a story needs to have truth for it to have validity for themselves and for an audience, but acceptance or rejection will rest on the filmmaker’s congruence to that audience. A story that challenges, tests or demeans an audience is not going to acclaimed as true, so the impetus of storytelling is to confirm to social reality. Oppositional, divergent stories can be told but they will never have the immediate currency of accepted truth. The narrative of a film can be very specific to a place and time, and so rely on this authenticity to be accepted as true, but this one story can be viewed as exceptional and specific: not generally true. Myth, fantasy, legend, stories which are often understood to have little or no factual authenticity are often valued more highly than factual truth within a culture and society: these mythic, founding stories are shared, circulated, learned, passed on and this gives them validity as truth as they are known and understood by many. There’s a frequent claim that mythic narrative offer universals, there will always be a hero myth in every society, those who fight for society, and there will always be villains, those who want to destroy and replace a society: these stories have truth as rhetoric: they carry the concept of heroes and villains that a society can use to enact power and authority, but they are not factually true, but rhetorical concepts: they are actions, events shaped into a version of events, a narrative where there are heroes and villains. Not all societies need such figures and founding myths differ across history, tribes, nations, civilisations. Story is understood to offer shared meaning and values for societies. This is correct and truth and taste are the mechanisms that regulate and confirm those meanings and values. When stating that a story is true, one can mean factually true, or aesthetically truthful in the narrative’s representation its form and taste, but implicit in this is a call for agreement: to indicate that a narrative should be validated and offered a specific and special status. Copyright: Eugene Doyen 2019

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Telenovela | Definition of Telenovela by Merriam-WebsterTelenovelas — literally television novels — have some things in common with their American cousins, the daytime soap operas. Telenovelas have their roots in Latin America, starting as graphic novel representations of classic literature and stories, later evolving into radio programs. When soap companies started radio dramas to sell cleaning products to housewives in the s, they established programs in Cuba as well. But when American companies could no longer sponsor programs in Cuba, there was a diaspora of talented Cuban actors, writers and producers that scattered through Latin America and began melding the American product with Latin American storytelling. But unlike U. This makes them highly marketable and exportable, says Diana Rios, associate professor of communication sciences at University of Connecticut. Learn Spanish: The word "se" in Spanish grammar A telenovela [a] is a type of a limited-run television serial drama or soap opera produced primarily in Latin America. Commonly described using the American colloquialism Spanish soap opera , many telenovelas share some stylistic and thematic similarities to the soap opera familiar to the English-speaking world. The significant difference is their series run length; telenovelas tell one self-contained story, typically within the span of a year or less whereas soap operas tend to have intertwined storylines told during indefinite, continuing runs. What does novela mean in spanish? The Spanish language is a very rich language with lots of vocabulary. Mastering the Spanish vocabulary can help you a lot if you want to be able to understand everything you hear or read, even if you don't understand the whole meaning perfectly. The best way of learning new Spanish vocabulary is by reading a lot or practicing with flashcards or a similar technique. Literary Spanish vocabulary can be tricky, especially when it's very technical. However, you'll notice many words sound and look almost the same, and this will make learning them easier. When you learn Spanish in Spain you'll be able to show off your extensive literary knowledge with this list of literary terms. Creationism is based on the idea of a poem as a truly new thing, created by the author for the sake of itself. Educalingo cookies are used to personalize ads and get web traffic statistics. We also share information about the use of the site with our social media, advertising and analytics partners. Meaning of "telenovela" in the Spanish dictionary. Soap opera. The definition of telenovela in the dictionary is a novel filmed and recorded to be broadcast by chapters on television. Toggle nav. A telenovela or ; , , is a type of limited-run serial drama originally produced in Latin America that has become popular in European, Asian, and other global television networks. Telenovelas differ from soap operas in that they rarely continue for more than a year. This makes them shorter than soap operas, but still much longer than serials. Episodes of telenovelas usually last between 30 and 45 minutes, and rarely do ordinary telenovela episodes last for more than an hour each, as this is the length standard of telenovela final episodes. Chat or rant, adult content, spam, insulting other members, show more. Harm to minors, violence or threats, harassment or privacy invasion, impersonation or misrepresentation, fraud or phishing, show more. What does novela mean in spanish? Listen to an audio pronunciation. A feminine noun is almost always used with feminine articles and adjectives e. In his latest novel, the author explores the complexity of the human mind. My parents watch the soap opera every afternoon. A noun is a word referring to a person, animal, place, thing, feeling or idea e. These example sentences are selected automatically from various online news sources to reflect current usage of the word 'telenovela. Send us feedback. See more words from the same year. Spanish Central: Translation of telenovela. What made you want to look up telenovela? Please tell us where you read or heard it including the quote, if possible. Test Your Knowledge - and learn some interesting things along the way.

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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. Flying planes, whistling trains, zooming cars–preschools love things on the go! Grab our Transportation Lapbook and prepare for a week of learning fun with your preschool student. Transportation Lapbook Activities This preschool transportation lapbook includes a variety of activities: colors, shapes, alphabet, and more! Emergency Vehicles Wheel Assemble the wheel according to template instructions. Discuss emergency vehicles with your child. What are the different jobs of the people driving the vehicles. Vehicles used: police car, tow truck, firetruck, and ambulance. Introduce or review the colors of the cars. After you cut out the pages, ask your child to find something in your house or classroom that matches the color on the page. “This car is red. Can you find something red?” Colors included: gray, orange, red, green, yellow, brown, purple, pink, black, and blue. Reinforce Learning: As you travel various places, ask your child to identify the colors of the cars on the road. Introduce or review shapes with the shape bus. Shapes included on the bus: circle, oval, triangle, hexagon, octagon, square, rectangle, and diamond. You can also use this activity to review colors (pink, orange, blue, green, red, yellow, and purple). Which Way? Left or Right Use this shutterfold book to introduce or review the concepts of left and right. Which vehicles are moving to the left? Which ones are moving to the right? Wheels on the Bus Construct the bus with moving wheels. Sing “The Wheels on the Bus” together! You can use these transportation cars in several ways. Use the small labels provided, and ask your student to sort these cards by land, by air, and by sea (or any other way you can think of!). Alternatively, you could give your student three pieces of paper and have him create three scenes: air, land, and sea. Use the pages as sorting mats. You could also print two copies and make it into a memory/matching game. If your student is ready, you could use these as storytelling cards. Draw a card. “Once upon a time, there was __________.” Add a few sentences. Let your student draw a card and add to the story. The story is over when someone decides (“The End”). Vehicles included on the transportation cards: car, moped, bus, carriage, submarine, truck, schooner, van, monster truck, rocket, sailboat, bicycle, airplane, zeppelin, hot air balloon, and helicopter. Paint, cut, and paste to make the boat craft. Phonics: Letter B What does ‘B’ say? Introduce or review ‘B’ with this mini-book. Bus, bicycle, and boat all begin with ‘B’; what else begins with this letter? (balloon, barge, etc.) Sing the alphabet song together as you point at each letter, helping your student begin to learn to recognize the letters. How to Get Started with the Transportation Lapbook Follow these simple instructions to get started with the Transportation lapbook. - Check out a stack of transportation themed books from your local library. - Choose and prepare the transportation lapbook printables you want to use with your student. - Enjoy a week of zooming, beeping, and learning with your preschool student. Download Your Transportation Lapbook Use the form below to subscribe to the newsletter. Once you confirm, you’ll receive an email with the link to the lapbook. If you are already confirmed, simply enter your name and email address below, and you will receive an email with the link. More Transportation Themed Resources If your preschool student enjoys our transportation lapbook, check out these other transportation themed resources:

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In video and filmmaking terminology, a “transition” could be defined as the way in which any two video shots are joined together. The first point to understand about transitions is that misuse or overuse of transitions is a sign of an amateur, in the same way that overuse of slide transitions in a PowerPoint presentation is considered unprofessional. Especially if too many different types of transitions are utilized. In short, any way that transitions call attention to themselves and distract from the video continuity would be poor utilization. Conversely, when used professionally (“not” to the point of overuse), effective transitions bridge different video shots together to produce a better message or story flow. There are significantly more transitions than depicted in this article, but the following are among the most widely used. VIDEO TRANSITION: THE “CUT” The most common transition is the “cut.” This is simply one video clip changing instantly to the next shot. Cuts are the best way to keep the action or momentum moving along at a good pace. Straight cuts are not only simple, but they create smaller overall file sizes, which are an advantage for web videos. (In other words, adding transitions create larger video files, and on the Internet, smaller files are desirable). VIDEO TRANSITION: THE “FADE” Two key transitions are fade-up from black and fade to black. Fading in from a single color, such as black, conveys a sense of “beginning.” And nothing says “the end” like a fade to black. (Fades can be used with any other colors, too). VIDEO TRANSITION: THE “CROSSFADE” OR “DISSOLVE” Another common transition is the crossfade, or dissolve. This is when one video shot gradually changes to the next. Although the length of most transitions can be shortened or extended to best support the video, crossfades, in particular, can provide a more relaxed feel than a cut and slow the pace of the video. Dissolves can better convey a sense of passing time than a cut. VIDEO TRANSITION: THE “WIPE” A wipe is a more complex transition and includes many variations. These could be categorized as fancier types of transitions, which means they would not be used very often in the realm of traditional storytelling. (They tend to have more applications in short social media videos and/or some commercials, to increase viewer interest, but much less so in long-form storytelling). One way to think of a simple wipe would be imagining a single sweep of a windshield wiper as a transition from one shot to the next while it moves across the screen. Variations include an iris wipe, a heart wipe, a clock wipe, and a star wipe, in which the name approximates the geometric manner in which the wiping motion occurs. Examples: an “iris wipe” is like an expanding or contracting oval. A “heart wipe” or “star wipe” is like an expanding or contracting heart or star. And a “clock wipe” moves around in a circle. Wipes can represent every shape or custom line imaginable. As another example, a jagged line, such as a lightning bolt, could move across the screen to unveil the next shot. And to make things more interesting, wipes can begin on the left of the frame and move right across the screen. Wipes can also begin on the right of the screen and move left. They can also begin at the top and move down. Or, as you might anticipate, they can begin at the bottom and move up to reveal the next shot. Furthermore, they can begin at any corner and move diagonally across the screen. NOTE ON FANCY TRANSITIONS Most video editing programs have a large library of built-in transitions. You can also buy additional video transitions. And on top of that you can create your own unique transitions. Nevertheless, for the purpose of filmmaking and storytelling, be aware that you can create an entire feature film or documentary using only cuts. So, why do fancy transitions even exist? Fancier transitions are more often used in shorter videos to lend “style” or to increase viewer interest. Whether that be in social media videos, commercials or other videos. This does not suggest that fancy transitions are required or necessary in short content. However, as with all creative ventures, any rules can be broken. Like fashion in general, styles change and what’s acceptable now may not be next year. Unlike fashion, what’s acceptable with transitions tends to change slowly. In the 60s and 70s there were TV shows that used wipes. Now, that would be uncommon. Yet, shorter-form videos and especially the “anything goes” culture of YouTube have demonstrated a greater facility with fancier transitions than ever. But this use bears the risk of such videos looking “dated” in the years to come, whereas a more traditional or classical use of transitions will better stand the test of time. At the hands of professional video editors, appropriate use of transitions is an important aspect of the editing process. KEEP IT SIMPLE Effective integration of transitions should always be inspired by some aspect of the story that is being conveyed in your video. For example, a transition may signify a change in location, or a change in the pace of the action, or simply the passage of time. If there’s no specific reason to use a transition, more often than not, just keep it simple and use a cut. Another application of transitions is to smooth out minor video (or even audio) errors, which could appear more prominent with a cut, but which may be less apparent by a well-placed dissolve. Having said that, perhaps the most common way to hide video production errors is to briefly cut away to a completely different shot altogether. As a concluding note: in traditional filmmaking, transitions should not call attention to themselves. Their job is to subtly support the story or message. Avid hiker, bicyclist, motorcyclist and long-time advertising pro. Founder of Skyworks Marketing, Nonprofit Fire and Our Ventura TV (cable TV). One career highlight was working on a small team that built a business from nothing to over $100 Million in 3 years. Skyworks Marketing provides lead generation and video advertising services. We create custom marketing funnels that provide the highest-quality leads and sales.

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A growing body of research attests to the effectiveness of films as an educational strategy to promote empathy (MacDonnell & MacDonald, 2011). Films can help learners gain an appreciation of the lived experience of illness and the dichotomy between healthcare professionals who are empathic versus those that are indifferent, callous and even cruel (Darbyshire, 2006). The human stories portrayed in films engage learners and convey important concepts (Blasco & Moreto, 2012). Films, whether fictional or documentary-style, are a form of storytelling. They promote vicarious learning experiences in ways that inspire, educate, transform and energise (Bordwell and Thompson, 2003). Films are useful in teaching because this medium is familiar, and students identify easily with film characters and situations. The educational benefit can be expanded by the phenomenon of students’ ‘carrying forward’ into their daily lives the insights and emotions initially generated in response to the film clips (Blasco & Moreto, 2012). The main goal of the use of film is to foster reflection and to provide a forum for discussion about the interaction of health and illness within the breadth of human experience. Reflection is the necessary bridge to move from emotions to behaviour change, and from technical responses to deep introspection and empathic responses. The power of film to achieve transformation also requires guidance from skilled educators so that new insights are gained, and perspectives enabled (McAllister et al., 2015). When educators direct students’ attention to issues of importance, the knowledge and attitudes developed through discerning engagement are not merely theoretical but also grounded in human experience. Blasco, P. & Moreto, G. (2012). Teaching Empathy through Movies: Reaching Learners’ Affective Domain in Medical Education. Journal of Education and Learning. 1(1), 22-34. Bordwell, D. & Thompson, K. (2003). Film Art: An Introduction. (7th ed.) McGraw Hill, New York. Darbyshire, P. (2006). Understanding caring through arts and humanities: a medical/nursing humanities approach to promoting alternative experiences of thinking and learning. Journal of Advanced Nursing. 19, 856-863. McAllister, M., Levett-Jones, T. Lasater, K., & Petrini, M. (2016). The viewing room: A lens for exploring ethical comportment. Nurse Education in Practice. (16), 119-124. MacDonnell, J. & MacDonald, G. (2011). Arts-based critical inquiry in nursing and interdisciplinary professional education: guided imagery, images, narratives, and poetry. Journal of Transformative Education. 9(4), 203-221.

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- 1 What literary devices are used in I Know Why the Caged Bird Sings? - 2 What is the extended metaphor in the poem caged bird? - 3 What literary devices are used in caged bird? - 4 What is the free bird metaphor for here? - 5 What is the theme of I Know Why the Caged Bird Sings? - 6 What is the caged bird a metaphor for? - 7 What does the caged bird symbolize? - 8 What does the caged bird singing reveal about him? - 9 What kind of imagery is used in caged bird? - 10 What is ironic about the caged bird? - 11 Which poetic device is used in the poem? - 12 What is the rhythm of caged bird? - 13 What is the difference between caged bird and free bird? - 14 How do encaged birds behave? - 15 What does the bird metaphorically refer to? What literary devices are used in I Know Why the Caged Bird Sings? Rhetorical devices abound in I Know Why the Caged Bird Sings, that makes the reading more memorable. Angelou successfully employs hyperbole, simile, alliteration, allusion and aphorism to draw attention to key phrases, characters or settings. What is the extended metaphor in the poem caged bird? Given that the caged bird in the poem is an extended metaphor for the historic struggle of the African American community under historical and ongoing racist oppression, the idea that freedom is a biological impulse argues against the inhumane cruelty of oppression. What literary devices are used in caged bird? Caged Bird Literary Elements Speaker or Narrator, and Point of View. The unidentified speaker relates the experiences of the caged bird and the free bird. Form and Meter. The six-stanza poem is written in free verse. Metaphors and Similes. Alliteration and Assonance. Irony. Genre. Setting. Tone. What is the free bird metaphor for here? Answer. The free bird metaphor means means that you have freedom and you are free, you can do what you want. They say bird because birds can fly wherever they want and have freedom. What is the theme of I Know Why the Caged Bird Sings? After the 1968 assassination of Martin Luther King, Jr., Angelou was inspired by a meeting with writer James Baldwin and cartoonist Jules Feiffer to write I Know Why the Caged Bird Sings as a way of dealing with the death of her friend and to draw attention to her own personal struggles with racism. What is the caged bird a metaphor for? The Caged Bird Metaphor is a common Animal Metaphor whereby a character—often a woman or girl in an oppressive environment—is associated with a caged bird, symbolizing their sense of confinement and longing for freedom. What does the caged bird symbolize? Angelou uses the metaphor of a bird struggling to escape its cage, described in Paul Laurence Dunbar’s poem, as a prominent symbol throughout her series of autobiographies. Like elements within a prison narrative, the caged bird represents Angelou’s confinement resulting from racism and oppression. What does the caged bird singing reveal about him? What does the caged bird’s singing reveal about him? Answer: It reveals that he is unhappy and wants to be free. What kind of imagery is used in caged bird? Imagery: Angelou has used vivid imageries. ‘Orange sun rays’, ‘distant hills’, fat worms’ etc are examples of visual imageries while ‘sighing trees’, ‘nightmare scream’ and ‘fearful trill’ are auditory imageries. What is ironic about the caged bird? Maya Angelou uses plenty of irony in her book I Know Why the Caged Bird Sings. Situational irony is when things do not turn out as expected. Vivian brings Maya into her bed to make her feel safe when she has nightmares, but as a result, Maya is raped by Mr. Freeman. Which poetic device is used in the poem? The definitions and examples of literary devices which are used in poetry are as follows: 1) Alliteration: The repetition of a consonant sound at the start of 2 or more consecutive words is known as anaphora. |Top Entrance Exams| |SSC-CGL||CDS 2021 (1) Exam| What is the rhythm of caged bird? Structure: The poem ” Caged Bird ” feels almost like an unstructured verse. It does not keep rhythm and does not rhyme in a specific pattern. Stanza 3 is repeated at the end. What is the difference between caged bird and free bird? Sometimes, the caged bird opens his throat to sing. He sings of freedom and hope. A caged bird is not free to have his own life. He is not free and the only thing he can do is he can sing for his freedom and hope. How do encaged birds behave? He is enclosed in a narrow cage where his wings are clipped and feets are tied. The only thing he can do is he can open he is throat to sing. He is in anger to get out of the cage but due to fear he does not tend to do so What does the bird metaphorically refer to? Answer: The first metaphor is of the free bird that is for the white Americans or free people, while the caged bird is the metaphor of African Americans and their captivity in the social norms. Personification: Maya Angelou has used personification such as “sighing trees” as if trees are feeling sorrow.

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Seventh grade language arts builds on the progress made in writing and literary analysis in sixth grade. Students continue to explore a variety of literature selections and themes. The class will start the year by reading a series of short stories that each utilize a different writing style and method of storytelling. In this unit, students write their own short stories as they continue to refine their ideas, organization, and voice. The class will read classic works of literature like Roll of Thunder, Hear My Cry and A Midsummer Night’s Dream. Students will also read Greek Myths as they learn about ancient Greece in social studies. A primary writing focus is learning to write well-structured and detailed essays. Students learn to incorporate evidence to support their own point of view as well highlight an author’s message and style. The topics included in the seventh grade math curriculum are expressions and equations, integers, exponents, percents, trigonometry, geometry, and probability. Students learn how to evaluate variable expressions and solve multi-step equations. They identify where positive and negative integers are on a number line and learn to perform all four operations on integers. Students explore exponent rules and apply them to simplify exponential expressions. For percents, they utilize their understanding of how to find a percent of a number to determine percent change as well as simple and compound interest. In the trigonometry unit, students use the Pythagorean Theorem and trigonometric ratios to determine missing side lengths in right triangles. In geometry, students explore the attributes of two-dimensional shapes and three-dimensional solids, and also apply transformations on shapes in the coordinate plane. In probability, students distinguish between independent and dependent events and between overlapping and disjoint events to determine the probability for given situations. In seventh grade science, students begin the year with measurement and the metric system applying their knowledge throughout various hands-on labs. Students later use the Engineering Design Process to create a solution to a real-world problem. During this experiential learning project, students advance their graphing, researching, and analytical skills. Focusing on physics through experimentation and design initially, later supports the teaching of Newton’s Laws of Motion, gravity, and friction. Students investigate how potential energy gets converted into kinetic energy by building a rollercoaster and share their findings with iMovie. The year culminates with students constructing balloon-powered cars that challenge them to apply their physics knowledge in a competitive race. World History is the focus of the seventh grade social studies curriculum. 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 culture, history and challenges of the land. Students begin with Ancient Greece and study the city-states, government, and important figures from the time. Next, they learn about Ancient Rome and analyze the rise and fall of the empire. Students learn about Ancient Rome’s changing government, impressive inventions, and military conquests. During the final unit on Ancient China, students study the most influential dynasties, their religious beliefs, and the importance of the Silk Road. Students in seventh grade Hebrew focus on being able to speak, write, and read using the present, past, and future tenses along with new prepositions and phrases. Students continue to improve their ability to express thoughts effectively in speech and in writing. Students also read a full-length novel in class to expand vocabulary and experience Israeli literature. Students analyze and describe major events, themes, and concepts in Hebrew. Students focus on historical events leading from the destruction of the Second Temple to the birth of the State of Israel. Major topics include: Jewish expulsion, major events in Europe, Asia and Africa in the early 20th century. They are introduced to famous biblical commentators and their interpretations and style. 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 seventh 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. 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 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 process of creating art 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. In seventh grade students take what they have learned further by continuing to analyze texts to inform their performances. Students continue to explore their characters’ motivations while identifying the natural rhythms of the text to aid them in making decisions about how best to portray a character. Students will also work together to decode Shakespeare and perform scenes from the Bard and other playwrights, which leads up to rehearsing for and performing, the spring musical. Additionally, students will have ample opportunities to demonstrate their speaking and debate skills throughout the year. Students in physical education classes are encouraged to 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 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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Do you ever wonder why many of the best teachers tell stories? Think back to your school days where a math question was presented in the form of a short scenario. Do you remember how Sally had 10 watermelons and gave 5 to Jerry, leaving her with only 5 watermelons for herself, wondering why she might have done that or what was going on with Sally and Jerry? Or learning about the life cycle of a frog by following a tadpole named Fred on his growth into an adult frog and even to this day, hoping that Fred or his progeny are living a long and happy life. Think back to all the times you’ve had to learn anything new. How was the information presented to you? Storytelling and Memory You’ll find that frequently, professional instructors, especially the good ones, will present information through storytelling and memorable personal experiences. The data that they want you to learn is hidden in those stories and anecdotes, making it easier for you to absorb and retain. This isn’t a coincidence! There have been studies to understand how we retain information. In the 1990’s, an Italian Neurophysiologist (a psychologist who tries to understand the relationship between our physical brains and our behaviour (Neuropsychologist, n.d.) did an experiment involving Macaque monkeys and their brains (Winerman, 2005, p. 48). They wanted to see which parts of the monkey’s brains were reacting when the monkey did certain activities. During the experiment, one of the scientists reached for their lunch. The monitor with the monkey’s brain waves lit up. Without looking at the monkey, it seemed like the monkey was reaching for the food. But the monkey was only observing someone else reach for the food (Winerman, 2005, p.48). What that experiment showed was mirror neurons (Winerman, 2005, p.48). In other words, when we observe somebody doing something, our brains react like we’re the ones doing the action even if we’re just watching. How does this translate to learning through stories? Well through further research, done by Princeton University, it’s been found that when someone is listening to a story, the same parts of the brain being activated in the speaker were also activated in the listener. This means the listener is actively reacting to what is being told to them as if they’re the ones who are experiencing the events in the story (Patel, 2011). What does this mean? Well, by having the information presented in the form of a story, it allows you to emotionally connect with the data being presented, helping you relate it to something that’s relevant to your life (Yehuda, 2018). It’s easier for you to relate to the context being given to you, than for you to try to create context around a bunch of dry facts (Kopett & Richter, 2000). Within the stories being told, recognizable roles can be found, making it easier for you to relate to similar situations that you’ve seen and absorb it into your short-term memory (Kopett & Richter, 2000). With repetition and practice, you store that data into your long-term memory and create a habit for retrieval when you need the information. No matter how old you are or what you’re trying to remember, keep in mind that telling it in the context of a story might help you better remember the key concepts! Prepare for the CAPM and PMP Exam If you want an interactive and memorable way to get through your PMP studies, check out Brain Sensei’s PMP or CAPM Exam Prep courses! Besides having all that you need to pass the PMP exam (like 900+ practice questions), their interactive storyline will help you better retain the key concepts, not to mention, it’s way more fun. Learn more at brainsensei.com Written by: Carmen Chung Koppett, K., & Richter, M. (2000, October 9). How to increase retention through storytelling. [Web Blog Post]. Retrieved From https://www.techrepublic.com/article/how-to-increase-retention-through-storytelling/ Neuropsychologist. (n.d.). Retrieved from https://www.healthline.com/health/neuropsychologist Patel, U. (2011, Dec 5). Hasson brings real life into the lab to examine cognitive processing. Retrieved from https://www.princeton.edu/news/2011/12/05/hasson-brings-real-life-lab-examine-cognitive-processing?section=science Winerman, L. (2005, October). The mind’s mirror. Monitor on Psychology, 36, 48. Retrieved from https://www.apa.org/monitor/oct05/mirror Yehuda, R. B. (2018, April 15). From Neurons to Narratives: How Stories increase attention, retention, and engagement. [Web Blog Post]. Retrieved from https://medium.com/lifelabs-learning/from-neurons-to-narratives-how-stories-increase-attention-retention-and-engagement-c351a7ab9127

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‘Reading a book is like re-writing it for yourself’ - Angela Carter It is our aim to instil an appreciation of literature in students of all ages. In their English lessons and during their co-curricular pursuits, students are given opportunities to read, analyse and discuss a diverse range of authors’ works, exploring literary texts from different generic traditions and historical periods. The students’ learning journey in English encompasses the study of works by writers such as William Shakespeare, John Milton, Charles Dickens, F. Scott Fitzgerald, J. B. Priestley, William Golding, Angela Carter, Benjamin Zephaniah, Carol Ann Duffy, Chimamanda Ngozi Adichie and a range of others. The study of literature encourages students to become critical thinkers who are able to analyse and discuss literary texts and sociohistorical contexts in thoughtful, mature and sophisticated ways. The analytical, evaluative and essay writing skills that students develop through the study of English Literature provide an excellent foundation for their academic studies in other subjects, and for their future employment. Explorations in English Language encourage students to analyse the possible intentions of fiction and non-fiction writers and the effects that these writers create through the language choices that they make. Students’ own creative talents are nurtured and celebrated in lessons which invite them to consider the power of their words and the ways in which language can be manipulated to create an impact for the reader. As such, creative writing lessons encourage students to use a range of written techniques to express themselves clearly, effectively and with flair. Key Stage 3 (Years 7-9) Students in Years 7-9 read and analyse language in texts such as Dickens’ A Christmas Carol, Golding’s Lord of the Flies, and Russell’s Blood Brothers, developing their abilities to construct clear arguments supported by appropriate quotations from the text. Crucial skills in the close analysis of language are introduced and practised at Key Stage 3, to be extended and embedded at Key Stage 4. These skills are fostered further via our scheme of work entitled Diverse Voices, inspired as it is by a range of empowering and inspirational stories from a range of different cultures. Key Stage 4 (Years 10-11) AQA GCSE English Language (8700) English Language (AQA): AQA GCSE English Literature (8702) English Literature (AQA): Key Stage 5 OCR A Level English Literature (H472) Analysing Shakespeare: Pre 1900 Drama and Poetry Students are welcome to attend the Journalism Club, which provides opportunities to experiment with writing persuasive and argumentative pieces. The Senior Book Group, Quercus, encourages students in Years 12-13 to read and discuss a diverse range of texts, incorporating poetry, drama and prose. The students set the reading agenda. Over the years, students have read and discussed literary fiction from nineteenth century French literature through to the works of Toni Morrison and more modern, Booker Prize winning texts, such as Bernadine Evaristo’s feminist tour de force, Girl, Woman, Other. Students also benefit from visits from published writers, enjoying opportunities to ask questions about the creative process and to take part in writing workshops in which they develop their own creative voice. Each year, we enter writing competitions such as the Foyle Young Poets of the Year competition and the Catholic Independent Schools’ Conference (CISC) poetry competition. Head of English: Mr D. Madge [email protected]

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Data visualization tools provide useful ways to explore, discover, and connect information. This guide serves as an introduction to the use of mapping and time-lining tools. They can be used for a variety of assignments, exercises, and discovery processes during projects. You will find suggestions for resources, tutorials, assessments, and learning goals in the guide. Due to the large number of mapping and timeline tools available, this guide contains a curated list of tools. If you find a tool that is not on this list, please reach out to one of the Educational Technology staff members below. We can help provide guidance and feedback. Jon Breitenbucher, Director: [email protected] Emily Armour, Educational Technologist: [email protected] Megan Smeznik, Educational Technologist: [email protected] Maira Senoo, Educational Technology Associate: [email protected] Purpose and Scope of Assignment/Project The purpose of the assignment/project is to help expose students to the uses of digital mapping and timelines. The project/assignment can fulfill the following goals: - Acts as a substitute for a research paper or other class exercise. It will take about the same amount of work as one of those other assignments. - Allows students to approach information spatially and also learn about digital tools in the process. - Finished projects help students connect with a wider audience which emphasize research that reaches public audiences. Below you will find some learning goals for both faculty and students that can assist you in thinking about the purpose and scope of the project or the assignment. Student Learning Goals Project Goals (Dependent upon the assignment or project) - Demonstrate skills in research and collaboration - Gain basic knowledge about the purposes of mapping and time-lining in context - Expose students to the use of mapping/time-lining for research, storytelling, and data visualization - Help students to use mapping/time-lining tools to support argumentation - Develop the abilities to show and discuss change over historic time - Learn how to use map and timeline tools in order to understand their benefits, challenges, and opportunities in research and visualizing content - Attend and participate in any workshops to prepare to use the tools - Grow skills in data management and analysis - Clearly outline the project and its goals by working with Educational Technology staff - Attend and participate in workshops with students to build knowledge about what students can expect to experience during the assignment or project - Help students to visualize research and data in tangible/meaningful ways - Specify which types of technologies and tools that students should expect to use - Define and present to students a clear outline of the project goals and assessment - Consider the accessibility of the assignment and alternative options Educational Technology, Morgan Hall 4th Floor, [email protected] Digital Studio and Production Planning Studio, Andrews Library Digital Media Bar, Andrews Library Pedagogical and Course Implementation ArcGIS public account online: You can sign up for a free public account to access the free features of ArcGIS. See The College of Wooster ArcGIS below for information about access to Esri ArcGIS through The College of Wooster. Clio: Developed by Marshall University, Clio is an educational website and mobile app that serves as a guide to historical and cultural sites around the United States. Clio was built by scholars with the intent to be utilized in public applications. Esri Story Maps: Create maps with narrative text, images, and multimedia content. You need to have an ArcGIS public account. Google Earth: Explore the Earth by virtually flying anywhere in seconds. You can explore hundreds of 3D cities. Use Voyager for some guided tours around the Earth. Google Maps: Find your way around with satellite imagery, aerial photography, street maps, 360° panoramic views of streets. Google My Maps: Using Google Maps you can make and edit your own custom maps. KnightLab’s StoryMapJS: Free tool that helps individuals tell stories on the web through highlighting locations through a series of events. The College of Wooster’s ArcGIS Subscription: The College of Wooster has a subscription for ArcGIS. If you need access to the subscription for a project or classwork, please contact Dr. Jon Breitenbucher for more information. VisualEyes: VisualEyes is an HTML5 based tool that allows users to visualize data and more via mapping and timelines. The project interface is connected to a Google Spreadsheet which allows for collaborative editing. KnightLab’s Timeline JS: An open-source tool that enables anyone to build interactive timelines. TimeGraphics: A freemium timeline tool that allows for creating visualizations. There are various formats to export the timeline. Tiki-Toki: A freemium online timeline maker software. You can create a free account but you can only create one timeline for free. How to Use Clio: ESRI Training Center (note some are paid for tutorials) Listed below are some types of assessments that could be utilized for mapping or timeline assignments/projects. This section will be periodically updated with new examples. This section will be periodically updated with new types of assessments and examples. Before implementing an assessment for a project, consider reaching out to the Educational Technology staff who can help to provide provide constructive feedback on the assessment for the assignment

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The workshops below link to the National Curriculum, but students also learn the skills they will need to extract information and to think creatively in whatever subject they choose to follow. Part of every workshop takes place in The Old Medicine House which dates to the 16th century, giving additional relevance to those on Tudor history and local history. All the workshops can be adapted to suit the requirements of individual schools. Contact us to discuss your requirements. Key Stages 2 & 3 (Years 3, 4, 5 and 6) MATHS – Mathematical Enquiry – Historical Measurement This workshop focuses on ways of estimating and checking measurements of height, width, distance and time. It uses the fabric of The Old Medicine House to provide a history of measurement in practical terms. By using early body-centred methods students discover why standard units became necessary. MATHS – Maths, Mazes and Mysteries Children are encouraged to observe their surroundings and to start thinking like mathematicians. They are introduced to concept of problem solving and the ways to break a problem down in order to solve it. They are given three problems to solve during the day: how to design a labyrinth; how to create codes which are difficult to break; and where to find the mysterious signs that were made to protect The Old Medicine House. HISTORY – Footsteps Through Time A day of creative enquiry. Using objects, buildings and the landscape itself, children consider the lives of those who shaped the site over the past 10,000 years. They examine photographs; identify artefacts from the site; date pottery sherds; and create time lines to uncover the history of the area. The workshop encourages children to reflect on memory, history and their own perceptions of time. ENGLISH – Labyrinth – A Journey of Discovery Children are introduced to the concept of the labyrinth as a journey of discovery. Initially the activities demand close observation of features of The Old Medicine House and its garden. As the day progresses, children are encouraged to become more reflective. This leads them into a working on a piece of creative writing, which completes their own unique journey of discovery. ENGLISH – A Writer’s World This workshop guides children through the places and objects that influence a writer’s work. Drawing on the work of Alan Garner, who has spent much of his life at Blackden, it uses detailed observation and creative writing to show how apparently mundane things can be transformed by the perception and craft of a writer. HISTORY – Prehistory at Blackden Children will spend the day on land that has been occupied since the Mesolithic, 10,000 years ago. Through stories of the people who lived on the site, they will learn about the three stages of prehistory. They will see and handle some of the archaeological objects found on the site and have hands on experience of some prehistoric activities.

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Being able to recognize Greek and Latin roots, is an essential skill for building reading comprehension and word recognition skills. However, that does not mean students should spend hours studying word lists. While memorizing word lists should be a part of the lesson plan, adding in a variety of games can aid in student understanding and enjoyment of the task. Evaluate Root Words Increase student comprehension by evaluating root words in their context. List compound words with a prefix or suffix and ask students to identify the root word. This activity provides just enough context to allow them to take a guess, especially if they already know the definition of the compound word. Provide a list of compound words and have the students race to find as many root words as possible. Be prepared to provide hints for the first few rounds, until they get used to how a root word should look. Provide students with a special version of the classic matching game. One set of cards should have root words, while the other should contain the definition. Play with the same rules as the childhood game Memory. Each students turns over two cards, hoping to find a match between a root word and a definition. If they do not get a match, they turn the cards back over and the next student takes a turn. If they do make a match, they get to go again. This exercise will help them connect the two together and will assist them in memorizing those connections. Create crossword puzzles and word searches that provide the root words, their origins and their definitions. There are several programs available online that can create them based on teacher-provided word lists, or you can take the time and make your own. In order to complete crossword puzzles or word searches, students have to recognize roots and origins and know the root definition in order to correctly interpret the clues. Also, once the students become familiar with root words within family groups, they can create new puzzles for themselves or exchange them with their classmates. Employ the student's love for technology and video games to teach them the relationships between base words, root word origins, definitions and root word families. There are several educational software programs available online that are entertaining and also allow the students to track their own progress. For example, in Jelly Fish, students are given a root word and they must choose the correct prefix, base and suffix to fill the page with jellyfish. Rooting Out Words and Digger and The Gang: In The Maze, are two other similar games for created for early readers. Make Up Words Build nonsense words once the students have compiled a fairly large list of known roots. Have them combine various roots and assign their words definitions based on the base words they chose. For example, ‘biocredography”is defined as a believable book about someone’s life. This reverse engineering will solidify their understanding of how roots, prefixes and suffixes work together to build meaning. In a slight twist, have students exchange their words, sans the definition, and guess the meanings of others' words based on the meaning of the root. Michael Green graduated from one of the top journalism schools in the country, the University of Missouri, where he also received his master's degree in education. Green has taught creative writing, journalism and health and has been published in "Body Balance," "Alive" and "PUSH Monthly."

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Ask them to make an A-Z list of appealing words from the story, one word for each letter of the alphabet. Write about what they do and say. This activity requires five sheets of paper to make the book. Write a poem that is an ode to a fruit. Make a list of these on the board for the children to refer to later. Such limited constraints will sometimes yield fresh and surprising concepts or descriptions. Write about someone you miss. Write about a time when you got stuck in between two parties fighting with each other. Autumn Acrostic Poem - Write a poem about this season using the letters in the word autumn. Write about someone you admire and you thought to have had a beautiful mind. This exercise may be used in pairs or small groups and is designed to test how well each writer knows his or her characters. Ask them to make an A-Z list of appealing words from the story, one word for each letter of the alphabet. Do you want to go there. Can the children think of a story which describes how the elephant got its trunk. Who can your child thank today. Since most people scan Web pages, include your best thoughts in your first paragraph. Did you write a poem, short story, or journal entry every day for a whole year. Imagine ordinary objects have come to life. A single poem can provide a rich source of creative writing ideas for fiction writers who can use specifics in the poem as a starting point for a narrative. Write about your favorite place in your neighborhood to visit and hang out at. Lost in the Crowd: This can be true or the children can make up events e. Some guided questions to write on the board are: Write something inspired a favorite food or recipe. Write a poem or short story about someone who has lost or is about to lose their home. Sunflower Acrostic Poem - Write a cheerful, acrostic poem about sunflowers. An individual in the group names a character from a book or short story and explains in detail what made this character memorable. Stationery and Writing Paper Friendly Spider Paper - This file includes three styles of writing paper adorned with cute spiders. Facebook, Pinterest, Google, Twitter, etc. I want to share my mission for my blog with you. Write a tacky love poem that is so cheesy, it belongs on top of a pizza. Whether you write short stories, poems, or like to keep a journal — these will stretch your imagination and give you some ideas for topics to write about!. Pete's PowerPoint Station is your destination for free PowerPoint presentations for kids and teachers about Creative Writing, and so much more. Doing activities with your children allows you to promote their reading and writing skills while having fun at the same time. These activities for pre-readers, beginning readers, and older readers includes what you need and what to do for each one. A tailored, online Short Story Writing Course to develop your general writing skills and explore the short story genre. For new and experienced writers. Find details about every creative writing competition—including poetry contests, short story competitions, essay contests, awards for novels, grants for translators, and more—that we’ve published in the Grants & Awards section of Poets & Writers Magazine during the past year. We carefully review the practices and policies of each contest before including it in the Writing Contests. I've been working hard to give kids and teachers activities to use to help with creative writing. If you've been to one of my workshops, you know creativity is fantastic. A number of ideas which can be used as a stimulus for creative writing lessons.Creative writing short story activities

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Imagine introducing a language point in class, or getting learners to read a dialogue in pairs or even a part of a lesson where you are working on word stress with your class… these are all familiar scenarios that can happen face to face or live online. And, in each one, you and/or learners are, in a sense, performers, using storytelling, role-play and voice exercises, with the classroom acting as your rehearsal space. A sponsored advertorial by Helbling Languages. Imagine the following situations in an English language class: - The teacher is introducing a new language point. She stands in front of the class and tells a funny story with examples of the language, which she supports with visuals. The learners are all sitting and listening attentively. They are even laughing at times. - Two learners are reading a dialogue together in pairs. They do this a couple of times, then the teacher calls on them to present the conversation to the class, possibly without referring to the printed version. The pair role-play the scene, and people in the class are impressed. Some even applaud. - The teacher is working on word stress with the learners. He is calling out words, and learners are repeating them in unison. The teacher calls on individual learners to repeat the words as well. When they get them right, the teacher praises them. None of these situations is particularly uncommon. They are all quite standard examples of what happens in the face-to-face classroom, and even online in the virtual live classroom. In each case, the teacher and/or learners are, in a sense, performers, using storytelling, role-play and voice exercises. In many ways, a classroom is a rehearsal studio, a creative space where learners prepare for producing language outside the classroom in the ‘real world’. The process is similar to how actors and musicians rehearse to improve their craft and performance. We often talk about how much teaching involves acting. The teacher also has to take on the role of director; preparing classes, organizing the students, deciding what happens when and how. We also ask our learners to be actors as they practice the language they need. The classroom is like a rehearsal studio in other ways too. The main focus is on what is happening between the people in the room. In most cases, the teacher stands at the front of the class on what may literally be a stage or raised space. Some classes have chairs arranged in a circle or u-shape, allowing students more opportunities to interact – a theatre-in-the-round. Both of us believe a studio is a creative place where both study and play are used to help participants develop their skills. This was the starting point for our latest English Language Teaching (ELT) project, a six-level English course for young adult learners called Studio. So, how do we encourage both study and play in Studio? We’ve always been great fans of pairwork, so we’ve incorporated pairwork activities into every unit of the course. Some of the activities can be completed using an app that allows students to use their phones or other digital devices to communicate with each other in a fun and innovative way. We also wanted the course to use audio and video in a fresh way to appeal to today’s learners and support their learning. Apart from using a wide range of audio genres, each unit includes a ‘Life Story’ in which people talk about events from their lives. These are presented alternately using video or audio. Watching and listening to these stories helps bring them to life, making them more meaningful and easier to understand. We use video in a unique way in our functional language lessons too. Apart from being able to watch everyday scenes and see how useful phrases are said in context, students can literally put themselves in the picture by creating their own scenes, using the same ‘videoscape’ backgrounds as the actors in the videos. There is so much variety in today’s digital world and we’ve reflected that in the course by linking each lesson to a different theme or channel. There are 12 Studio channels. They include Arts & Entertainment, Business, History, People, Sports and Travel. Linking the material to a different channel in each lesson heightens students’ interest and motivation. Finally, we’ve given vocabulary practice a new twist. Students can download and listen to words from the vocabulary wordlists in the Workbook. These ‘Vocabulary Beats’ take individual words and build them into phrases. They are set to music, allowing students to listen and repeat in time to the music as they walk, jog, travel to work or relax. Apart from our work as coursebook authors, over the years we have also been involved in many other related areas – writing and producing ELT video material, creating educational websites and apps for teachers and students, writing and editing magazines, as well as years of classroom teaching and training. In Studio, we wanted to find a way to bring all those different strands together to create a new course that both teachers and students will find rewarding, never losing sight of our initial concept of the classroom as a rehearsal space. The content for this page was paid for and provided by Helbling Languages.

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ACTIVITY 5: BEYOND STORYBOARDS WITH OUR INVENTION Digital Storytelling with Scratch Let’s create a digital story with your invention statement, drawings, and model. Do you use Scratch in school? Perhaps you already have a Scratch account. Scratch is a very popular, free online environment for coding. It doesn’t require you to download any software from the Internet. You can learn a lot about coding with the easy-to-use coding activities. Here are some tips on how to get started just in case you aren’t familiar with Scratch: Getting Started with Scratch (tips): - Go to the Scratch website: https://scratch.mit.edu/ - For learners who are new to Scratch, we recommend that you click on the “Explore” tab on the top. You can explore projects completed by other coders. - Click on the “Ideas” tab and learn to use Scratch through the tutorials. - We also recommend that learners create their own Scratch accounts so that their work (both unfinished and completed) can be saved and published. - Click on the “Create” tab when you are comfortable to create on your own. Don’t worry. You can always go back to the “Ideas” tab and watch more tutorials. - There are keywords that may help you understand the Scratch coding environment and its tutorials. Remember, this is like learning a language. Here is the brief cheat-sheet: - Blocks Palette: Just like an artist’s palette of colors to paint with, the blocks palette has choices to create code with. The blocks are color-coded for the different output types of the “sprite” or actor (see below). - Scripts Area or Workplace: This is where users drag and drop the blocks to create a sequence of actions. - Stage: This is a 480- by 360-pixel area where the coded actions take place. You can change the stage background by adding and selecting backdrop images. - Sprite: This is an “actor” on the stage. Sprites, like actors, can have action scripts, make sounds, and wear costumes. The default sprite is the cat. - Costumes: These are different images that are used to animate the sprite. Costumes can be changed, but every sprite must have at least one costume. This is what you will see when you click on the “Create” tab. Don’t be overwhelmed or intimidated. This stage environment will feel friendlier and more useful the more you go through the tutorials and practice. Create Your Story in Scratch Use the Scratch Story Cards to help you tell the story of your invention in Scratch. This will be fun, but it may also be frustrating if you have never coded before. Take your time and practice. Also, don’t worry. You will have to problem-solve when your code is not working correctly. You will learn by making mistakes, though. Coding is a useful tool—as is storytelling—for all inventors. This activity will probably take you a day or maybe two. Like everything we do, coding gets easier with practice. Have your parent share the story of your invention on the Full STEAM Ahead forum. Finally, think about some things that were difficult for you while inventing and coding this week. Name one example when you were stuck and how you solved the problem. What strategies did you develop for solving your problems when coding? Congratulations, Problem Solver! You are a problem solver. All inventors are problem solvers. We hope you had fun inventing this week. Did you know that you can protect your useful and unique ideas by applying for and receiving a patent from the U.S. Patent and Trademark Office? This federal office has issued more than 10 million patents! Not all good ideas have to be patented. Many are, though, especially if the inventor intends to make a financial profit from their useful and unique idea. Trademarks can also be protected. Trademarks are recognizable by the small symbols ™ and ®. Names of products are often trademarked to protect them from being used by other people. Check out the Trademark Activity Book and the Inventor’s Notebook published by the U.S. Patent and Trademark Office. To learn more go to: https://www.uspto.gov/kids/ Extend Your Learning Did you enjoy El Deafo? Check out the teaching and learning guide made available by Abrams Books.

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How to Write Contrast - Show, don’t tell. Instead of saying: “Tim was a kind man, while Martha was mean,” show the contrast! Otherwise, the contrast is too obvious for your reader. Describe a scene that demonstrates Tim’s kindness and Martha’s meanness. Use subtle details to bring your contrast to life. - Don’t be overly simplistic. This is especially important in essays. While a contrast can be useful in an essay, you don’t want to reduce everything to some simplistic image: for example, in a history essay it’s never a good idea to draw a contrast between “good guys” and “bad guys,” because the real world just isn’t that simple. - Consider making a table. In this article, several of the examples have tables that clearly lay out the contrasts between characters. You can consider doing this as part of your writing process as well. Say you want to describe a contrast between two settings, a farmhouse in Norway and a bustling city in Mexico. Draw up a table and put down all the details of each setting. This will help you see the contrasts more clearly for yourself, and then you can carefully pick and choose details to insert into your story. When to Use Contrast Contrast appears everywhere in writing. But it serves different purposes in creative writing vs. in formal essays. In creative writing, your characters should have some contrast with each other so that they stand out. For example, the more your hero contrasts with the villain, the more the heroic and evil traits of each character will jump off the page. Similarly, you can create contrast in settings (e.g. crowded city vs. open country), moods, etc. In a formal essay, “compare and contrast” is often a good starting place. You can begin to understand the American Civil War, for example, by contrasting the Confederacy with the Union. Similarly, you can understand chemistry by thinking about the contrasts between different elements – between hydrogen and gold, say. However, in formal essays the risk of oversimplifying is much greater. You have to be very careful not to draw hasty or inaccurate contrasts. For example, what’s the first thing you think of in the contrast between Union and Confederacy? It’s probably that the Confederacy was made up of slaves states while the Union had no slavery. But that’s only partly true – a few slave states actually fought for the Union, so this contrast is overly simplistic. Always be careful when drawing historical contrasts!

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“Storytelling and Story-listening, and Children's Intellectual, Emotional, and Social Development” This brief essay explores ways in which storytelling and story-listening can contribute to children's intellectual, emotional, and social development. First of all, it is good to keep in mind that telling stories to children can be just the first step in an interactive process. After any story is told, 1) The storyteller can lead a discussion about the story. 2) The listeners can draw/paint the story. 3) The listeners can make costumes, masks, puppets, and props, relating to the story. 4) The listeners can act-out the story as a skit. 5) The listeners can be invited to add to, and in any other way, change the story. 6) The listeners can be invited to tell additional stories that might come to mind -- including real-life experiences, traditional stories, and made-up stories. Regardless of whether a story's characters are humans, animals, divinities, aliens, etc -- all stories are about situations. Story listeners can project themselves into these characters, and imagine themselves in these situations. The listeners can consider if they might do things the same or differently from how the characters do things. This gives the listeners practice for living. Making Sense Out of Experience Storying is the process of constructing and considering stories. Through storying, children can develop a sense of story. A story can be defined as a series of events. One way we humans make sense out of experience is to organise pieces of experience into stories. Adults may take it for granted that in stories -- as well as in everyday life -- one thing may lead to another, and occurrences may be connected. But children have to learn this -- and one way they can learn it is through storytelling and story-listening. Storying enables children to think in term of sequences, of progressions, of events. This helps them to recognise patterns of behaviours and actions, in story and in life. It gets them in the habit of organising data into sequences that progress from a beginning, to a middle, to an end -- and hold together cohesively as a unit. This helps children to put things together -- to make sense out of experience. Considering Behaviour, and Morality and Ethics Usually a story's series of events, taken as a whole, can be thought of as having a point -- a message, moral, or meaning. It may be of limited value to children to announce the point of a story to them. It is usually more valuable to them to lead a discussion in which the children are asked such questions as, "What did you get out of the story? What did you learn from the story? What did you like about the story?" Answering and discussing such questions can help children in a number of ways. Doing so can help them to think about characters' motives. This can help children to develop understandings of characters' personalities and actions -- and can enable children to think about values, ethics, and principles of morality. The children are then in a position to be able to apply this kind of thinking to their decision-making about how they might behave in their own real lives. In these ways, children can become more aware of their own -- and others’ -- thoughts and feelings, and they can become more articulate in talking about all of this. Vocabulary and Grammar Storytelling and story-listening -- along with discussing and re-telling stories -- can help children to develop their understanding of grammar, and to increase their vocabulary. Creativity and Reasoning Storytelling and story-listening gives children practice in creating mental imagery (visualising images), and brings out the vivid imagination and the creativity of children. Also, children's reasoning abilities are activated when they describe and discuss these images (and any other aspect of a story). Involvement and Engagement By discussing, creating, and telling stories, children can explore and express their feelings. This personal emotional involvement and engagement with story -- and with their story-play partners and guides -- tends to make children optimistic, excited, and enthusiastic about their use of language. Storytelling and story-listening utilize the social element of language. By telling stories, and by participating in group conversations about stories and storytelling, children can develop their public-speaking abilities, and they can also learn how to take turns speaking, and how to listen to others. Storytelling and story-listening -- along with discussion -- enhances children's comprehension skills, at the literal, inferential, and critical levels. Inferential refers to becoming aware of patterns, recognising causal links, understanding that there are consequences to actions, and being able to predict what might come next. Critical refers to considering characters' behaviors, and other aspects of a story, from all angles. Reading and Writing Oral competency in language is a prerequisite for literacy. All of the above-mentioned skills that are developed in children through storytelling and story-listening -- including language vocabulary and grammar, content comprehension and retention, gaining a sense of story, pattern recognition, and critical listening and thinking skills -- also extend into helping them learn to read and write. Any feedback regarding this essay would be most appreciated! Please send such feedback to <eric at storytellinginstitute.org>. Please credit the author if quoting from this essay. On the way: versions of this essay relating to children with various learning challenges.

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About 42,000 years ago, a reversal of the Earth’s magnetic poles triggered massive climate shifts and caused environmental changes to sweep across the globe, according to new Australian-led research. Scientists have long known that the planet’s magnetic field periodically flips, with the north and south poles switching places. The last known reversal – which was temporary and technically known as the “Laschamps excursion” – occurred 41,000–42,000 years ago. If such an event happened today, it would wreak havoc on satellites and electrical grids, but its environmental impact is less well understood. This new study, published in Science, suggests that the Laschamps excursion coincides with significant environmental and ecological changes, including growing ice sheets, mass extinctions, and even the rise of cave art. To learn this, the researchers built a precisely dated atmospheric radiocarbon record using the tree rings of massive subfossil New Zealand kauri trees (Agathis australis) that were alive during this period. Not only did the trees record changes in radiocarbon levels during the pole reversal, but the growth rings also acted as a natural timestamp. “For the first time ever, we have been able to precisely date the timing and environmental impacts of the last magnetic pole switch,” says Chris Turney, co-lead author of the study from the University of New South Wales (UNSW). “Using the ancient trees we could measure, and date, the spike in atmospheric radiocarbon levels caused by the collapse of Earth’s magnetic field.” This allowed the researchers to build a detailed timeline of how Earth’s atmosphere changed, showing there was a significant increase of radiocarbon during the Laschamps excursion. They compared this with other records of environmental changes from caves, ice cores and peat bogs, and then incorporated it into global climate models to look at the environmental impacts. Most previous research had focused on what happened during the reversal, when the magnetic field was reduced to 28% of its current strength. But this study reveals the most dramatic impacts occurred into the lead-up to the reversal, when the field dropped to 0–6% of its current strength. “We essentially had no magnetic field at all – our cosmic radiation shield was totally gone,” Turney explains. This left the planet vulnerable to solar flares and cosmic rays. “Unfiltered radiation from space ripped apart air particles in Earth’s atmosphere, separating electrons and emitting light – a process called ionisation,” Turney explains. “The ionised air ‘fried’ the ozone layer, triggering a ripple of climate change across the globe.” The team posit that the magnetic reversal – and subsequent radiation exposure – may be linked to the growth of ice sheets and glaciers across North America at the time, as well as shifts in major wind belts and tropical storms. Several other major events also occurred around 42,000 years ago, including the disappearance of Australian megafauna and the extinction of the Neanderthals. Both could be linked to these widespread environmental changes, perhaps partially due to an inability to adapt. The timing also coincides with the appearance of figurative cave art. The researchers suggest that increased UV radiation from a weak magnetic field may have driven humans to seek more shelter – and may even explain the use of red ochre as early sunscreen. The lead-up to the Laschamps excursion, the authors write in their paper, “appears to represent a major climatic, environmental, and archaeological boundary that has previously gone largely unrecognized”. According to Agathe Lisé-Pronovost, a paleomagnetic geologist at the University of Melbourne who was not involved the study, this new research is fascinating because a hypothetical link between the magnetic field and climate is a long-standing question. “Much of the discussion in the literature has been speculating what processes may possibly link events that happened at about the same time,” she explains. “It remains largely unclear if and how the magnetic field of our planet, which is generated in the outer core, may impact what is happening at the surface.” This study, she says, is the first of its kind to bring together “new quality data and an original modelling approach”. It may help provide a framework to study the potential environmental and evolutionary shifts during the last full magnetic reversal, 780,000 years ago – and could help us understand the implications of a future reversal. Over the past 170 years, the Earth’s magnetic field has weakened by around 9%, leading scientists to speculate that a reversal might be imminent. Increased exposure to solar storms and other cosmic radiation could be devastating to our satellites and electrical infrastructure – and Turney warns it could be devastating to the climate, too. “Our atmosphere is already filled with carbon at levels never seen by humanity before,” he says. “A magnetic pole reversal or extreme change in Sun activity would be unprecedented climate change accelerants.” 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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About This Website, the Research, and the Team This site is for those who are curious about the roots of written language as well as for those who are data driven. Writing is a product of man, and man is an animal. Animals have instincts and biases. Biases form patterns. Those patterns can be decoded. If one perceives written language through the vantage point of evolutionary biology, similarities can be found in the characters of all scripts. The orienting factor is human survival. Using Ancient Languages to Understand Our Own The writings on this site compare Chinese Hanzi characters, Ancient Egyptian hieroglyphs, and Sumerian cuneiform—the oldest scripts—in order to find patterns that help us understand the alphabet's origins. Humans are nearly identical genetically, so we behave similarly. Those similarities play out in language. When we compare all ancient written languages together—including the alphabet—patterns emerge. Ancient written languages reflect what was important to humans at the time the written scripts were created: sex and procreation. There are currently 7.6 billion of us on this earth. Evidently sex—and denial that sex is important—are key motivators to the human animal. We know that writing started just after the domestication of animals (domestication of animals is roughly 20,000 year old, tokens which were used to account for those animals are roughly 10,000 years old, and actual writing is dated at 5,000 years old, though the Jiahu characters are dated at 8,600 years old and are recognizable by any Chinese reader today). Humans are 100,000-200,000 years old, so writing is a very new invention. Did tracking animals and following footprints lead to writing? Possibly. Writing is an abstraction—we use it to represent reality. The first abstraction was recognizing that the footprints of the animal represented the animal. The second abstraction is the symbol created by a human that stands for that animal, that counts that animal, that accounts for that animal. Read more about animal signs here > It would seem that in the domestication of animals, humans finally understood the necessity of the male in reproduction. Forty thousand (40,000) years ago megafauna disappeared around the world, and one prevalent theory is that humans killed them off because the humans didn’t understand that they needed to keep some animals around in order to get more. When one considers that the Bible’s Noah’s Ark story is the world’s first sex education —two by two, male and female—one discovers that re-examining and re-framing existing data with modern insight yields dramatically new perspectives. Noah’s Ark is a retelling of a portion of the The Epic of Gilgamesh, which is at least 2,100 years older than the Bible. We know that circa 4,500 years ago the Sumerians understood procreation, based upon this character for “seed." Domesticating animals caused the male to suddenly understand his role as father: “that child came from me!” That knowledge sparked the concept of ownership: My son. My woman. My field. My possessions. Writing is a form of claiming ownership: accounting is a way of taking stock of one’s possessions. One important possession was female and male humans, but the females are more valuable because they can make babies. Powerful men, like Genghis Khan, who has 16 million descendants living today, did not achieve that status as “super father" by consorting with men. A harem and a farm share one characteristic: females. A dynasty is a “gynasty.” Comparing the relationship of the shape of written characters to the definitions given in lexicons and dictionaries highlights a focus on females—a commonality across many ancient written languages—and suggests that female mammals are the root of written language. This focus is because female mammals have the trinity: milk, offspring, and fun for males. This triumvirate drove both writing and civilization. Chao Xu (in Chinese, Xu Chao, 超徐), Soochow University Physics BS, is the designer and programmer of Jennifer and Chao's HanziFinder.com tool, which is a substructure search engine of Chinese characters, essentially the first of its kind: www.HanziFinder.com Together Chao and Jennifer have given scientific talks in the US at Genentech, and in China at Wuxi App Tec, Pharmaron, and Roche China about character analysis and substructure searching, as well as the congruities between Chinese and English characters, Maggie Li (李琪) is Jennifer's translator and simultaneous interpreter. Together they have published two novels in Chinese in China, one of which Jennifer taught as a textbook at Soochow University in Suzhou, China because it had perfectly matched pages—English to Chinese—thanks to Maggie, who has also won an amazing amount of English language contests and is a fantastic dancer. Together Maggie and Jennifer have given many bilingual book readings and speeches. Maggie Li wins a dictionary contest with one million original contestants. Jennifer has researched ancient written languages for 11 years, is in her tenth year of Mandarin, has a bibliography here, and has compared cuneiform, hieroglyphs, Maya glyphs, and Chinese Hanzi characters—all ancient written scripts—in order to showcase the similarities that exist between them and the alphabet. Jennifer Ball has an MFA in Creative Writing from San Diego State University and a BFA in Theater from University of California at Los Angeles. Jennifer is also the author of Catalyst (Faber, 1997), Higher Math, the Book Moose Minnon Never Wrote (Faber, 1991), and co-author of The Verbum Book of Digital Typography (1991). And more recently, 摇滚女孩的高数人生 (Shanghai Literature and Art Publishing House, 2019) and 催化剂 (Soochow University Press, 2017). Jennifer taught two terms of English 101 at SDSU in 1992, and four terms of college English (453 students) at Soochow University in Suzhou, China from 2013-18. Jennifer has her students play Musical Chairs as a lesson on mortality, then gives away bike helmets to whomever promises to wear them. Jennifer has given away 600 free bike helmets in China. Jennifer's students also make Mobiüs Strips, test their drinking water, go to dinner with Jennifer, throw pots, play charades, and so much more. Jennifer throws condoms and tampons at her students because English can be so boring and that really enlivens a class: Key info in a country with little sex education. Jennifer has taken some of her previous Chinese students to the US and to Spain. A former student, Xu Chao, is now Jennifer's business partner at HanziFinder LLC (HanziFinder.com). A former auditing student, Maggie Li, is now Jennifer's translator and interpreter. Together we have had my two novels published in China. Jennifer also taught five years of computer graphics at Platt Technical College in San Diego. Jennifer was the music editor for the SD Reader for almost eight years; she has played in rock bands for 35 years with her husband, Dr. Michael Varney, head of Research and Early Development at Genentech/Roche. They have played in the band Fingerpuppets for the last ten years. Jennifer Ball's Chinese name is 包弫 Bao Zhen (bao1 zhen3). In Chinese, last names come first. Bao/Ball. Zhen/Jennifer. The little known 弫 means "impactful, powerful." Talks and Writing Jennifer Ball has given talks to scientific companies, universities, libraries, and bookstores in China and in the U.S. (https://www.youtube.com/channel/UCbDMq-DmEGn0M_MDV7Qn1tg) She has two published novels, Higher Math, the Book Moose Minnion Never Wrote, Faber, 1991; and Catalyst, Faber, 1997. Catalyst was taught at Stanford by the man who invented the birth control pill, Dr. Carl Djerassi, in a class called "Science in Fiction, not Science-Fiction." Higher Math was republished in China as 摇滚女孩的高数人生 (Shanghai Literature and Art Publishing House, 2019). Catalyst was republished in China in both Chinese and English as 催化剂 (Soochow University Press, 2017), and Jennifer taught her novel to 98 Soochow University students in Suzhou, China, Fall of 2017. Jennifer also co-wrote a book on digital typography, The Verbum Book of Digital Typography, M & T Press, 1991. Click on any book to order online.

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Many descriptive adjectives begin with the letter V that you may use to bring your world to life. The letter V is fortunate because it appears at the beginning of several V adjectives. As a result, we’ve decided to only list adjectives that start with the letter V that are genuinely used. Other, more extensive lists exist, but they require wading through dozens of words that no one ever uses. As a result, we sincerely hope you find this list of descriptive words that begin with V to be the most useful. We’ve included the following: The importance of Adjectives in Language Implementation: When we use adjectives in our writing, it becomes more visual and vibrant. Our readers will better understand what we want them to imagine after reading our works. Because it appeals to their senses, our readers can hear, see, touch, taste, and even smell what you’re saying. Using adjectives also improves the enjoyment of reading and writing. It sets the tone for the remainder of our writing. It would help if you used them in descriptive papers and in everyday life. In addition, adjectives portray oneself, objects, and characters in a good or wrong perspective. It will pique our readers’ or listeners’ interest, resulting in an excellent, compelling read. Adjectives and other componentsof descriptive language are essential for kids to learn if they want to be able to communicate with other people. Adjectives are taught in class to help students improve their storytelling skills and language. When you are trying to describe or group something, adjectives are critical. When children do well in school, they are more likely to do well in the workforce when they are adults if they have a strong vocabulary, which is a good predictor of their future success. It takes a long time for children to learn how to use adjectives effectively until they are at least four years old, which is longer than other open word types. Many researchers haven’t paid attention to adjectives, despite their obvious importance and recent appearance. A child who has or is at risk of having language delays may have trouble with adjectives. Speech and language therapy hasn’t usually paid attention to this part of the language in the past. To learn more about how a child’s upbringing affects their cognitive development, we need to look at how they process psycholinguistic information in their social world. This will allow us to combine research that was done in different fields. Teaching kids how to use adjectives can only be fully understood if an integrated approach is used. State-of-the-art eye-tracking methods are to be used to look at the descriptive language that children hear, develop a new way to measure how children process language when they hear a naturalistic speech from caregivers, and see how a randomized controlled family-based language intervention works. Descriptive adjectives are only occasionally indicative of poor writing. Tall trees and dense fog are descriptive terms, but depending on where you are, they can also be interpreted differently. For example, a tall tree in New England differs from a tall tree in British Columbia, New Zealand, or California. The most effective approach would be to use a metaphor or to describe your experience with the tree (did looking up at it give you a crick in your neck?). You could use objective facts (for example, 200 feet tall), but they’re not nearly as evocative.

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New evidence, published in the Journal of the British Archaeological Association, has confirmed that the Bayeux Tapestry was designed specifically to fit a specific area of Bayeux’s cathedral. New research suggests the Tapestry was designed to be hung along the north, south and west sides of the nave of Bayeux Cathedral, between the west wall and choir screen. It has long been known that the Tapestry was hung in the cathedral in the fifteenth century, but new analysis of the linen strips on which it is embroidered suggests that it was intended to hang there from the moment it was made in the eleventh century. This discovery proves that the designer must have visited Bayeux and known the nave’s exact dimensions, adjusting the design accordingly. The findings shed light on how the artwork, depicting one of British history’s most famous stories, should be displayed ahead of its loan to the UK. For centuries, there has been debate around where the Bayeux Tapestry was manufactured, who commissioned the embroidery and whether it was originally displayed in England or France. Questions have also persisted over its exact dimensions, and the specific venue it was made for. “It has always been the case that the simplest explanation is that it was designed for Bayeux Cathedral,” says author Christopher Norton from the University of York. “This general proposition can now be corroborated by the specific evidence that the physical and narrative structure of the tapestry are perfectly adapted to fit the (liturgical) nave of the 11th-century cathedral.” Professor Norton’s research is based on mathematical calculations, analysis of documentary evidence including of the Tapestry’s linen fabric, and of surviving architectural details. Published data on the Tapestry’s measurements was assessed and compared along with information on medieval cloth sizes, allowing for factors such as shrinkage and missing sections. By studying the cathedral’s surviving architectural features, Professor Norton also established how the nave would have looked in the 11th century. This enabled him to establish the nave’s original proportions by pinpointing the choir screen’s location – the Tapestry would have fitted five bays of the nave, with the artwork’s ‘narrative’ deliberately structured in relation to doorways and architectural supports. He recommends that the Tapestry, currently kept in a long U-shaped tunnel, should be displayed along three sides of a rectangular space (31.15 m long x 9.25 m wide). This would evoke the original architectural setting, he adds, and enable viewers to appreciate the artwork as intended. The findings arrive with the news that the embroidery is set to be lent to Britain (possibly in 2022) for the first time in recorded history, following a promise made by President Macron last year. The upcoming exhibition of the Tapestry, documenting the 1066 Norman conquest of England, has huge significance in UK-European relations — especially as it will go on public exhibition post-Brexit.

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Do you love to read? Do you sit in school anxiously waiting for the opportunity to dive into a good book as soon as the bell rings? If this does not describe you, then you might benefit from gaining some great reading strategies. Readers who read well often like to read too. And since reading is so important for school, college testing, and many careers, it’s a good idea to develop those skills now. What does a good reader do? - Location: A good reader picks quiet, well-lit, and semi-comfortable places to read. A struggling reader should reduce distractions as well as the opportunity to fall asleep. A desk or table is a good spot especially for academic reading tasks. - Predict: Figure out the text features such as headers, maps, charts, paragraph length, etc… to discover what you are about to read. Then for a fiction book predict the plot or character development. For a nonfiction book, such as a history text, guess what the author’s main points and purpose for writing will be. Continue to predict what will come next as you read. - Read Actively: As you read, mark the text, take notes, or make charts or grids to make better sense of what you are reading. Putting the ideas in a new form or calling attention to key points will help you better remember what you read. Just use a method consistently to make it easier to follow. - Summarize: Stop frequently as you read and review what you just covered. This helps to solidify your understanding of the text. You can choose to take notes as you summarize if you often lose track of what the text is about. If you have discussion questions along with the reading, preview them before you read and answer them as you go along. - Ask questions: Great readers ask questions about the text as they read. Ask questions to clarify what you are reading and look for deeper meaning. You can ask, “What is the author trying to say about people, culture, life, peace, conflict, etc…?” - Discuss the reading: You will probably understand the reading better after you talk about it with your class, teacher, a parent, or a friend. If the person you talk with has not read it, you can summarize what it’s about. Asking open ended questions like “Does this apply to life today?” can stimulate good critical thinking. - Read: Of course one of the best ways to get better at the skill of reading is to spend time reading. In your free time, pick up a book you’ll really enjoy from a romance, a mystery, to a graphic novel. Find something that you love. When you consistently practice your reading skills, you get better at each of the above skills. Watch and listen to good readers. Ask for help in improving your reading skills so that it becomes an asset to you. For college admission advice and help, ask Empowerly.

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As the name implies, creative writing is a form of writing that involves tapping into your creative and imaginative mind. It is the expression of your thoughts, imaginations, and creativity through text. Creative writing is a broad field as it incorporates different forms. While some creative writers do it as a hobby, others intend to be published, authors. Whatever your drive or motivation is, one's skills in creative writing must be honed to ensure success in the art. Creative writing is like a journey involving several steps, but it's important to get acquainted with the concept of creative writing before you know the things involved. The Concept of Creative Writing Creative writing embraces various styles and genres behind the scope of academic writing and technical writing. Character development, plot, structure are key elements in creative writing combined with the writer's imagination. The various forms of creative writing include: 1: Fiction Writing Fiction writing encompasses numerous genres and subgenres. Fiction writing involves the creation of a story built on non-existent characters. Flash fiction, short stories, and novels are all forms of fiction writing. It covers a vast range of themes, details, and styles. It relies on the writer's imagination to create a world that feels real. 2: Nonfiction Writing Contrary to popular belief, fiction writing isn't the only aspect of creative writing. There are others as well, one of which includes creative nonfiction writing. In this form of creative writing, the writer adopts specific techniques and writing styles to communicate a non-fictional narrative. Examples of creative nonfiction writing include personal essays and memoirs. In addition, in this form of writing, creativity enhances the appeal of a real story or true-life event. Playwriting is the art of writing plays. These plays contain a story or content that live characters on stage will perform. Plays have varying structures; a play can contain a single act or multiple acts. Screenwriting is the placement of a narrative or story within a dialogue text and blocks of action. It involves scene-setting and adherence to a particular writing structure. Initially, screenwriting was explicitly for movies or television series. However, thanks to streaming technology, screenwriting is now adaptable to various formats. 5: Poetry Writing Poetry is the infusion of text with rhythm bordering on musicality. A poem can be performed on stage or written. It can also be short or long, including several verses. In addition, there are rhyme poems and free verse poems. Steps to Creative Writing If you want to become a successful creative writer and keep your imaginative juice flowing, follow these steps: 1: Read Extensively To be a good writer, you have first to become a good reader. Reading builds your wealth of knowledge, which is a fundamental writing tool. It's impossible to write well if you don't read well because there will be no reference or inspiration to draw from. When you develop an appetite for reading books, novels, articles, and feature stories, you develop your vocabulary and learn effective writing structures that you can adopt when writing your works. As you develop an appetite for reading, ensure you read best-selling books and works from the best writers in the industry. Also, read books or novels in different genres because this is key to discovering your niche or interest. 2: Write Consistently This is one of the best creative writing hacks. The more you write, the better you become at writing. There are times your mind will race with ideas and imaginations. When this happens, please don't ignore it. Instead, get a pen or your device and start writing. It doesn't matter if such ideas or imaginations make sense or not; just write. Good or great ideas can be born out of seemingly bad ones. They can also inspire a story you've been planning to write. You can also get the advantage of therapeutic writing exercises. There are various writing tools, such as Google Docs, Pure Writer, Draftable, etc., that you can use to create your works. 3: Write from the point of view A story or essay without a point of view is content without depth or drive. It will also bore your audience because they can't relate to the point or message of your writing. Having a point of view makes your content more relatable to your audience and adds your unique tone to the story. There's the first person point of view, second-person point of view, and third-person point of view. The third-person point of view also has a subcategory known as the omniscient point of view. 4: Employ Literary Devices Literary devices are one of the key elements that distinguish creative writing from other forms of writing. It adds depth and aesthetics to your writing. Examples of literary devices include metaphors, imagery, alliteration, assonance, allegory, personification, simile, etc. 5: Write for an Audience Know who makes up your audience or readership before you begin writing. There are different audiences for different forms of creative writing. Having a niche helps you tailor your content, its scope, and its tone to your target audience. If you want to grow in creative writing and even become an authority quickly, find a niche and become a master at it. 6: Don't Stop at the First Draft A good writer understands that the first draft is a raw copy of his emotions, imagination, and tone. No matter how good you may be as a writer, you'll rarely get everything right in your first draft. So revisit, review, rework, and rewrite your first draft if necessary. There are no limits on the number of times you can work on your initial draft. What should matter is that the result or final draft is the best version of that content. 7: Participate in a Writing Workshop Budding writers should join a writers' community because it's one of the fastest and most effective ways to develop one's creative writing skills. Here, your writing is exposed to constructive criticism, and this will help you improve on crucial elements such as character development, choice of words, and storyline. You also get to be mentored by writing gurus. If you intend to monetize creative writing, focus on building a portfolio that can be included in your resume and apply for creative writing jobs. Having a portfolio can help you pass the screening process carried out by an online resume parser. Lori Wade is a journalist and content writer from Louisville. Lori creates news and informative articles about copywriting, freelance, and creative writing. You can find her on LinkedIn.

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- garden space and tools - time for creativity and exploration It is never too early to get kids hooked on gardening. Garden expert Cheryl Dorschner shares some of her favorite tips for engaging young gardeners along with her observations about how kids approach the garden differently as they age. Here are some of her top tips for supporting fun kids’ gardening experiences: - Recognize that kids' gardening priorities are different, well, practically opposite those of adults. - Let kids choose what to plant. Offer guidance and make sure there are some sure-success plants among their picks. But if they want beets, roses, and petunias, why not? Relax your standards. - Crooked rows or weeds as pets are fine.Transplanting is fun, even if your child plays with plants the way they move action figures or Barbies about. But remind them that plants' roots need some time to grow in one place. - Leave room for good old-fashioned digging. Holes are a highly popular landscape feature. Look for worms. Add water, and frogs appear. - Model the message that some insects are beneficial, and even destructive bugs are highly interesting. - Do behind-the-scenes maintenance of kids' gardens, keeping them edged and weeded. Don't expect kids to do all the watering and pest patrol. Gardening through the Years Preschoolers, Ages 3-4 As long as I don't expect us to accomplish something in the adult sense of the phrase, gardening is great fun. We move mulch. We catch toads. We pull a few weeds. We blow the fuzz off dandelions. If a child wants to plant last night's dessert — watermelon seeds, we do just that. This age of unbridled exploration must be accompanied exploration. Preschoolers are never safe unattended. And while you're together, you have a chance to explain the life cycle of a seed or the history of evolution in an ancient fern. Let kids take the lead while you supply the background information. It's in the storytelling that kids learn about gardening and the world. Don't know all the answers? No one does. Library trips are part of the journey. Kindergartners, Age 5 "All the world's a stage" for youngsters who have an emerging sense of how to play with others. Gardens are great places to act out dramas. Create forts, tree houses, secret hide-a-ways, and kids' own gardens where children can interact and learn. Continue to let kids take the lead. If your child sees a hollow stump as a potential troll house, drop your pruning shears and join him in inspecting it. Help him gather the supplies he needs to make the project happen. Assist only where needed — say in lashing sticks together to make a ladder, or by offering leftover nasturtium seeds or marigold seedlings to embellish his ideas. At last, kids this age have the attention span and dexterity to be left within sight to create their own worlds. And don't fuss about how those little Edens turn out. The world was a messy place during its creation. Early Elementary School, Ages 6-7 Your youngster's improving reading and math skills add new depth to gardening fun. Now kids can make plant markers, read seed packets, pore over catalogs, and pay for nursery plants. And yet they're still wide-eyed and open to nature's mysteries. Soil, holes, and water hold endless fascination, as do bugs. But for children this age, the "doing" is still more important than the end result. For them, a garden is a willy-nilly collection of plants of all shapes, sizes and colors. A bouquet is whatever fits in the diameter of a palm and curled fingers and whose stems reach into a jar full of water. Middle Elementary School Ages 8-9 The emphasis shifts from doing to doing well. Your children can design a garden on graph paper, thinking about flower heights and colors or how much space a tomato plant will need. They can translate that drawing to a real garden. Their ability to use tools increases; they can build arbors and fences. It's never too early, but now is an especially wonderful time to enter your vegetables and bouquets in contests at the local fair or town events or to join a group such as a community garden, CSA or 4-H. These activities combine gardening with friendships — both so important now. Late Elementary School/Tweens, Ages 10-11 Now gardening celebrates its ability to cross several disciplines with ease to speak to your children's many interests. Garden is science, math, art, and still fun. Your youngsters can organize a class project to create a small garden at the local nursing home — and gain the support of businesses and parent volunteers. They can build garden structures and community. They can start seeds and businesses. We know a couple of boys whose award-winning sunflowers at the fair launched their own sunflower seed business. And the opportunities for fun in the garden are endless. With a little imagination, this year's scarecrows can look like the Spice Girls, or Arthur, or the scariest dementor Harry Potter ever met. Early Teen Years, Ages 12-13 At this age, if youngsters don't take a hiatus from gardening in favor of friends and anything currently "way cool," they can put their green thumbs to work in the family landscape and in community projects. While focusing on sports, fashion, or school plays fills their days to overflowing, how can gardening compete? In a word, it has to be "awesome." And it is. Many students now do independent studies, such as "eighth-grade challenges," to demonstrate their mastery of a subject. These are the years when some gardening project guided by a biology teacher, group leader, neighbor, or parent just may set some youngsters on career paths. It's enough to hope your child will grow up to garden, but who knows, you may have a budding botanist or future horticulturist in the family.

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Preschoolers (3 and 4 year olds) Preschoolers love to learn and are constantly absorbing information from their environment. Our preschool program focus on developmentally appropriate theme based learning in a nurturing atmosphere. There are many opportunities for hands on exploration that help introduce children to concepts such as math, science and reading. Children will be introduced to a more structured environment while also having the opportunity to explore at their own pace. They will continue to strengthen social, cognitive, language, self-help, fine motor and gross motor skills. Three and Four year old children will work on refining previously acquired skills and developing new skills needed for Kindergarten. Our Preschool program follows a High Scope Curriculum Philosophy. The components of our day are outlined below: Our Day at Island Kids: Greeting Time: Teachers and children talk about the day and any changes to the daily routine. During this time teachers may tell children about new materials or any special visitors or events. Classroom discussions on a variety of topics occur during greeting time. Small Group Time: Teachers work with a small group of children on an activity they have chosen and planned. Activities are planned to introduce concepts and skills as well expand on concepts and skills previously learned. Large Group Time: Adults and children in the classroom participate in an activity together. It is a time to build a sense of community in the classroom. Activities may include music & movement, storytelling, games or other shared physical activities. Planning Time (3’s & 4’s): Children meet daily with their planning groups prior to work time. Depending on age and ability to communicate they express their plan in actions, gestures or words. Planning is different then simply making a choice because it involves purpose and intentionality. Teachers will use a variety of methods to help children make their plan. Choice Time (2’s): Children are free to make choices about what where they play, what materials they use and who they play with. As they approach age 3, teachers will introduce a more formal planning time. Work/Center Time: Children carry out their plans and put their ideas into actions in the classroom interest areas (Blocks, House, Quiet, Sensory, Art, Toys). It provides many opportunities for social interaction and problem solving. Children are free to change their plans or make new plans as often as they like during work time. Teachers closely observe children and are there to support their learning during work time. Teachers use information gathered during observations to help them assess children’s development as well as to plan future classroom activities. Recall Time (3’s & 4’s): Groups meet again after work time to briefly recall what they did during work time. This encourages children to reflect on their actions and what they learned that day. Outside Time: Each day (weather permitting) children will spend time outdoors exploring their environment as they interact with their peers and develop their gross motor skills.

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Reading is a skill that’s critical in setting a strong foundation for success; it improves vocabulary, enhances communication skills, elevates intellectual level and develops a longer attention span. Reading skills for kids increase their ability to understand all subjects better and perform well at school. However, reading skills cannot be acquired overnight; they must be encouraged in children at a young age to help shape their personalities early on. As a parent, there are a number of things you can do to improve reading skills in your child, such as: 1. Establish a Reading Routine – Here’s why reading every day is recommended: - It will help your child’s brain establish a connection between the written and spoken words sooner. - When they read every day, children come across repeated words and grammatical structures, which helps their brain register the new information and remember it for a long time. - The daily practice develops a reading habit as well as a love for books in your child. - If your child can’t read yet, you can read to them, and gradually, ask them to read to you as they learn. Encourage Reading on the Go – Have your child read roadside signs, food menu, movie listings, and other practical information necessary in everyday life. Reading new information that helps them or anybody else will give your child a sense of accomplishment. Soon enough, they will start reading everything around them without even being asked to. This is a great way to ensure that reading for kids is not a task but something they enjoy doing. Buy or Borrow Books of Their Choosing – Many times, kids find it difficult to acquire reading skills simply because they are not interested in the kind of books they read. To fix this, expose your child to different genres or storybooks so that they can pick and choose. Also, kids tend to read a book with curiosity if they choose it themselves. Find out what topics intrigue your child and then guide them in selecting books they would love. Enter Them into Reading Contests – Nothing works better than the idea of winning if you want to get your child to do something that they are not particularly fond of. Many community centres, libraries and summer camps frequently hold reading competitions for kids. See if it is feasible and enrol your child. Winning prizes will serve as a great incentive for your child to read and improve their reading skills. Rectify Reading Problems – With a whole class to teach, teachers at school find it difficult to give each kid the attention they should get. And this may cause some of your child’s reading problems to go unnoticed. Many children also end up being demotivated for the same reason. So give your child your complete attention and encourage them to read aloud to help rectify any mistakes they are making while reading. Also, praise them every time they show improvement. It will keep your child highly motivated to read more often and improve their reading. Reading can be overwhelming for kids, especially in the initial stages. So make sure to surround them with books every chance you get. Also, try to read alongside them to set a good example. These little efforts and consistency will improve their reading skills dramatically. By Samidha Raj Samidha works as part of the content marketing team at Planet Spark, a platform that provides online classes to K8 learners on “New Age Skills” like, English Communication, Public Speaking, Grammar, Creative Writing, Debating, etc. She is passionate about empowering youth by educating parents about the importance of 21st-century skills. In her free time, you can find her watching documentaries or animated movies and organizing game nights (board games are her thing)!

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By Barbara Gruener Part of our Counselor’s Corner series. Click to read other posts in the Counselor’s Corner. The third core value in our special character development series is the virtue of responsibility. Responsible students do what they’re supposed to do and accept the consequences—both positive and negative—of their choices. One way to help guide students toward strong decision making is talking about stakeholders—anyone who might have a stake in the outcome of students’ decisions. So I ask students this simple question: Who will care? Try asking your students these questions and see where the discussion goes. - Who will care if you don’t let your dog in at night? - Who will care if you accept a ride from a driver who has been drinking alcohol? - Who will care if you choose never to recycle anything? - Who will care if you don’t do your homework? - Who will care if you don’t pick up after yourself at home? In the classroom? - Who will care if you promise to give a friend a ride to Skate Night and you forget? An engaging activity to try is “What’s At Stake?” Give your students a simple scenario and ask them to stand after they think of someone who might be a stakeholder in the decision. For example: Who are the stakeholders if you show up late to pitch a baseball game? Expect students’ answers to include the catcher, backup pitcher, teammates, umpire, coaches, parents, fans, other team, concession manager, and so forth. Once students see this visual representation of how many people have a stake in their decisions, they start to understand the importance of thinking things through and not making decisions haphazardly. One of my all-time favorite memories is the day a second-grader approached me with urgency saying, “Mrs. Gruener, you have got to hear this story and you will not believe how many stakeholders it involves.” Touchdown! To help our students make informed and responsible choices, we use a four-step decision-making model: Stop to give yourself time to think. Look at all your options. Think about the consequences of each option. Decide what’s best for the most people involved. Chores are also an important part of being responsible. The best way for children to get better at taking responsibility for their actions is by giving them responsibilities and then getting out of their way. At home, chores are daily tasks that need to be done like folding laundry, setting the table, or making a bed. At school, chores can be helping with classroom management or simply completing homework and projects. Consider these reflection questions with your students: - Which chores/jobs are your students willing to do? - How will your students keep track of chores/jobs? - How often should chores/jobs be done? - What are some rewards for doing the chores/jobs? - What are some consequences for not completing the chores/jobs? I’ve heard it said that we are only as strong as our weakest link. Make a “Chore Chain” to test that adage. Have students write down one or more of their chores on a skinny strip of paper and staple those strips together, end to end, to create the links for the chain. Ask students to imagine how strong this class chain is when everybody shows responsibility by giving their best effort and doing what they’re supposed to do. Pair up students to talk about how this ideal makes their classroom work better. Then tear out one of the middle links from the chain and read it aloud: Uh oh, looks like Jimmy forgot to feed his hamster. As the two halves of the chain fall to the ground, encourage students to reflect on how the strength of the chain was compromised when one of the chores was forgotten. Break the chain a few more times to represent other forgotten chores, then have students brainstorm ways to help each other remember to take their responsibilities seriously and get their chores done. Finally, institute class jobs so students can practice taking responsibility. Here are some suggestions for jobs that students generally love to do: serve as a cafeteria monitor, be a peer tutor, be a line leader, be the caboose, be a watt watcher and turn off the lights in an empty room, help with recycling, be the paparazzi and take pictures, be the technology engineer, shadow the custodian, read to a younger student, be in charge of recess equipment, feed the class pet, water classroom plants, be the messenger, choose the story, read to another class. Pursuing excellence is another facet of responsibility. Legendary football coach Vince Lombardi once said, “Perfection is not attainable, but if we chase perfection we can catch excellence.” Ask students what they think Lombardi meant by this. What would it look like, sound like, feel like to pursue perfection? Catching excellence would be the upside. What could be a downside? Then, talk about keeping a growth mindset, adapting well, staying open to mistakes, and giving our personal best without needing to be the best. Share Penelope Perfect by Shannon Anderson or The Most Magnificent Thing by Ashley Spires to reinforce the idea that there is no such thing as perfection and process trumps product every time. The ultimate goal of the virtue of responsibility is to raise young people who show self-control, self-discipline, self-management, and self-regulation. Paul Solarz, a fifth-grade teacher and the author of Learn Like a Pirate, hosts what I consider to be the ultimate test of responsibility at the end of every year: Quiet Day. This is a day set aside for students to take total ownership of their learning because their teacher has to be quiet. All day long. This ownership also includes feelings management, a must for Quiet Day to be a success, so make sure to carve out time to talk, write, and draw about emotions daily to develop and increase students’ emotional literacy. I had the pleasure of meeting Mr. Solarz’s class last year via Skype, and those young leaders were rocking responsibility. What a gift it is for Mr. Solarz to experience the fruits of his labor as he watches his students’ responsibility take wing and fly. Currently in her 33rd year as an educator, Barbara Gruener, a school counselor and character coach at Bales Intermediate School in Friendswood, Texas, has had the pleasure of working with kids from every grade level. Author of the blog The Corner on Character and the book What’s Under Your Cape? SUPERHEROES of the Character Kind, Barbara enjoys positively influencing change through her inspirational keynotes and interactive workshops. When she’s not working, you can bet Barbara is knitting, baking, writing, reading, walking, gardening, napping, or spending time with her husband and their three children. We welcome your comments and suggestions. Share your comments, stories, and ideas below, or contact us. All comments will be approved before posting, and are subject to our comment and privacy policies.

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Digital Skills Hub Primary Digital Skills CCEA is creating a framework to integrate digital skills across the different stages of the Northern Ireland education system, building thinking skills into the process of learning about digital devices and creating qualifications that are unique to Northern Ireland. The CCEA framework addresses all the statutory requirements for Using ICT in Foundation Stage, Key Stage 1 and Key Stage 2 through a new optional Digital Skills curriculum for primary schools. This curriculum is delivered through three strands and will be supported by the publication of teaching and learning resources for different types of ICT and a progression of skills appropriate for each key stage in primary. The strands are called: The names of these strands come from recommendations in the House of Lords Select Committee report “Make or break: The UK’s Digital Future” (2015) and the UK Digital Skills taskforce’s definition of different level of digital skills. You will find that the current Using ICT activities that you carry out in your school all fit into one or more of these three strands. You may also find that there are new types of activities that you can start to develop that up to now have not traditionally been part of Using ICT. As CCEA provides more resources and guidance about this digital framework, you may want to consider how your current Using ICT activities can address the different strands and also think about covering activities that up to now have not traditionally been part of Using ICT, for example understanding how digital devices are designed and built and how the internet works. Becoming a Digital Citizen This means developing skills that will be useful to anyone who wants to take part safely and effectively in the digital aspects of society. In this context pupils should learn about how to use the internet productively but with an understanding of how to stay safe, and what are the social norms and legal implications of their actions online. Becoming a Digital Worker This means developing skills that will be useful to anyone who will work or for use in their future learning. In primary this can means developing an understanding of office based products like word processing programmes, presenting and data handling software as well as understanding how to access, managing and save work in a digital environment. Using digital collaboration tools to safely collaborate with others to create and improve their work is also an important skill to develop. Becoming a Digital Maker These are the skills relating to designing and building technology. There are two aspects in primary that continue into post-primary and for CCEA qualifications Logical & structured options This includes pupils exploring coding and programming through interaction with different types of languages and devices. Creative technology options This includes Using ICT ‘Express’ types of ICT such as digital storytelling through film, animation, working with images, e-books, publishing and presentation software, digital audio (music and sound activities). CCEA are producing a range of Primary resources to support teachers to develop children’s skills in these three areas. In an attempt to consider the three areas holistically and how they can relate to all areas of learning, these resources will focus on teaching and learning activities which will highlight a connected approach to using digital technologies in the classroom and which will provide progression ideas across Foundation Stage, Key Stage 1 and Key Stage 2. The resources will cover the following areas: - Digital Storytelling (Presenting/Film/Animation) - Digital Publishing (Print/Online) - Digital Audio (Music/Sound) - Digital Art & Design (Images/Interactive Design) - Digital Problem-Solving (Programming/Computational Thinking) - Digital Data (Using/Managing/Handling Information) In order to ensure that children also develop their wider understanding of the digital world and the application of digital technology in life and learning, Thinking Skills & Personal Capabilities will be explicitly promoted throughout these resources.

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What are the parts of a writing prompt? Six Parts of an Effective Prompt - Articulation of purpose. This section explains the significance of the assignment itself by explaining what skills students will display in their writing and why they are important. - Summary of assignment. - Key components of the paper or important sections. - Framing questions. - Evaluation criteria. What is writing prompt? Writing prompts or essay prompts are learning assignments that direct students to write about a particular topic in a particular way. They are designed to integrate a students imagination and creativity into guided writing practice. What is a creative writing prompt? A writing prompt is a topic around which you start writing ideas. You’re free to stick to the subject or let your mind wander….Benefits of writing prompts - Put pen to paper. - Practice makes perfect. - Increase your creativity. How do you write an opening line for a story? 6 Tips for Writing a Great Opening Line - State your theme. - Begin with a strange detail. - Establish your character’s voice. - Introduce your narrative style. - Convey the stakes. - Set the scene. What is a catchy opening sentence? A hook in the essay is a catchy sentence or paragraph in the introduction which serves as an attention-grabbing element. The effectiveness of the hook is defined by its ability to motivate people to read the entire text. Whats a good opening sentence? Start with the chase. A good hook might also be a question or a claim—anything that will elicit an emotional response from a reader. Think about it this way: a good opening sentence is the thing you don’t think you can say, but you still want to say. Like, “This book will change your life.” How do you start a catchy introduction? How to Write a Captivating Introduction to Hook Your Audience’s Attention - Begin With A Startling Statistic. - Tell An Interesting Or Unusual Story. - Ask If They Want To Achieve Their Desires. - Take A Stance Against Something Relevant. - Show Them What Success Would Look Like. What are the four parts of an introductory paragraph? Answer to Task 1: The four parts of an introduction |1.||Introduces the topic| |2.||States why the topic is important| |3.||States that there is a difference of opinion about this topic| |4.||Describes how the assignment will be structured and clearly states the writer’s main premise| How do you write an attention grabber? Try these creative hook ideas for essays: - Start with a question. Asking your readers to think about the topic is a great way to get them ready to hear more. - Use descriptive words. Creating a picture in the reader’s mind can make him or her feel connected to your writing. - Leave it a mystery. What are attention grabbers examples? Types of Attention Getters - Personal Reference. Personal Reference. - Rhetorical Questions, Q&A, Questions. Questions. - Humor. Humor, handled well, can be a wonderful attention getter. - Quotations/Using Explaining Famous Words on the Topic. - Startling Statistic/Series of Facts. - Guided Imagery. What is Attention Getter example? Some common attention getters are quotations, statistics, questions, and stories. Using a strong attention getter is important in an academic essay because it gives the reader context and gets him/her interested in the essay. What are some good hook sentences? List of Hook Sentence Examples for Ideas - Some of the best role models for teens are… - Getting inspired to do good come from… - The best way to get homework papers done is to… - Why is it so hard to…? - The photo of… - One of the most shocking facts to date is about… - A top business secret to know is… How do you grab the reader’s attention in the first sentence? - Craft Vivid and Evocative Sentences. If you want to grab your readers’ attention, then you need to make your first lines stand out — in a good way. - Surprise Your Readers. What better way to draw readers into your story world than to present them with a first line that jars them out of their reality. - Create a Unique Voice. How do you start off a paper? As a start, here are 13 introductory strategies accompanied by examples from a wide range of professional writers. - State Your Thesis Briefly and Directly. - Pose a Question Related to Your Subject. - State an Interesting Fact About Your Subject. - Present Your Thesis as a Recent Discovery or Revelation. What words can you not start a sentence with? Never begin a sentence—or a clause—with also. Teach the elimination of but, so, and, because, at the beginning of a sentence. A sentence should not commence with the conjunctions and, for, or however…. How do you start a short paper? Components of a Short Essay - 1) Thesis. There are two things to consider when writing a short essay: placement and complexity. - 2) Topic Sentences. - 3) Supporting Evidence. - 4) Introspection. - 5) Conclusion. - Get out the highlighter. - The Necessity Test. How do you write a short description? Effective short descriptions provide enough context for a reader to understand what the topic conveys. A short description ought to contain keywords that help the reader identify whether the topic contains useful information. It should also be a concise description of the topic. What is the format of paragraph? The basic paragraph consists of three parts: a topic sentence, supporting details, and a concluding sentence. This basic paragraph format will help you to write and organize one paragraph and transition to the next. What are the 5 parts of a paragraph? An outline is often used to demonstrate the content of most five-paragraph essays: - Body. First Point. Second Point. Third Point. What are the 5 paragraphs in an essay? The five-paragraph essay is a form of essay having five paragraphs: one introductory paragraph, three body paragraphs with support and development, and. one concluding paragraph.

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Topic 1 – Management Factors influencing the planning – Infrastructure, Time, Location, Staff, and cost. Students will know about the key factors to considered in starting a kindergarten. Canvassing and Marketing Different types of canvassing and marketing tools. Social media advertisements and digital marketing. Traditional methods. Students will know the kind of tools they can use to increase enrolment/strength of their business. School finance, budgeting, costing, payroll, running expenses, construction purpose, housekeeping and other related expenses. Students will understand how to do the financial activities. Office management, administration, school registers, admissions, records, automation. Students will have an understanding about the things involved in managing a school office. Class room layout Roofing, flooring, side walls, furniture, board arrangement, seat and sitting arrangements, uniforms. Students will be able to make a layout plan of their classroom. Education and human values Meaning of values, Classification of values, Concept of value-based education, programs for developing values of various kinds Students will know about the concept of values and how to bring up a value-based education among children. Supervising & Reporting Teachers and pupils can be supervised in 3 ways, principles of supervision, Reporting Students will learn how to do effective supervising and reporting. Topic 2 –Teaching Methodology Role of a Teacher Qualities of a teacher, Teacher as an observer, Conduct, Obedience, Roles and responsibilities, As a bridge between the soul of a child and external reality. Student will understand the different roles of a teacher. Communication Cycle, Steps in communication process, classroom communication, Types of classroom communication, Types of communication, Types of management. Students will understand the concept of effective communication in classroom and in an organization. What is Psychology, Nature and Scope of Psychology, Relation between Teachers and Psychology, Child & his behavior. Students will understand the importance of Psychology and the role it plays life in general. You explore the benefits of Montessori teaching method as well as other preschool teacher training methods. Students will understand montessori training as well as British EYFS training methods. Child Development and Growth -1 Growth and Development, Difference between Growth and Development, Principles of Development, Factors affecting Growth &Development, Biological Mechanisms of Development. Students will study the growth and development of a child. Child Development and Growth -2 Physical and Motor Development, Social Development, Emotional Development, Mental or Intellectual Development, Language Development. Students will learn different types of developments happening in child’s growth. This is to make sure that all children are included in a class irrespective of the disability or learning disorder. Students will be able to learn about inclusion and the importance of it. Shaping the future generation In other words, society of cohesion, Factors regarding cohesion, Result of cohesion – (Adherence) Students will understand how to develop a society of children with cohesion. Health & Physical fitness, Hygiene Activities & Resources, Food habits, Balanced Diet, Essential ingredients for a child’s mental health. Students will learn about the importance of health and fitness in child development. Common Childhood Diseases, Immune system activities and resources, First Aid, Child welfare. Students will be aware of, how to protect children from harmful influences in their environment and take care of their education. Topic – 3 Practical-Work Shop Active learning methods. Cooperative learning, Storytelling and English language development. Students will be able to exercise different methods of teaching by being more interactive, involving and resourceful. Promoting and rewarding positive behaviors. Class control Student will know how to have effective communication to attain a productive class environment. Discovering one’s potential by exploring the possibilities in life and taking up new challenges that will catapult then forward. It will enable the students to practice self-awareness, confidence and self-improvement. Teaching various subjects by maximizing rich and meaningful topics thereby enhancing the knowledge of the children. Students will know how to have a theme flowing through all the lessons. Course type 2: International certificate for EYFS (Early Years Foundation Stage) United Kingdom - Food Hygiene level 2* - Safeguarding and Child Protection level 2** Early Years Foundation Stage (EYFS): - Let’s Look at Progress Checks - Supporting 0-2 Year Olds - Supporting 2 Year Olds - Supporting 3-5 Year Olds Business and management: - Let’s Look at Evaluative Practice and Impact Measurement - Managing Performance through Effective Appraisal - Managing Time Effectively - Safer Recruitment, Selection and Induction Communication and language: - Reading and Storytelling - Shape, Space and Measure - Making Maths Matter - Maths in Early Years - Mini Maths Explorers – Outdoor Challenge - Baby Room Leader – NEW! - Nurturing Well-being and Resilience for all Staff – NEW! - Exemplary Practice with: Babies, Toddlers, Two-Year-Olds, and Three-to-Five-Year-Olds - Outstanding Practice - Quality Teaching in Early Years - Promoting Positive Behaviour - Supporting Children with SEND - Let’s Look at Schemas - Little Scientists Leading the Way - Cohort Tracking - Characteristics of Effective Learning - Home Learning Environment.

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US scientists have discovered that overflowing lakes on Mars caused floods that carved out a quarter of the planet’s river valleys, creating deep chasms and shifting vast amounts of sediment. Today, the Red Planet is a cold and dry desert, but in its early days it had an active water cycle. Before about 3.5 billion years ago, the planet’s denser atmosphere and higher surface temperatures supported water that flowed across the surface, with lakes bigger than some small seas on Earth. Evidence for this is written in the rocks: the planet is covered in telltale geological clues, including flood-scoured outflow channels extending for hundreds of kilometres, networks of river valleys, deltas, lake beds, and rocks and minerals that could only have been formed by liquid water. Now, a new study published in Nature has provided insights into how Mars’ enormous network of river valleys formed. The team, led by geoscientist Timothy Goudge from the University of Texas, looked at the importance of flooding from overflowing lakes, specifically lakes that filled craters. When the water became too much to hold, it would spill over the edge of the crater and trigger catastrophic floods. Goudge and colleagues used global maps of Martian valley systems to study the shape and form of the landscape around 262 these lakes. They compared this with river valleys elsewhere. The river valleys near crater lakes were found to punch far above their weight – with a median depth of 170 metres they are more than twice as deep as river valleys formed elsewhere, which have a median depth of 77m. In total, the team found that nearly a quarter of river valleys on the whole planet were carved out by lakes overflowing. “If we think about how sediment was being moved across the landscape on ancient Mars, lake breach floods were a really important process globally,” says Goudge. “And this is a bit of a surprising result because they’ve been thought of as one-off anomalies for so long.” Read more: Martian climate had ups and downs Some of these floods, he says, may have only lasted weeks – yet left impressions still visible billions of years later. This is very different to Earth, where ongoing dynamic processes have wiped away most evidence of ancient geological features. “When you fill [the craters] with water, it’s a lot of stored energy there to be released,” Goudge says. “It makes sense that Mars might tip, in this case, toward being shaped by catastrophism more than the Earth.” Previous research has only focused on the scale of individual ancient lake systems, but this new study looks at the far-reaching impact of flooding lakes across the whole planet. The researchers suggest that these floods also had an important role in shaping the rest of the surface, influencing the formation of nearby river valleys. 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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Most parents don’t read bedtime stories to their children, or if they do, it’s very seldom. Today there is so much that takes up parents’ time that they’re under a lot of pressure. With the complexities of everyday life, less free time, and technological devices, storytelling has been lost along the way. Storytelling can form such a critical part in the development of a child’s personality. It may seem like a simple thing, but there are so many benefits that it’s important to take a little time and read to the children. It’s just a matter of reading out of a book. The advantages are numerous especially for children from two years and older. Instills Virtues in Them Every child, around the globe, loves to listen to bedtime stories. They yearn to hear more and more about all of their favored characters and will often imitate them. When a child hears a story that has a message that’s meaningful, they’re taught qualities like courage, wisdom, honesty, and love at an early age. Enhances Their Language When stories are read out loud to children, it aids in helping them get to know language. It also helps them learn new phrases, words, and pronunciation on a nightly basis. Improves Their Listening The attention span of children is usually very short, and they have a hard time focusing on something for very long. Then they wind up talking more and listening less. When reading stories to them, they become more attentive and then want to hear more and understand. Inspires Creativity and Imagination Children imagine the place and characters when they’re listening to a bedtime story. The story also enhances their creativity which makes them open to thinking more, ideas, and allows them to use their imagination. Sharpens a Child’s Memory Storytelling can be used to assist in increasing kids’ memories. After reading a story, wait a few days and ask them to tell the same story or as much as they can remember. This can be a fun way to increase their memory and encourage their concentration. Stretches Their Horizons It’s not often that children are exposed to different countries and cultures. Through bedtime storytelling, parents can introduce them to various places around the globe. By including stories on these subjects, children will begin to broaden their horizon. Simplifies Academic Learning Listening to bedtime stories, children receive their first step towards academic learning. Children tend to learn by repetition with really understanding the topic. If done regularly, storytelling can aid children to understand better and enjoy it more. Sometimes children are reluctant to ask questions even though their minds are brimming with curiosity. By telling them stories, they can learn how to ask these questions. It also helps them learn to have a conversation making them have more confidence in themselves. Easily Face Difficult Situations For children, a difficult situation can leave them confused. By reading them stories involving characters who face some situations that are difficult, it helps them understand. They should be told a few stories where sadness and bad times happen in life along with fun times and happiness. For parents who tell a bedtime story to a child, know that it has overwhelmingly positive results. The stories they hear, during their young lives, will remain in their minds and hearts all the way to their adulthood. The stories will also influence how they think of themselves and intermingle with others in their lives.

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Writing is arguably one of the most beneficial skills taught in the academic realm. Since strong writing abilities are valuable in every content area and career down the road, mastery of this skill is essential. As with most undertakings, practice is key to developing a student’s writing—the more a child writes, the better that child will progress as he advances through his education. Once in high school, students are expected to have mastered writing concepts such as organization, mechanics, and varied sentence structure. At the high school level, the expectations for writing tasks are elevated. It is assumed that students have a proficient grasp on the basics and are now prepared to tackle concepts such as writing for a specific audience and maintaining tone and fluidity. These concepts are touched upon in the middle grades; however, they really become the focus of higher level academic writing when assignments are required to serve a specific purpose. No matter the content area, secondary level writing assignments involve persuasive, argumentative, and expository writing techniques. From the chemistry lab to the AP government classroom, students will be required to juggle and synthesize many small parts to compose a fluid paper. Some of these writing skills include: - Stating a claim - Supporting that claim with clear evidence and/or research - Providing analysis of the evidence (i.e. how does the research support your claim?) - Embedding quotations - Paraphrasing or making inferences from direct quotations - Drawing the argument to a final conclusion Considering the number of key components involved, as well as the high level thinking skills required to accomplish these components, it is no wonder that writing at the high school level can be stressful and strenuous. Here are a few helpful tips from the teacher to avoid future headaches with high school writing. Utilize the organizer. While graphic organizers are sometimes viewed as elementary tools, high schoolers and college students can greatly benefit from an outline. Of course, these outlines and organizers will not always be provided by the teacher—students will have to do the prewriting legwork. The extra step may deter your high schooler at first, especially those students who prefer to cut corners. However, an outline is a proven strategy to ensure that a large writing assignment is organized, cohesive, and complete. The outline also allows for students to see that they have gathered all of the essential pieces before beginning the writing process. Thus, an outline will save your high schooler time and hassle in the end. Read examples and samples of similar writing pieces. This is especially helpful when a section of the assignment or essay is more complex, like parenthetical documentation. Viewing samples of how other writers have constructed these components provides students with additional help, almost like a step-by-step guide. Be sure to proofread. Again, high schoolers who are reluctant writers to begin with will likely shy away from the editing process. However, rereading written work aloud is the only way to ensure that the writing flows, maintains clarity, and adheres to the claim throughout. This fluidity piece is essential for secondary writing assignments. Use the rubric to assess the writing before submitting. This additional step is yet another strategy that many students choose to disregard. However, “grading” themselves before submitting a paper allows students to look at the writing from another angle. Since the rubric is created by the teacher, and will be used to assess the writing piece, it only makes sense for high schoolers to perform a self-check of the assignment according to the criteria. While high schoolers may be loathe to add any more steps to their writing assignment, these strategies will help to focus their efforts and ease them into the writing process. And, best of all, these strategies can help them to enhance their written work!

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Scaffolding Part Two: Once Upon a Time: Demonstrating Social Responsibility Through Storytelling Unit Plan Unit Plan: Once Upon a Time: Demonstrating Social Responsibility Through Storytelling Lesson Subject: English, ESL and other Language Arts Grade Level: Middle School (Gr. 6-9) As a follow up to my post about Aida Walqui’s article Scaffolding Instruction for English Language Learners: A Conceptual Framework I have provided a sample unit plan where I have focused on including scaffolded instruction and considered both Lev Vygotsky’s Sociocultural Theory and Zone of Proximal Development. In this unit plan I am asking students to create their own stories and work at a high English level, however I have provided structure to support them reach this level. I have considered learners and placed the expectations of the final culminating assignment within a zone of proximal development where the task requires students to reach beyond their current level towards what they are capable of achieving. The lesson has been created with a lot of structure and a lot of space for flexibility. In class working time has been planned for, to provide the teacher and peer tutors (if available) time to actively support the learning process. The unit has been designed with explicit and scaffold instruction. Students’ learning will take place through the active use of the English language in a creative and natural way. In ESL/ELL instruction Readers Theatre is a strategy that comes up often. Whenever I have looked at Readers Theatre I have often found the lessons or units to be overly detailed and wanted to find a way to simplify the concept. As well, I wanted to ensure my students were gaining practice with the four language skills; reading, writing, listening and speaking. So, I did some research online and came across several Readers Theatre ideas, and a few things I might like to try. The lesson below is a loose planning of a Readers Theatre lesson and not specific to any script. I hope it can support you in your lesson planning and maybe simplify the concept of Readers Theatre for you. Included in the lesson plan are several suggested modifications and accommodations for the range of learners in any given class. Objective: To engage students in thinking and discussion using art. In November last year I wrote about art appreciation and Chicago's Concordia University art lessons. At the time I was using the art lessons with a weekly group of grade sevens I taught during the school's weekly "English Corner". Since the art appreciation lessons were so well received with the grade sevens I decided to introduce the lessons to my grade eight class in the second term of the school year. I selected several pieces from the Concordia lessons and had them printed on card stock to use as handouts, which would then be put on the wall as a collection of pieces we had looked at. Each lesson started with a brief introduction of the piece where I would give the title, artist's name and the date it was created. Then, showing the piece on a projector and providing one printed on card stock, students were asked to fill in the attached handout and start to analyze the piece. I encouraged students to get up and walk around the room, viewing the piece from different angles. The handout provided prompts to guide student's thinking. At the bottom of the handout I asked students to consider their feelings when they look at the piece and why they think it was created. After about 25mins I would provide students with biographical and historical information about the artist and the piece. To conclude the lesson we would have a class discussion about the piece, discussing points from the handout and exploring thoughts and opinions of the peice. This term one of the units in my student’s textbook is themed “Endangered Animals.” Using the theme I made an assignment where students had to create fact sheets for different endangered marine animals. Students were first in groups of 2-3 and then in larger groups of 4-6. Attached is the lesson plan I used for this activity, along with the factsheet template and grading scale I used. To narrow the focus in class I chose to have students write about marine animals, however there are many options for this lesson. In the PDF I have provided some good websites for endangered animal resources. Objective: To introduce students to common idiom expressions and have them actively build expressions into sentences for deeper understanding. To first understand the reason why teaching English Language Learners (ELLs) idioms is important we first have to understand what they are. Idioms are cultural phrases, which cannot be understood by knowing the individual word meanings alone. For example, “raining cats and dogs.” It is understood that the sky cannot literally rain cats and dogs, but what then do cats and dogs have to do with the rain? In the meaning of this idiom they represent large and heavy raindrops. To say, “it is raining cats and dogs” is to mean, “it is raining very heavily.” Idioms pose a challenge for ELLs because often they have not been raised in the culture the idiom is being used in. Not being able to understand the meaning of phrases can lead students to misunderstanding and confusing situations. When I have taught idioms with my classes I have first developed a definition I feel is appropriate for their level of understanding and then provided them with an Idioms List Handout (see attached). Students can record the definition on the handout and read pages of idiom examples with their meanings. The Idiom List Handout was compiled using idioms from Idiom Site. There are several other good websites for idioms; including Idioms The Free Dictionary and Using English-Idioms. Once students have had a chance to explore the idioms on their own I introduce the Idiom Activity Handout (see attached) and provide and exemplar, using the idiom “back to the beginning” (see attached). Each student should choose, or be assigned a different idiom to complete the activity. The activity sheets can be displayed in the classroom or put into a book. This is a basic activity that can be built into expanded lessons or used as filler between units or lessons. Students can also be put into pairs to complete the activity. There are many options…enjoy!! Ms. Kolshuk's Blog Welcome to my blog where I post about my teaching practice, ideas, findings and discuss topics of an educational nature. Please feel free to comment and/or email with any topic suggestions.

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Lights and shadows are naturally intriguing subjects, and many of our classrooms explore these concepts with all ages of children. These vast concepts allow our students to explore light from many perspectives. Take a look below at the many ways PSA has been looking at light lately. Light Tables and Loose Materials In the art studio, a large light table is set up with a variety of translucent loose materials. One student looks closely through all of the materials and gathers every red item that she can find. She locates a frame, and begins to place all of her pieces within the oval. Another student is nearby observing and commenting on her work. He asks, “Is it inside? Inside da circle?” Shadow Puppets – Many Ways! In the music studio, many of the classrooms came down to view a video of a puppet theatre from Sofia, Bulgaria. They created each animal from the Carnival of the Animals with their hands and set it to the music. The children thought this was fascinating and many tried it out for themselves as each animal was being created on screen. In the small studio, we created a dark room where the children could explore light and shadow a little further. There were several small stations set up with flashlights, Magnatiles for shining light through, animals, and more. There was also a large white sheet set up with two big flashlights and the shadow puppets we had used in music class. The children could even try their hand at making their own shadow puppets using paper and craft sticks! After viewing the shadow puppet performance, in the art studio, the children created shadow art from black shapes and colored transparent acetate. The children attached the shapes by using black tape, which was a new concept for many of the children. They had to experiment with the tape to figure out how to get it to join two pieces together. This was challenging and at times frustrating, but they stuck with it until they got it to work. This supports hand-eye coordination and tenacity. Just before nap, with the lights dimmed, one classroom uses flashlights to explore and relax for a calm transition into nap. Working with Projectors One classroom used a projector to explore light. The children were inspired by the light and shadow provocation as a means of adding depth to their storytelling by using props and by telling a story collaboratively. They made shadow puppets and tried to keep their puppets on the track as we projected an animated rack track onto the wall. Collages with Light To begin, the children drew with Sharpies on clear sheets of acetate. They used geometric stencils to create interesting designs. Then on a piece of clear contact paper, the children made a collage with transparent and opaque materials. The two pieces of artwork were sandwiched together to make the final piece for the overhead projector.

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What do you write in a storyboard? What to Include in the Storyboard for Your Digital FilmProject name: Include the name of your film or project. Production company: Include the name of your production company or your name as the filmmaker. Scene: Include the scene number to allow you to sort the scene and match it to the scene script when filming. How do you effectively do a storyboard? How to Make a StoryboardStep 1: Create a Template. Draw a series of rectangles on a piece of paper, as if you were creating a comic strip. Step 2: Add the Script. Under each rectangle, write the line of script or dialogue that corresponds to that scene.Step 3: Sketch Out the Story. Step 4: Add Notes. What is the most challenging part of writing the story for your storyboard? Brainstorming and Prewriting Often the process of getting started on a writing project is the most challenging part. Brainstorming can be daunting for those confronted only with a blank page. Instead of writing down ideas, consider using pictures to conjure up a story or sort out an argument. How do you write a storyboard for elementary students? 3:36Suggested clip 96 secondsStoryboard Tutorial For Kids – YouTubeYouTubeStart of suggested clipEnd of suggested clip What is Storyboard example? The 28 best storyboard examples. A storyboard is a series of images that explain how your story will look, shot by shot. The best storyboards use stick figures or comic book-style sketches to show close-ups, wide shots, pov (point of view), special effects, and everything else that makes up your shot list. What is a storyboard template? A storyboard is a graphic organizer that plans a narrative. Storyboards are a powerful way to visually present information; the linear direction of the cells is perfect for storytelling, explaining a process, and showing the passage of time. At their core, storyboards are a set of sequential drawings to tell a story. What a storyboard looks like? A finished storyboard looks like a comic strip. They’re usually hand-drawn, although some people prefer to use storyboarding software to create their images. A storyboard is similar to a script, but the two aren’t quite the same – storyboards are visual, while scripts are text-based. How do you label storyboards? So if the first shot has three storyboards, you would label them “1A,” “1B,” and “1C.” Ultimately, the most crucial information for every label is the type of shot, the camera movement, and a general description of what’s happening in the scene. Everything else is just there if required. Who would use a storyboard? Film making industries use storyboards in their planning and production processes. They employ skilled storyboard artists who interpret the screenplay from a script. At a more basic level, storyboards are a good way to illustrate and document the visual and technical requirements of a production. Who invented storyboards? Why do we use storyboards? The storyboard is a very important part of the pre-production process because it clearly conveys how the story will flow, as you can see how your shots work together. It also allows you to see potential problems that would not go unnoticed, ultimately saving you time and money. Do all films use storyboards? Leave room for inspiration. As I mentioned above, not all Director use storyboards and some Directors only use storyboards for action sequences or major set pieces. Are storyboards necessary? A storyboard is basically the same thing, using a sequence of still images to help visualize a story. For starters, storyboards are not necessary for every type of project, especially if the project has a limited budget, doesn’t involve narrative elements or if continuity isn’t important. How do you storyboard if you can’t draw? 6:31Suggested clip 79 secondsStoryboarding For People Who Can’t Draw (Like Me!) : FRIDAY 101 …YouTubeStart of suggested clipEnd of suggested clip How many frames does a storyboard have? Which comes first script or storyboard? But to actually tell a story you should go with the script first though. definitely a script first, even if it’s only a draft, before going to some kind of storyboard. And, the storyboards can be very rough, stick figures and such; especially if you have a short production timeline. What software do storyboard artists use? The Best Storyboarding Software of 2020 for Any BudgetStoryboarder. Storyboarder is open source and free, making it one of your best options if you’re working with a smaller budget. Plot. Frameforge Storyboard Studio. Studiobinder. Moviestorm. Storyboard Fountain (for Mac) PowerProduction Software. Canva. How much should I charge for a storyboard? Storyboard Artists charge day rates. They usually range from $300 to $700 a day. How long is a storyboard? Are storyboard artists in demand? According to the Bureau of Labor Statistics, the demand for Multimedia Artists and Animators, which includes Storyboard Artists, is growing by 6 percent. This is expected to result in nearly 1,600 annual openings through 2024.

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LITERARY TECHNIQUE - svensk översättning - bab.la Simile, therefore, is a literary technique instead of a literary element. Examples of literary devices Anagrams are an extremely popular form of literary device wherein the writer jumbles up parts of the word to create a new word. From the syllables of a phrase to the individual letters of a word, any fraction can be jumbled to create a new form. Literary devices or literary techniques are specific structures that writers often use to add meaning or create more compelling stories for the reader. Some common examples are metaphor, alliteration, hyperbole, and imagery. These techniques can give the reader a greater understanding and meaning of the writers intent. Se hela listan på matrix.edu.au Se hela listan på lostpedia.fandom.com Furthermore, this technique adds variety to the narration and contextual significance. Definition: The atmosphere that pervades a literary work with the intention of evoking a certain emotion or feeling from the audience. Se hela listan på study.com A literary device is a technique you can use to create a special effect on your writing. Think about it this way. When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device. Formal and Informal Language - timesmagazinus - Pinterest The difference between literary elements and techniques is that these techniques are only found in written works. Also, stories can exist without them. Furthermore, think of literary techniques as clues to a deeper meaning. Se hela listan på matrix.edu.au 2020-07-26 · Literary techniques Techniques are used by writers as an attempt to make the reader think in a certain way. The literary museum Moderna Museet i Stockholm Literary Terms - . alliteration. the repetition of the same or very similar Literary Techniques: Poetry Analysis 2 - . This can be done by placing the characters in time-sensitive situations, diverting the reader's attention or appealing directly to the reader's emotion to elicit sympathy for the main character. Lana till huskop The silence seemed strained and expectant, like a young boy waiting for a firecracker Se hela listan på selfpublishing.com Se hela listan på self-publishingschool.com An aleatory literary technique in which a text is cut up and rearranged to create a new text. Climax The crisis or high point of tension that becomes the story’s List of literary devices Allegory. An allegory is a type of narrative that uses characters and plot to depict abstract ideas and themes. varlden rikaste land hans kelsen legal positivism Att läsa är inte någon oskyldig aktivitet. Om synen på litterära A literary technique is a device employed in literature to add depth to a writer’s work. Pin on Awesome Phrases - Pinterest Se hela listan på tckpublishing.com View Full List of Literary Devices. Ad Hominem; Adage; Allegory; Alliteration; Allusion; Ambiguity; Anachronism; Anagram; Analogy; Anapest; Anaphora; Anecdote; Antagonist; Antecedent; Antimetabole; Antithesis; Aphorism; Aposiopesis; Apostrophe; Archaism; Archetype; Argument; Assonance; Biography; Cacophony; Cadence; Caricature; Catharsis; Characterization; Cliché; Climax; Colloquialism; Comparison; Conflict Literary techniques, however, are not universal or necessary in the sense that not all works contain instances of them. Simile and irony are examples of literary techniques. While many poems contain similes, not all do. Simile, therefore, is a literary technique instead of a literary element. PDF) Figurative Devices and Their I'm the King of the Castle by Susan Hill Worksheet 6 – Literary Style One of the things to notice whilst you are reading a novel are the different literary techniques Literary devices are techniques that writers use to create a special and pointed effect in their writing, to convey information, or to help readers understand their writing on a deeper level. Often, literary devices are used in writing for emphasis or clarity. List of Literary Techniques Technique Description Allusion A reference to a recognized literary work, person, historic event, artistic achievement, etc. that enhances the meaning of a detail in a literary work. Climax The crisis or high point of tension that becomes the story’s turning point—the point at which the outcome of the Literary devices are specific techniques that allow a writer to convey a deeper meaning that goes beyond what’s on the page. Literary devices work alongside plot and characters to elevate a story and prompt reflection on life, society, and what it means to be human.

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As I reflect on the many things I learned throughout this course remediation comes to mind over and over. Oral literacy played a prominent role in society for generations, even though it had its downfalls. The development of the written word took many more generations to create and spread throughout the people of the world (some are still struggling to teach it, today). The development of the printing press was a huge step in speeding up the printing process and educating the world (see Bolter, 2001). Now, we are moving away from the codex book to hypermedia and the e-book. This shift continues to have its challenges as it is in the early stages. Postman (1992) warns users to be careful when using technology and to watch out for “technopolies” which may control our lives if we allow them. Constant remediation is happening as technological innovation and development take place. The web and hypertext have allowed readers to be visitors to a text, not just readers alone (Kress, 2004). Multiliteracies (New London Group, 1996) are creating horizontal relationships of teamwork instead of the Fordian top-down management style. History teaches that the remediation of print is constantly at work, ebbing and flowing with new inventions and the collaboration of ideas. History also teaches us that there is always some resistance and scepticism when change is occurring. Now, we teach 21st century literacy skills to our students, using many different technologies and ideologies. I hope we can keep our technological past in mind as we strive to move forward into the future. Web 2.0 tools As mentioned by Sherry Turkle in a TED talk that was shared by the group, and in her book Alone Together (2011), we learn that we are in a new era, with change happening at an alarming rate. As teachers, we are the professionals that judge what tools are best for our students and then have the responsibility to teach them the skills to use the tools and model adaptations to change as it occurs. To help us there has been some research done on how to go about judging educational technology. Bates and Poole (2003) adapted a framework to help us think about and judge our use of technology, especially in today’s classrooms. Through careful consideration and a pinch of scepticism within us, we can use the best tools to move forward. We now live in a Web 2.0 world where students use social media every day outside of school, but are often not allowed to in school. As research draws out the benefits and downfalls of “screen time” and technology use we sit in limbo, waiting to be told what to do. Ken, in commentary #3, points out that Web 2.0 technologies make storytelling unpredictable, making the story more interesting and engaging for readers. As we add these tools to our teaching practices we can reengage students in their learning, helping them be creators, not just vessels waiting to be filled with information. I appreciate the history lesson learned throughout this course. I am reminded of the many tools we use to communicate. I have gained a new appreciation for oral literacy, especially as I have been raised mostly on pen and paper, with a mix of hypertext in my schooling. The new Web 2.0 tools seem to be returning to our roots where everyone gets a chance to share and be heard. Some people continue to struggle with the technological change that we are experiencing. To quote Doug in commentary #1 on indigenous people, “Losing their language is more than losing the ability to converse in their native tongue; it also threatens the existence of their culture.” I believe we can use the tools we have now to save language and culture through collecting and sharing artifacts, visuals and by creating circles of influence through social media. As a people we will never return to where we were in the past but we can choose what pieces of the past we take with us to the future. From the invention of the telegraph to the e-book, we are intrigued by new technology and ways of communicating. Technological determinism is adopted by some people as others hold on tightly to the past. As teachers of future generations I see it as our challenge to seek out the best learning tools and share our findings with those we have a responsibility to teach. This course has reconfirmed to me that everyone is different and multimodal, there is not just one way to teach a concept, and the future is full of change. May we have the wisdom and courage to embrace the things that need embracing and let go of those things that don’t. Bates, A.W. & Poole, G. (2003). Effective teaching with technology in higher education: Foundations for Success. New York. Wiley, John and Sons Incorporated. P. 75-105. Bolter, J.D. (2001). Writing space: Computers, hypertext, and the remediation of print [2nd edition]. Mahwah, NJ: Lawrence Erlbaum. Kress, G. (2005). Gains and losses: New forms of texts, knowledge, and learning.” Computers and Composition. p. 5–22. Postman, N. (1992). Technopoly: The Surrender of Culture to Technology. New York. Vintage. p. 3-20. The New London Group. (1996). A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review. 66(1). p. 60-92. Turkle, S. (2011). Alone together: Why we expect more from technology and less from each other. New York: Basic Books.

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Long before European immigrants first set foot in this country, the ancestors of the Nimiipuu (Nez Perce) created densly grouped clusters of petroghlyphs and a few pictographs on either side of an eddy formed by a series of sharp bends in the Snake River. These images provide links to the past, reminding us of the timeless connection humans have to this land. Known as Buffalo Eddy, the site takes its name from images on the Idaho side of the river, depicting bison chased by Indians on horse back. The unique petroglyphs of this area are evidence of the longevity of the Nimiipuu in the region and contain hundreds of distinct images that possibly date from as early as 4,500 years ago and continue to just a few hundred years ago. The fact that this site was used for so long suggests that it was very important to the people who lived here. What is a Petroglyph? Petroglyphs are made by removing the outer weathered surface of rock to reveal the unweathered rock underneath. This is done by pecking, rubbing, scratching, or incising the surface with a harder rock, such as quartzite. There are several styles of petroglyphs at Buffalo Eddy. Some are naturalistic with human figures and animals such as bighorn sheep, elk, and deer. Some figures at the site appear to hold an item that looks like a dumbell. This may represent a double headed rattle or paddle. Groups of naturalistic animals and humans in a single panel may tell a story related to hunting, or may have had spiritual significance to the artist who carved them. Still others consist of abstract designs and patterns that include dots, circles and triangles. What is a Pictograph? Whereas petroglyphs are literally scratched into rock, pictographs are made by painting or drawing on the rock surface with pigments. These pigments were made from minerals that could be found in the area. The pigment was turned into something akin to paint by mixing the pigment with water, urine, blood, saliva, raw egg, or animal fat. These binders help the minerals adhere to the rock. The pigment was applied with fingers or a brush-type implement. Over time this pigment actually becomes a part of the rock. Dating Rock Art The subject matter of rock art can often help determine a possible age. For example, the Nimiipuu obtained the horse around 1630, therefore pictograph panels containing horses were probably made after that date. Rock art showing an ancient hunting tool called an atlatl, which was used prior to the introduction of the bow and arrow, would suggest an age of at least 2,000 years. In some cases datable artifacts like an arrowhead found at the base of a partially buried rock art panel, can suggest a minimum date for the art. The petroglyphs that consist of abstract designs and patterns that include dots, circles and triangles, are considered to be the oldest at Buffalo Eddy. There have been many advances in research to date rock art through scientific analyses. Some petroglyphs can be dated based on an analysis of the weathered varnishes or patination that forms over rocks as they age. This method compares the varnish layers from the unpecked surface with the varnish of a pecked surface. Pictographs can be dated by testing very small samples of the pigment removed from the surface of the rock. Unfortunately, using either dating method damages the resource, so in most cases anthropologists prefer to approximate relative ages by comparing styles of petroglyphs across wide areas. What Do These Images Mean? The petroglyphs and pictographs at Buffalo Eddy reflect a rich culture. Anthropologists who study rock art can often find patterns in the symbols that are found in the Columbia River Basin, and can make educated guesses on why symbols were painted or pecked into rock faces. Perhaps the figures and symbols are a form of storytelling or an expression of spirituality. They could even be a form of artistic expression. While scientists can make assumptions, ultimately no one but their creators know the exact significance of the images. We cannot hope to reconstruct the day of their creation. Was it done through a shaman's chants and intricate dance steps during an elaborate ceremony, or during a moment of introspection experienced by solitary visitors? All we have is the silent testimony of ancient images to pique our imaginaiton, and every person who sees them today takes away their own meanings. Respecting Sacred Ground These ancient petroglyphs are sacred to the Nimiipuu and protected by federal law. Although the art remains fairly well preserved, it takes only one senseless act of vandalism to destroy this fragile resource. The digging, collection, or damaging of these resources is a felony office punishable by fines up to $100,000 or imprisonment or both. Please help us protect and respect Buffalo Eddy by taking only photographs and leaving only footprints so that generations of visitors to come will be able to experience them. Last updated: July 21, 2020

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Anchor Standard 3: Refine and complete artistic work. TH:Cr3.1.5.a. Revise and improve an improvised or scripted drama/theatre work through repetition and self-review. TH:Cr3.1.5.b. Use physical and vocal exploration for character development in an improvised or scripted drama/theatre work. Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. TH: Pr4.1.5.a. Describe the underlying thoughts and emotions that create dialogue and action in a drama/theatre work. TH: Pr4.1.5.b. Use physical choices to create meaning in a drama/theatre work. Anchor Standard 6: Convey meaning through the presentation of artistic work. TH: Pr6.1.5.a. Present drama/theatre work informally to an audience. Anchor Standard 7: Perceive and analyze artistic work. TH:Re7.1.5.a. Explain personal reactions to artistic choices made in a drama/theatre work through participation and observation. Utah State Core: Theater – 5th Grade Standard 1: Playmaking The student will plan and improvise plays based on personal experience and heritage, imagination, literature, and history for informal and formal theatre. Objective 3: Describe and explain plot structure in terms of conflict. Utah State Core: English Language Arts Grade 5 RL 2: Determine a theme of a story, drama, or poem from details in the text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the text. RL 5: Explain how a series of chapters, scenes, or stanzas fits together to provide the overall structure of a particular story, drama, or poem. RF 4: Read with sufficient accuracy and fluency to support comprehension. Read grade-level prose and poetry orally with accuracy, appropriate rate, and expression. Why are strong acting choices essential to interpreting a drama or theatre piece? What happens when theatre artists share a creative experience? What are the components of an effective story? Theatre artists make strong acting choices to effectively convey meaning. Theatre artists share and present stories, ideas, and envisioned worlds to explore the human experience. It is helpful if students have already explored and selected their stories for the storytelling unit. If they bring copies of their stories to class, students will have an easier time creating their story maps and rehearsing. Lesson 1: Story Maps Lesson 2: Character Voices Complete lesson plans are included in the attachment. These lessons are intended as an introduction to a storytelling unit to prepare students for an event such as Utah’s Timpanogos Storytelling Festival or the Jordan Schools District Story Weaver’s Festival. Teachers should have copies of published folk tales, fairy tales, myths, legends, fables, and tall tales available for students to select their stories. After learning how to map the beginning, middle, and end of a story in these lessons, students should be prepared to map their own selected stories and begin rehearsing for the festival. Guidelines for the story festival might include Stories must be told from memory and not read aloud. Stories should be 3-5 minutes long. The story must be a published folk tale, fairy tale, myth, legend, fable, or tall tale. The story should have a recognizable beginning, middle, and end with supporting details.

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One of the fun parts of teaching writing is reading my students’ papers. In Level 1, we write stories in a very specific format, known as the “3-Paragraph Story.” This assignment is designed to practice the elements of literature, so that when we begin literary analysis, the students can recognize the literary elements of the story. One of the 3-Paragraph Story assignments includes the option of making up a story or of using a conflict and plot from an existing story, changing the characters and setting. This is what 7th grader Aiden Rolle did in his story. He rewrote the old “Fox and Crow” story with changed characters in a VERY modern setting. Here is the original story: One morning a plain, black crow sat on a branch holding in her beak a piece of cheese. Along came a fox, who had smelled the cheese. The fox came and stood under the tree, saying politely to the crow, “Good morning, my friend. My, how well you are looking today!” The crow was very pleased at this, but of course could not reply because of the cheese she held in her mouth. “Your eyes are the most beautiful I have seen,” the fox went on, “and your feathers—how black and glossy they are.” The crow was even more pleased but still said nothing. She just sat on her branch and swelled with pride. “I have been told,” he continued, “how beautifully you sing, and I should like so much to hear you! Your voice could not possibly be so lovely as your feathers, but if it were, why, you would be the most wonderful bird in the world! Do sing just a few notes for me, won’t you?” This was too much for the crow. She opened her beak wide, cawed loudly and dropped the cheese right into the mouth of the waiting fox. “Thank you so much,” said the fox, eating the cheese. “Your song was very ugly, but your cheese was delicious. Perhaps next time you won’t be so ready to believe everything you hear.” With that, the fox laughed and trotted off into the woods. Here is Aiden’s story. Note the following: - The 3rd “paragraph” appears in a series of short paragraphs due to Aiden’s correct indication of dialogue. - The bold underlined words are different types of “dress-ups,” an IEW style technique used in each paragraph. - The numbered sentences indicate the six sentence types, another IEW style technique. - The underlined italicized words indicate descriptive words of the five senses, a style technique that I have added to the IEW techniques. I hope you enjoy it as much as I did. 🙂 Thanks for Making Me a YouTube Star By Aidan Rolle With a tummy still full of juicy turkey, buttery mashed potatoes and creamy pumpkin pie, Joey set off on his bike to the best shoe store in his hometown of Bulletonville, Illinois, Rack Room Shoes. His heart pounded with anticipation and although he had feasted just hours before, surprisingly, there was room for swift butterflies in Joey’s belly and they were fluttering as if there was an Olympic competition happening. Joe was anxious. Joe was confident. Joe was determined. Only the brave survived “Black Friday” shopping. Biking hard to arrive at the store on time, Joey was ready to pay too much money for footwear. Because having the latest shoe was the only way to stay in the cool crowd, everyone was on a mad dash for the sparkling new “Air Jordan Kobe XX5 Kid Siko Mo Edition” sneakers, which all the “exemplary kids” wore. Additionally, The “Air Jordan XX5 kid siko mo edition” sneakers boasted the gel cushioned memory air technology capable of trimming three seconds off of a runner’s time, which was exactly what he needed to compete on the school track team. Joey was the coolest kid imaginable in his mind, so he needed those shoes no matter what. The problem was he knew he was not the only one who just had to have those shoes. Arriving as soon as the store opened at midnight, Joey dashed right to the sneaker aisle because he just had to get there first. Unfortunately, taller, bulkier adults were already busy clamoring. Orange boxes with a bold white swish scribbled on the side seemed to fly through the air. He jumped. He reached. He bobbed his sweat glistened head up and down to prevent getting hit. As the crowd cleared, all of the precious sneakers were gone. Up at the top of an eight-foot shelf sat a set of Nike boxes and Joey felt his heart beating fast as hope filled him. Depressingly the only boxes left were the old “Nike XX2 child edition” sneakers, which were released in boring, drab, stinking 2020. His hope died, but he was still determined to find a way. Before him stood a smug arrogant man, who was smirking gleefully. He wore denim overalls and a olive green plaid shirt. Noticing the man’s muddy cowboy boots, Joe felt as if this guy did not even deserve those awesome sneakers, since he failed to keep his own boots clean. “Ha! You lookin’ for the new ‘Air Jordan Kobe XX5 kid siko mo Edition’ sneakers? I got the last one!” the guy boasted. Joey tried to keep cool. He plotted. He planned. Joey knew what he had to do. Expertly, Joey lied because he knew this was his last chance. “No sir, I have no interest in that sneaker, I’m more of a gamer myself, but I was thinking about grabbing those ‘Nike XX2 child edition’ sneakers! They’re just so high on that shelf. Could you grab one for me?” Mockingly, the young man scoffed .“Why would I do that?!” Just get them yourself and besides my hands are full.” “Come on, man, don’t you remember what it was like to be younger and smaller? I can’t reach them and you are so tall! If you do me this favor, I could record it and tell all of my friends and followers about you being my hero! You may have heard of me; I have a YouTube channel with a million followers.” Of course Joey really only had a dozen followers on his gaming channel, but if everything went as planned, this stunt could make him internet famous “Well, that is enticing”, the man contemplated out loud “Are you sure I’d be a famous hero?” “All around the world!” the boy reassured him. “Ok! Well I guess I can help you out,” the man nonchalantly remarked in an effort to hide his excitement at the prospect of going viral. Because the man wanted to show off for the camera, he dropped his box of the precious sneakers down too hard and the top of the box sprang open. Joey scooped up the box and ran toward his bike. As Joey tossed his payment at the cashier, he called back to the shocked man, “Ha! Maybe next Black Friday you won’t believe everything you hear! Thanks for the shoes and for making me a YouTube star!” ©2021 Aiden Rolle. Used with permission.

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Science & Nature Preschool Explorers Discover Antarctica Using Your 5 Senses!(1 Day/Ages 3-6 Yrs) Join us on a 1 day excursion where we will journey on a learning expedition to Antarctica to explore with our 5 senses all that it has to offer! 447 total reviews for this teacher 18 reviews for this class Completed by 97 learners There are no upcoming classes. learners per class How does a “One-Time” class work? Meets once at a scheduled time Live video chat, recorded and monitored for safety and quality Great for exploring new interests and different styles of teachers How Outschool Works There are no open spots for this class. You can request another time or scroll down to find more classes like this. We are going to discover Antarctica using our five senses ! (Don't forget to bring your ingredients for the snack that we will make together too!) * "Good Morning/Introduction" song * Introduce the 5 senses with song: "We Use Five Senses!" Song * Penguin's Snack: (SIGHT, SOUND, TASTE, SMELL, TOUCH) Make a yummy penguin snack with goldfish crackers and 2 other snacks of your choice. (See supply list below) What colors of fish do you have? What other snacks did you choose to put in your... Learners will demonstrate the following skills: (Aligned with the Colorado Academic Standards/Colorado Early Learning and Development Guidelines) SOCIAL DEVELOPMENT: *Social Relationships: Healthy interaction with adult and peers * Self Concept and Self Efficacy: The perception that one is capable of successfully making decisions, accomplishing tasks, and meeting goals. ENGLISH LANGUAGE DEVELOPMENT: * Engagement in English Literacy Activities: Understanding and responding to books, storytelling and songs presented in English. * Expressive Language: The ability to use language. PHYSICAL DEVELOPMENT: * Gross Motor Skills: The control of large muscles for movement, navigation and balance. * Fine Motor Skills: The control of small muscles (utensils, self-care, building and exploring) LITERACY KNOWLEDGE AND SKILLS * Book Appreciation and Knowledge: The interest in books and their characteristics, and the ability to understand and get meaning from stories and information from books and other texts. * Phonological Awareness: An awareness that language can be broken into words, syllable and smaller pieces of sound. * Print Concept and Conventions: The concepts about print and early decoding. * Symbolic Representation: The use of symbols of objects to represent something else. * Reasoning and Problem Solving: The ability to recognize, understand, and analyze a problem and draw on knowledge or experience to seek solutions to a problem. MATHEMATICS KNOWLEDGE AND SKILLS * Number Concepts and Quantities: The understanding that numbers represent quantities and have ordinal properties (number words represent a rank order, particular size, or position in a list). * Number Relationships and Operations: The use of numbers to describe relationships and solve problems. SCIENCE KNOWLEDGE AND SKILLS * Scientific Skills and Method: The skills to observe and collect information and use it to ask questions, predict, explain and draw conclusions. * Conceptual Knowledge of the Natural and Physical World: The acquisition of concepts and facts related to the natural and physical world and the understanding of naturally-occurring relationships. SOCIAL STUDIES KNOWLEDGE AND SKILLS: * Self, Family, and Community: The understanding of one's relationship to the family and community, roles in the family and community and respect for diversity. * People and the Environment: The understanding of the relationship between people and the environment in which they live. CREATIVE ARTS * Music: The use of voice and instruments to create sounds. * Creative Movement and Dance: The use of the body to move to music and express oneself. * Art: The use of a range of media and materials to create drawings, pictures, or other objects. APPROACHES TO LEARNING * Initiative and Curiosity: And interest in varied topics and activities, a desire to learn, creativity and independence in learning. * Cooperation: An interest and engagement in group experiences. *Bring an object to class that represents the Antarctic for "Show and Tell"! *Bring ingredients for snack: Any flavor of goldfish crackers will work + up to 2 other snacks learner likes. Alternatively, learners can also bring snacks that are black and/or white (maybe an Oreo) - like a penguin or an orca! *Wear something that is "Antarctica" related to class! (Warm clothing or clothing with an animal from Antarctica on it!) *All items are optional but are intentionally planned to support learning by using all of our 5 senses in the classroom! *Bring an object to class that represents the arctic for "Show and Tell"! *Bring ingredients for snack: Any flavor of goldfish crackers will work + up to 2 other snacks learner likes. Alternatively, learners can also bring a snacks that are black and/or white (maybe an Oreo) - like a penguin or orca! *Wear something that is "Antarctica" related to class! (Warm clothing or clothing with an animal from Antarctica on it!) *All items are optional but are intentionally planned to support learning by using all of our 5 senses in the classroom! Learners will not need to use any apps or websites beyond the standard Outschool tools. 45 minutes per week in class, and an estimated 0 - 1 hours per week outside of class. Parents may want to be in the vicinity of their learner in case of technical difficulties. Nicole CloutierLicensed Elementary Teacher, M.A. 447 total reviews 671 completed classes Kids have been a part of my life since I was one! From babysitting, camp counseling and working in Early Childhood Educational facilities to teaching all subjects to elementary school children in public/private schools and hospitals, to co-owning...

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Play is a defining feature of human development. The impulse to play is hardwired into who we are, and we spend our lives learning and growing through different stages of play. If we want to use play with intent, it is crucial we recognize that play impulse is one thing and understanding the mechanics behind the act of playing is another. The fundamentals of play are not always so natural and they often require careful planning in the classroom. When we intentionally use play to teach and learn, we will make breakthroughs in our educational experiences. Play-based learning helps engage students of all ages in their education and has cognitive, physical, social, and emotional benefits. In addition, it supports skills like collaboration, communication, and creativity. For teachers, offering play-based learning in the classroom can feel challenging when mandated programs and standardized tests are requirements of many school districts. The key here is finding a balance between academic expectations and the developmental needs of young students. Defining a Play-Based Approach to Learning A play-based learning approach involves both child-initiated and teacher-supported learning. The teacher encourages children’s learning through interactions that aim to bring their thinking to higher levels. For example, while children are playing with blocks, a teacher can ask questions that encourage problem solving, prediction, and hypothesizing. The teacher can also intentionally bring the child’s awareness towards mathematics, science, and literacy concepts. For example: How tall can this get? How many blocks do you need? Can you blow the blocks down? Who else does that? These simple questions elevate the simple stacking of blocks to application of learning. Through play like this, children can develop social and cognitive skills, mature emotionally, and gain the self-confidence required to engage in new experiences and environments. The benefits of play-based learning do not end in the classroom – they stay with us throughout our lives and are a piece of the foundation of who we are and who we become. Understanding the Value of Play When children engage in both real‐life and imaginary activities, play can challenge their thinking. During play, children use all of their senses, convey their thoughts and emotions, explore their environment, and connect what they already know with new knowledge and skills. During play, children test out new knowledge and theories and reenact experiences to solidify understanding. And it is here where children first learn and express symbolic thought, a necessary precursor to literacy. Play is the earliest form of storytelling, and it is how children learn how to negotiate with peers, problem-solve, and improvise. Also, it is in play that basic social skills, like sharing and taking turns, are learned and practiced. Children also bring their own language, customs, and culture into play. They learn about their peers and themselves in the process. Temple University Professor Kathy Hirsh-Pasek, an expert in developmental psychology, said, “Learning how to play teaches collaboration and community building, which aids language development through listening and talking. Language, in turn, is necessary for reading, writing, math, and every subject after. Critical thinking skills are also developed by creativity and innovation learned through play. And play teaches skills such as the confidence to learn from failures.” How Teachers Can Encourage and Promote Play-Based Learning Teachers can enhance play-based learning in their classrooms by creating environments in which thought-out play experiences can happen. Teachers have the amazing ability to understand the nuances of education and how learning works, and they know how to apply different learning methods to each student, one at a time. Teaching children how to learn is a strong need in every grade level, and one approach is not going to work for everyone. Play-based learning is an extremely broad learning method and has the capacity to fluctuate so that every student, regardless of age, gender, ethnicity or educational level, can thrive and flourish. Every student learns through play in a variety of different ways. Some use play to explore the world, others to gain language...the list goes on forever. We have also recognized that play is a natural impulse—like getting hungry, or crying when upset, children play. Educators should learn into this natural impulse and find ways to increase the time spent on play in the classroom. Whether you create centers for dramatic play, bring in costume boxes, explore problem solving with board games, or design your own multiplication board game or even better, have your students design that game, lean into it. If you use what is part of a child’s fabric to enhance instruction and learning, there are no limits.

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What Are the Benefits of Teaching Folktales? Folktales tell a short story based on oral traditions. Add a bit of magic and a moral to the story in which good defeats evil, and the folktale becomes a fairy tale -- a genre of folktale. Teaching children folk stories and fairy tales offers a number of practical benefits, including sharing cultural traditions between generations and exploring important life lessons. Children develop a sense of imagination when reading and studying folktales, and retelling the tales to others helps practice important communication skills. 1 Life Parables and Cultural Bridges Many folktales use morals as an important message or theme. Tales with morals create a foundation to talk with children about important life lessons. Historical folktales written by Mason Locke Weems claim that a young George Washington admitted chopping down a cherry tree to his father, and a youthful Abraham Lincoln walked miles to return borrowed reading books. Both fictional tales present an important life lesson for moral development for young readers in stressing the importance of telling the truth and keeping a promise, even when the action causes distress. Artist Grant Wood recreated the fictional story in a famous painting of Washington with an ax to remind both children and adults of this life lesson. Many cultures share folktales using various story titles and featuring characters with different names. Teaching folktales also shows children that diverse cultures share important traditions. 2 Communication Skills Children learn communication skills by talking with others and by developing an interesting message to attract the attention of listeners. Retold folktales allow young people a way to practice memory skills by learning stories to share with others. Children sometimes add a unique interpretation of the story and give personality to the characters to spin the tale with a personal touch. Reading folktales and listening to tales also helps reinforce the child's basic listening, grammar and vocabulary skills. 3 Literature Foundation Folktales typically have a plot and a core of general and supporting characters. Children listen to story details and learn the story line to share with peers or family members, and this helps develop the child's ability to recall details and to describe personalities and actions. Folktales also help children understand that stories typically have basic elements, including a beginning, middle and an end that leaves the listener with closure. Teachers can build on this story foundation to teach more sophisticated literature. 4 Imagination and Morals Extremely young children accept fictional characters with special or magical skills and talents, and teaching literature through folktales helps children develop a sense of imagination. Folktales give children easy-to-follow examples of storytelling for use in their own fictional writing. Talking about folktales and teaching fairy tales in a formal classroom setting gives the teacher opportunities to explore imagination and reality with children and to discuss the difference between the two different concepts. - 1 University of Virginia Papers of George Washington: Learning About George Washington - 2 University of Chicago Divinity School: What Is a Folk or Fairy Tale? - 3 iEARN: Share -- Folk Tales - 4 Weber State University: Introduction - 5 University of Tartu; Fairy Tales in Teaching English Language Skills and Values in School Stage II; Maria Lepin - 6 Journal of the Imagination in Language Learning and Teaching; The Magic of Folktales for Teaching English and Culture; Planaria Price

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No writer has ever fallen short of words and ideas for long write-ups. Many of them would attest that short writing pieces require more effort, research, and thinking. This is why editing a written piece is more difficult than writing itself. The students won’t understand this at this stage, but you can actually instill smart thinking and writing skills with short assignments. For a fact, students, with all their naiveness, find long assignments difficult. Such tasks also become a nuisance for teachers as grading them is more arduous. Short writing assignments are indeed a win-win for both. When you switch to shorter assignments, your students will feel more excited about completing them. So, here’s how you can make the best use of this opportunity. Experimenting with Brief Assignments While there is no limitation to the kind of assignments you can ask your students to do, you have plenty to explore with brief writing assignments. This is different from long-form ones. Students often turn to an essayservice because working on multiple projects from different subjects at once gets tiring for many of them. These short assignments can do wonders for your class engagement and effective skill development. And more importantly, you can have them complete these tasks in the class while monitoring everyone’s performance in real-time. This does not only saves you time for other errands of your profession but also gives students space for other activities at home. In this article, we will learn about ways to incorporate short writing assignments into your course. Types of Short Writing Assignments The best thing about these kinds of assignments is that you can include them in your class schedule or get them done right after a lesson. Composing an elaborative argument is less demanding than summarizing a chapter in 50-100 words. This activity will push your students to focus more on the theme of the lesson. Initially, you will have to guide students about how they can create better summaries. Once they are equipped with the necessary skills, it will enhance their comprehension and grasping ability in the class. You can show them how they should read effectively while taking notes of important information simultaneously. Then, they should compile the main theme and author’s message in a short paragraph in the most meaningful way. You can increase the intensity of the activity by using longer reading assignments. Your students can excel at writing summaries by reading and giving appropriate attention in the class while you are teaching the subject. Creative Writing Prompt If you want to make assignments more fun and engaging, you can try creative writing prompts for your students. This exercise calls for your imagination and creativity. You can also search the Internet for ideas. Assign an out-of-the-ordinary topic that is related to the concept you are teaching. Ask the students to write a short response to the topic using their imagination. This activity is more advantageous in subjects like history, English literature, political sciences, etc. The kind of topics you may choose are the following. - If your brain were a tangible, physical place, what would it be like? - Finish this statement: “My ideal day begins like this:” - Borrow a character from some other form of media (or create your own). Write from that character’s perspective. You can take some fictional characters to create scenarios and ask students to write a response. Another interesting exercise can be asking your students to prepare one question related to the chapter you are teaching. You can ask them to be as imaginative as they can get and come up with out-of-the-box questions. They have to write the prompt question and its answer in their notebook. Students must know that they are themselves going to answer each other’s questions. Once the lesson is over, have them ask questions one by one while giving time to the class to answer each. You can also create pairs who will respond to each other’s prompts. You will monitor the activity, review random questions and answers, and tailor questions to simplify or make them more intriguing. This short in-class assignment will improve your students’ perspective and critical thinking. You cannot keep the tech-kids away from the Internet, and there’s no reason for you to do that. You can instead turn this into your favor by encouraging your students to create blogs. Have them journal their learning in the blog or assign topics to them. These blog assignments are different from essay writing in many ways. One, they are not structure-bound. Two, the length of the blogs can be as short as 300-500 words. Besides, your students will be more excited to blog instead of completing some boring tasks. With these kinds of assignments, you will help them explore the infinite horizon of the Internet and learn from other resources in addition to what they study in the class. You will also be able to assess the assignments quickly and provide feedback in comments. Do Not Forget the Basics While inducing short assignments in your classes, you should supervise that your students adhere to and learn the basics of writing. With brief writing projects, you can equally pay attention to each student and help them rectify their faults. Grammar, punctuations, tone, style, flow, and structure are important aspects of writing skills. Do not forget to incorporate these factors into your assignments. Replacing long-form writing assignments such as essays and research papers with short ones is a revolutionary decision that you will take in your favor. Giving your students an essay project should not be skipped completely, but loading them such homework every week can get overwhelming for them. With careful selection of tasks and effective execution, you can achieve similar goals with brief writing prompts.

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To fully perceive what someone else is experiencing, you need to be able to empathize with them. You have to put yourself in their shoes and visualize how they’re feeling. By doing this, you let them know they’re not alone and you are their witness: you understand what they’re going through. Empathy is one of the most important skills you can teach a child. Not only will this make them better people and help create an inclusive space for children of all abilities, but it’ll also help them become emotionally aware and let them build meaningful relationships. They’ll also expand their perspective because they’ll be able to examine a situation through someone else’s eyes. Teaching your child how to be empathetic doesn’t need to be an elaborate exercise. Simple tricks and tweaks can really help. Here’s how you can inculcate empathy in your children: Set a good example It’s not effective enough if you simply tell your child to do something. A better strategy? Show your child what you want them to do. Leading by example is one of the best ways to help your child learn something new. If you want your child to be more empathetic, you should teach them what empathy looks like through your words and actions. For example, if you’re at the park and one of the kids gets hurt, you can say something like, “That must be really difficult to bear. I’m sorry you’re hurt. I also always found these cuts and bruises painful when I was your age. What can I do to ease your pain?” If your child sees you empathizing with other people, they’re more likely to remember it and emulate your behaviour instead of mocking someone or laughing at them. Remember: empathy can be taught and your child can learn to consciously embrace it in their lives. Talk to them Cultivate a welcoming environment at home where it’s possible for everyone to talk to each other about their feelings. Your child needs to be tuned into their emotions before they can recognize someone else’s feelings and acknowledge them. Encourage your kid to express themselves and use the right words to identify their feelings. For instance, if they’re being unusually quiet after a long day at school, ask them about it. This may require some prompting from your side. Ask questions like “Are you sad?” or say something like “I had a really bad day last week. You know what helped me? Going for a long walk and getting some fresh air.” Encourage your kid to express themselves. Talking is a simple but powerful tool because it’ll let your child know that it’s OK to say what they really want to say. They won’t need to bottle up their feelings when they’re dealing with negative emotions such as sadness or anger. This will also help them tackle their emotions in a healthy manner without resorting to hurtful methods such as lashing out or throwing tantrums. You can use toys and videos to make this process easier. For example, while watching a cartoon together, if the protagonist seems upset, press pause. Ask your child about the lead character’s situation by using simple questions like “How are they feeling right now?” or “Why are they feeling this way?” It’s essential to give your child room to appreciate and recognize certain thoughts and feelings. This will help them identify with what others are going through and allow them to relate to their situation. Embrace age-appropriate techniques and be patient Consider your child’s age while teaching them about empathy. If your child is younger, it’ll be helpful to use a prop such as their favourite toy to explain the concept of kindness. You could teach them to be gentle and not lash out at their toy when they’re angry or frustrated. For an older kid, you can try a role-playing game that can make it easier for them to understand other people’s perspectives. With teens, you can even prepare a short questionnaire after watching a movie and examine the lead character’s predicament together. You can make notes on how you felt about the protagonist’s situation and compare it with their answers. Always be sensitive to your child’s feelings and avoid showing signs of impatience around them. If they’re feeling extremely low about something, give them a hug and reassure them. Let your child know their emotions are valued and you care about how they feel. Allow them to acknowledge their feelings instead of rushing the process. Make empathy a habit This shouldn’t be an occasional exercise that is implemented when a difficult situation crops up. You should practice empathy regularly at home and make it a daily occurrence in your kid’s life. Positive actions and words can act as reinforcement and motivate your child to do better. If you see your child help someone else, compliment their act of kindness and encourage them to do it again. Have regular discussions with your kid on the topic. For instance, if someone in your social network is going through a tough time, talk about that and say, “This isn’t an easy time for them. They’re very sad right now. How can we help them feel better?” You can use books to introduce them to empathy as well. A good option is “Come With Me” by Holly M. McGhee that revolves around a little girl trying to contribute to the world in her own way after feeling inspired by her parents’ acts of kindness. Be mindful about introducing your child to a diverse, multicultural environment whenever possible. Being surrounded by people from varied backgrounds can really help your kid practice empathy and appreciate how different lives are led. You can even make sure they’re exposed to popular culture from other parts of the world instead of books and music from their home country. Positive actions and words can act as reinforcement. Empathy doesn’t have to be limited to people. It applies to animals as well. Talk about how pain is universal and animals feel pain just like we do. In a children’s book, “How to be a Lion” by Ed Vere, Leonard, a lion and his closest friend, Marianne, a duck, choose kindness and friendship over everything else when they’re forced to tackle mean bullies from the jungle. Read such stories to your child and encourage them to ask questions about the plot, the characters and their experiences. Urge them to think about what they’ve learned from the storytelling session. Promoting empathy and raising a considerate child isn’t impossible. It requires a bit of mindfulness, a loving environment, regular practice and great role-models. Do not underestimate the power of words and encourage your child to choose their words wisely whenever they talk about someone. This will help children be kinder and more empathetic whenever they have to confront a new situation.

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This post was written by educator Emily Vizzo. Many teachers found themselves teaching online for the first time when COVID-19 shut down schools last spring. Making that transition from classroom to online learning may feel overwhelming, but evidence-based practices, teaching strategies, and professional intuition still translate to a virtual environment! Having high-quality, age-appropriate, and interesting resources at your fingertips can help keep students engaged, even when you aren’t physically together in your classroom. I’ve spent the past four years developing my distance education pedagogy. Here are some of the resources I’ve found most helpful to keep students engaged from behind their screens: Keeping Up with Current Events This past spring, coronavirus was top of mind for nearly all of my students, and misinformation abounded. We used National Geographic resources like the C.M. Tomlin article, “Facts About Coronavirus,” to help make sense of current events. Examining high quality, developmentally-appropriate expository text helped students access essential information about the pandemic during synchronous 45 – 60 minute live sessions. As students volunteered in the chat box, I would invite them to read. I’d also read sections aloud so that students could experience my flow and cadence while following along and developing their listening skills— just like in a traditional classroom. Close Reads, Text Features We also used National Geographic resources for close reads and to analyze text features. For example, in “Facts About Coronavirus,” we talked about the etymology and root word for complex vocabulary such as “zoonotic.” We examined the page’s text structure, organized in Q&A format, and discussed why this was an effective choice. We talked about POV, and why Tomlin might have opted to address readers directly with the second-person “You.” We talked about Tomlin’s reference to the World Health Organization and how threading high-quality resources into writing boosts credibility. We looked at Tomlin’s asides (parenthetical and via hyphen/em-dash) and use of humor — with sentence fragments like “Nope.”— to create a friendly, assuring tone that made dense scientific content more accessible. Thematic Units of Study We incorporated National Geographic resources into monthly themes, too. In April, most of our humanities-based live lessons focused on climate change in honor of Earth Day. We read an interview with Jane Goodall and watched NatGeo videos like this one and this one. (To tie in high-quality external resources and current events, we took a look at this New York Times article about Jane Goodall sheltering in place during the coronavirus). We read this Rose Davidson article about the history of Earth Day, reading the introduction together and then finishing the article silently. (I kept time in the chat box to keep us focused.) Students then shared into the chat box or turned on their mic to identify which earth-saving tip they planned to implement. In another example, students silently read this article about Greta Thunberg and then we came back together to share a surprising fact. Online sessions can be harder to manage than in a brick-and-mortar classroom because if you’re working in a platform where students’ cameras are off, students don’t have cameras, or students have chosen to keep their cameras off, observing shifts in student engagement is tough. Though I often released students for substantive independent work, I also included mini brain breaks throughout the lesson — 1-2 minute entertaining activities that helped keep the flow of our time together varied. We took this Personality Quiz to see what kind of “planet protector” we might be. NatGeo’s “Weird But True” videos also made great brain breaks (we always shared out afterward!) as did games. Because National Geographic has a platform designed for adults as well as the platform for students, we sometimes examined similar content from both websites and talked about the ways that vocabulary, voice, information, or story structure differed. We examined Joel Sartore’s Photo Ark on the National Geographic Kids site — clicked through the slideshow, watched the embedded video, and watched Kwame Alexander read from Animal Ark. Then we examined the portrayal of Photo Ark on the traditional National Geographic site, noting the more complex page layout and higher level vocabulary present, the social media connections, conservation courses, and donate button! Citizen Science, Service Learning As part of our enrichment programming we offered a citizen science certificate for students completing requirements for our school’s participation in the Thanksgiving Monarch Count to help document monarch overwintering populations along the California coastline. Students read the article “Why We Need to Protect Monarch Butterflies” by José Andrés and “Monarch Migration Mystery” from the National Geographic resource library. We also watched the NatGeo short video, “How to Create Your Own Monarch Butterfly Rest Stop.” Students completed writing assignments, created a piece of art, and crafted a public service announcement to increase awareness. Finally, students participated in the Thanksgiving Monarch Count, submitting their data and photos to working scientists. Students uploaded photos through iNaturalist or the Western Monarch Count, and some opted to use the Monarch SOS app. In studying the work of National Geographic Explorers, students learned about career opportunities. We watched videos from the Best Jobs Ever catalogue, discussing what leadership traits or academic skills might be needed for different paths. Students loved our experience with National Geographic photojournalist Hannah Reyes Morales. We learned about Morales via video and studied her powerful images in The Atlantic documenting child boxers in Cambodia as well as other photos. We talked and wrote about digital storytelling, composition, and what makes an effective photo. Eventually students created and shared their own photos. When we received our special message from Morales, students were thrilled that she invited them to contact her on Instagram to ask career-related questions. Looking for more resources for your students? Visit National Geographic Education’s Resource Library for free lesson plans that are relevant to all content areas for PK-12 learners. Feature image by Rebecca Hale

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Who invented intersectional feminism? professor Kimberlé Crenshaw How does the Philippines fare on gender equality? While it appears that the Philippines is faring better than most other countries in gender equality (not only from the WEF indices, but also among other international assessments), there remain stubborn glass ceilings in representation in high-level decision-making positions and high levels of vulnerabilities to … What is the outsider within? “outsider within,” defined as a person who has a “particular knowledge/power relationship, one of. gaining knowledge about or if a dominant group without gaining full power accorded to members of that group” (Harrison 2008: p. 18). What is intersectionality and how is it relevant to the Philippine feminist movement? Intersectionality is a term used to describe how different factors of discrimination can meet at an intersection and can affect someone’s life. Adding intersectionality to feminism is important to the movement because it allows the fight for gender equality to become inclusive. What are the five principles of critical race theory? The Five Tenets of CRT There are five major components or tenets of CRT: (1) the notion that racism is ordinary and not aberrational; (2) the idea of an interest convergence; (3) the social construction of race; (4) the idea of storytelling and counter-storytelling; and (5) the notion that whites have actually been … What is quid pro quo harassment? Quid pro quo sexual harassment occurs when an employee’s supervisor, manager, or other authority figure offers or suggests that an employee will be given something, such as a raise or promotion, in exchange for some sort of sexual favor. … Is intersectionality a social theory? While intersectionality helps shed light on contemporary social issues, Collins notes that it has yet to reach its full potential as a critical social theory. She contends that for intersectionality to fully realize its power, its practitioners must critically reflect on its assumptions, epistemologies, and methods. What does intersectional harassment mean? Intersectional harassment is defined as harassment that’s committed on the basis of multiple identities. African-American women, for instance, are subject to a greater rate of sexual harassment than Caucasian American women, presumably due to their marginalized racial and gender identity. Who fought for feminism? Mary Wollstonecraft, Susan B. Anthony, Alice Stone Blackwell, Elizabeth Cady Stanton, Emmeline Pankhurst, Sojourner Truth. An outspoken political activist, writer and social theorist, in 1949 de Beauvoir wrote The Second Sex, an ahead-of-its-time book credited with paving the way for modern feminism. Why is there a feminist movement? The movement arose partially as a response to the perceived failures of and backlash against initiatives and movements created by second-wave feminism during the 1960s, ’70s, and ’80s, and the perception that women are of “many colors, ethnicities, nationalities, religions, and cultural backgrounds”. What are the 4 interconnected domains of power identified in Patricia Hill Collins discussion of intersectionality? Injustices occur because intersectional identities exist in and through four domains of power: structural, hegemonic or cultural, disciplinary, and interpersonal. These four domains of power, known as the matrix of domination, show how “intersecting oppressions are actually organized” (Collins 2000, 18). What does intersectionality mean in simple terms? Intersectionality is a framework for conceptualizing a person, group of people, or social problem as affected by a number of discriminations and disadvantages. It takes into account people’s overlapping identities and experiences in order to understand the complexity of prejudices they face. What are the four domains of power? Second, intersecting systems of oppression are specifically organized through four interrelated domains of power: structural, disciplinary, hegemonic, and interpersonal. The structural domain consists of social structures such as law, polity, religion, and the economy. What characterizes the matrix of domination? The matrix of domination or matrix of oppression is a sociological paradigm that explains issues of oppression that deal with race, class, and gender, which, though recognized as different social classifications, are all interconnected. Who fought for women’s rights in Philippines? A visit to Manila in 1912 by two suffragettes, Dr. Aletta Jacobs from Holland and Mrs. Carrie Chapman Catt from the United States, turned the focus of women’s organization to suffrage. Does Philippines have gender equality? The report shows that the Philippines has closed 78% of its overall gender gap, garnering a score of 0.781 (down by 1.8 percentage points from . 799 in 2019). With this, it ranked 16th out of 153 countries with the narrowest gap between men and women, dropping by 8 notches from its place last year. How do you use the word intersectional? Add the suffix “al,” and you have the adjective “intersectional,” existing between sections or relating to an intersection. Make “intersectional” into a noun, and you have a sports tournament.

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If your student enjoys watching movies, we just made it easy for you to incorporate them into your curriculum. We have dozens of guides— each of them falling within a specific time in history. All of the guides contain ten educational activities that build upon the movie. The guides are movie specific. We tell you exactly which movie we used, and almost all are available thru Netflix. Most you can probably get through your local library. So you don’t even need to buy the movie to use our guides! Each guide starts out with a topic overview. This overview provides the student with more information regarding the specific time period in which the movie is based. Next is a movie synopsis. The synopsis will assist the student in understanding what is going on in the movie and how relationships, situations, and events all relate together. The first activity is always review questions. We recommend the student answer these as they watch the movie. We want to be sure they are paying attention and being an active learner versus a passive viewer. The next several activities all build around the historical time of the movie. The questions in these activities may be more about the people or events that happened in the movie. These questions cannot be answered from watching the movie. (We all know you don’t get accurate facts from a Hollywood movie.) The student will learn research skills because he will need to use either the library or the internet to properly answer these questions. Some of the activities involve writing an essay. For example, in the Scarlet Pimpernel the student is asked to write a one page essay condemning or condoning the actions of the Scarlet Pimpernel. So the student is learning research and writing skills during the process. Each guide also contains at least one hands-on activity, a worldview activity, and The Filmmaker’s Art activity. The hands-on activities for the active learner vary depending on the guide and include activities such as creating a treasure hunt, completing an art project, or planning and making a meal for the family. The worldview activity helps the child to understand the movie’s worldview. This activity is not to impress on the student our personal worldview, but to get the student to think critically through what he believes and what is being presented in the movie. Family discussion questions also develop this critical thinking from the worldview promoted within your family. The Filmmaker’s Art activity helps the student recognize the tools being used to influence the viewer. The various guides discuss how filming techniques, music, lighting, humor, character development, irony, foreshadowing, and even character names are used by the director and producer to influence the viewer to get their agenda across. We want the student to be able to discern not only the agenda of the movie, but also how they are being influenced by it. The goal is that when the student goes to the theater and watches Harry Potter or Avatar or Happy Feet, he walks out not thinking it was an entertaining movie, but understanding the bigger message behind each film. We recommend the student completes two activities per day, taking a week to complete. Z-Guides are meant to supplement your current history curriculum. They are not intended to replace your core curriculum for history. And yes, answers are provided for all of the questions. We tried to make it as easy as possible on you. We understand that each family has a different standard as to what they feel is appropriate to view in regards to language, violence and sexual content. Before purchasing a Z-Guide or movie we strongly recommend that you read a review on the movie. A good site is Plugged In. They offer a full review of hundreds of movies. The reviews include: positive elements, spiritual content, sexual content, violent content, crude and profane language and other negative elements.

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Paul Laurence Dunbar PAUL LAURENCE DUNBAR Renowned African-American poet, Paul Laurence Dunbar rose from a poor childhood in Dayton, Ohio to international acclaim as a writer and as an effective voice for equality and justice for African-Americans (Howard, Revell). He met and associated with other historical men such as Fredrick Douglass, Booker T. Washington, and his Dayton neighbors Orville and Wilbur Wright (Harvard, Columbus). Dunbar’s personal story, as well as his writings, are still an inspiration to all Americans (Poupard). Dunbar was born June 27,1872 in Dayton, Ohio to Matilda and Joshua Dunbar, former slaves from Kentucky (Van Doren 296, Columbus). Their family was extremely poor because Joshua was not able to get a job. Racism was still strong in Ohio even though slavery was against the law at the time. To help their parents, Paul and his two half-brothers did chores like gathering firewood, raking leaves, and cutting grass (Howard). Matilda always provided inspiration to her children by reading to, supporting, and encouraging them to be creative. She loved storytelling, songs, and poetry. This affected Paul throughout his life, and it was she who instilled in him the desire to achieve (Columbus). Dunbar’s parents separated in 1874, after having two children. In spite of this, Paul was still able to achieve. He wrote his first poem at age six and recited publicly at age nine (Howard). His first public reading was on his birthday in 1892. After Joshua left, Matilda was forced to work in Dayton as a washerwoman to support her family (Columbus). Joshua died when Paul was just twelve years old (Poupard). The death of Joshua only strengthened the bond between Paul and his mother (Revell). Dunbar was very popular among his classmates at Central High School. He was the only Negro in his class and was a member of the Literary Society, editor of the student publication, and composer of the class song at his graduation (Van Doren 296, Columbus). Dunbar’s first published poem was called Our Martyred Soldiers. It appeared in the Dayton Herald on June 8, 1888. In 1891 Paul graduated from Central High School (Revell 11-12). After graduation, Paul had to work as an elevator boy in Dayton’s Callahan Building and later as a page at a Dayton court house(Revell 11 ). He was forced to work at places such as these because some businesses were reluctant to hire him because of his race (Columbus). Dunbar’s first poetry collection, Oak and Ivy was published in 1892 (Howard). Oak and Ivy consisted of fifty-six poems, thirty-six of which were later discarded by Dunbar (Revell p.29) To help pay for the publishing fee and printing supplies he sold the book of poem to customers who rode the elevator for $1.00 (Columbus). meanwhile he continued writing for various national newspapers and magazines for a little extra income. Paul quickly achieved a reputation in his hometown as a poet and frequently was invited to recite his works for various clubs and organizations. Many times people would recommend his books to friends, spreading word of his talents (Howard). In general, Dunbar’s poetry was accepted and well-liked (Poupard). This landed him an invitation to recite his poetry at the first World’s Fair at Chicago in 1893. Here, he worked as clerk at a Haitian pavilion where he met Fredrick Douglass and other black speakers and writers (Revell 102). Douglass called Paul Laurence Dunbar The most promising young colored man in America. (Howard). 1895 brought Dunbar’s move to Toledo, Ohio and the publishing of his second collection of poetry, Majors and Minors (Columbus). Eleven poems from Oak and Ivy were printed in Majors and Minors. (Revell, p.224). It’s publishing was financed by his friends Dr. Henry A. Tobey and Charles H. Thatcher, an attorney. Majors and Minors caught the attention of a famous literary critic William Dean Howells. Howells’ favorable review of Dunbar in the Harper’s Weekly made him nationally known overnight (Columbus). Howells pointed out that in history Negros have been gifted and successful in music, oratory, and many of the other arts, but Majors and Minors was the first instance of and African-American who had evinced innate distinction in literature (Poupard). Following Howells’ review, New York publishing firm Dodd-Mead and Company combined Dunbar’s

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Teaching students how to summarize a text is important… So important that it is part of the CCSS reading standards for literature and informational texts beginning in grade 4 and continuing (with greater rigor) through grade 12. As educators, we know why summarizing will help students: - improve reading comprehension - filter main ideas from details - follow arguments - identify key points - understand theme - differentiate fact from opinion - analyze texts But what are ways to actually teach summarizing? You’ll find 7 strategies in the video below — but don’t forget to keep reading for 5 more ways to teach summarizing! (lots of options, but no math required!) Watch these 7 summarizing strategies Ready for more? Read on for five ways to teach summarizing skills. 1. Use the right texts Students can’t summarize what they can’t comprehend. Be sure to provide scaffolding for students who need it — graphic organizers, comprehension questions, multiple readings, breaking down difficult passages into small sections — whatever it takes. Don’t ask your students to summarize something they don’t understand. Use texts you know your students can read. Even using a picture book can break down the concept of summarizing for students who are struggling. 2. Use a mentor text for the year Have you read the original Wonderful Wizard of Oz by L. Frank Baum or The Call of the Wild by Jack London? Using just the first chapter of one (or both) of these books can help students really dig into summarizing (and so much more, but that’s for another post!). Because both of these texts are in the public domain, you can print an excerpt or provide students with a digital link. Bringing students back to the same text throughout the year gives them more than just an opportunity to summarize. It also: - provides you with a way to help students analyze the writer’s craft - deconstruct how the writer organizes ideas - analyze paragraph and sentence structure - look at character development When you use a mentor text to help students summarize, you can refer back to it again and again as the year progresses — students have a reference point. Don’t forget that your mentor text can also be used in your book clubs or literature circles. This allow you to build a foundation as a class with the text. 3. Have some fun with it What would happen if you challenged your middle school students to summarize a Captain Underpants or Diary of a Wimpy Kid book, or a favorite comic book? Are middle school students ever too mature for Captain Underpants?! Ummm…no. Not only will you be tapping into a bit of nostalgia for them, you can introduce the question “what is the big idea” in the story? Students will need to filter out the silly details to get to the main ideas of the text. Additionally, short chapter and easy-to-read books like these make a great opportunity for students to look at the elements of the plot. Because there aren’t big sub plots, the main points will be clear to your students. 4. Use short film, TV, or commercials Who can resist this iconic I Love Lucy episode? I love this episode of I Love Lucy. Not only is it a classic, it is perfect for helping students practice summarizing. What’s going on here? What’s the problem? What are the big ideas of the scene? Again, students will have to filter out the details and get to the heart of the events. Another reason to love short video clips: - you can view them with your students multiple times. As I mention in teaching characterization post, students can view first for understanding and then again to analyze. - students LOVE watching old TV shows and commercials! - so much is left unsaid that students must inference what’s happening. Just watch Lucy’s face as the conveyor belt speeds up! - students can practice the same skills with different videos — as they gain confidence, they can transition to texts. 5. Create a graphic novel page I love using graphic novel styled pages to help students practice summarizing. Most graphic novels and comic books that the story through the pictures and dialogue — and the big ideas of the story are featured. That’s where using comic book or graphic novel pages can help your students practice summarizing: - start by analyzing a few pages of a graphic novel. Students will notice that the story is told in a much different way than a traditional novel or short story. - students will notice that if the story were written out, it would be much longer and require more details. For example, the writer would want to include what the character was doing or feeling. The writer might want to describe the setting or the action. In a graphic novel, the author illustrates this. - now flip the concept. Provide students with a short text and graphic organizer. If they were going to make a graphic novel from the text, what would the panels be? Before having students actually create the graphic novel page, be sure they understand the big ideas that they’ll be illustrating. - allow students to use their ideas to create a graphic novel page. Since students will only have a limited number of boxes on their graphic novel page, they are limited to just the big ideas. They must convey the story succinctly — they must provide enough detail to tell the story, but not get bogged down. The heart of summarizing! Need more help? You can use my Summarizing Activities: Create a Graphic Novel to support this lesson. Students can use the texts, graphic organizers, and graphic novel blank pages to practice their own summarizing skills. Reasons this works - students love analyzing short, silly texts and videos! - multiple opportunities to practice summarizing skills in a relaxed way. - easy to practice multiple times with a variety of texts — really strengthening student skills. - additional benefits include inference practice, character and plot analysis, discussion, and problem solving. What do you think? Would your students love creating a visual summary? Would they respond to videos or how would they feel about summarizing a primary-school favorite like Captain Underpants? I’ve got you covered with these ready-to-use resources:

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2nd Grade Curriculum Overview Text: Treasures. The McGraw-Hill Companies, Inc. 2011; Leveled Readers; Novels Primary Units: Fluency; Comprehension; Genres; Phonics; Vocabulary Skills taught: Reading strategies – decoding/phonics; word bits; parts; self-correcting Comprehension strategies – predicting; context clues; visualization; sequencing; synthesizing inference;rereading; story mapping; non-fiction reading/writing Skills – Cause effect; details homophones; synonyms; antonyms; following directions; time lines abc order; fantasy; poetry; prefixes; suffixes. Teaching methods and resources used: Promethean Interactive Boards, iPads/Chromebooks, Leveled Readers (F-P); shared reading; shared writing; shared literature; read alouds; teacher read alouds; word wall activities; guided Reading groups; Book Clubs; literacy centers; choral reading; phonics series; oral language presentations; DEAR time; books on tape/CD; reading response notebooks ; STAR Reading Assessment; novels; poetry; newspapaer/magazine articles; music; storytelling Text: Treasures. The McGraw-Hill Companies, Inc. 2011 Primary Units: ABC order; action verbs; adding ed; adjectives; antonyms; book reports; centers; commas; comparing adjectives; compound words; editing marks; following directions; friendly letter; helping verbs; homophones; how-to sentences; interactive writing; listening; main idea; months of the year; naming parts of a sentence; nouns; parts of a story; poetry; punctuation; quotation marks; retelling; sentences; subject and predicate; synonyms/antonyms; thank you notes; troublesome words; verbs; writing a complete sentence; writing paragraphs; word wall Text: Treasures. The McGraw-Hill Companies, Inc. 2011 and Phonetic Connections Benchmark Education Company 2011 Primary Units: Short vowels; long vowels; consonant digraphs; consonant clusters; words with silent consonants; words with /j/, ist, /kl/ and /kw/; plurals with es; contractions; words that end in –s, -es and -ies Skills taught: Looking for patterns; word bits or parts; base or root words; alphabetical order Teaching methods and resources used: Alphabet letters; word wall; computers; dictionaries; pocket chart; and computers Text: Saxon Mathematics New concepts are developed through hands-on activities that engage students in the learning process. Concepts are introduced, reviewed and practiced over time. Students move from the concrete to the pictorial to the abstract. Saxon capitalizes on daily mixed practice, frequent assessments, daily homework assignments and opportunities for students to make concrete connections to everyday life. Text: People We Know Houghton Mifflin Harcourt Publishing Company. 2009 Primary Units: Living in a Community; Our Government; Looking at the Earth; Learn about People; Past and Present; People at Work Skills Taught: map keys; directions; continents; oceans; goods; services; needs; wants; voyage of Columbus; cities; suburbs and country; landforms; celebrations of other cultures; American symbols; black history, Martin Luther King, Jr., Rosa Parks; women’s history; biographical information; chart and graph skills; citizenship skills; map and globe skills Teaching methods and resources used: Promethean Interactive Boards, iPads/Chromebooks, Make gloves; use clay to form landforms; field trips to places in the community; maps; globe; peer tutoring; public library and school library books; video tapes; guest speakers; songs; non-fiction books and magazines Text: MacMillan McGraw Hill Science 2005 Primary Units: Life Science: Plants and Animals; Life Science: Homes for Plants and Animals; Earth Science: Changes on Earth; Earth Science: The Sun and Its Family; Physical Science: Matter and Energy; Physical Science: Watch It Move Skills taught: Parts of a plant; how seeds are scattered; magnet poles; attract and repel; food chain; evaporation; food pyramid; habitats; conservation; rocks and minerals; fossils; sun, moon and earth; day and night; seasons; earth and moon movement; force and motion; sound; volume; pitch; light and heat; senses; caring for your teeth; how your body uses food; why you need water; a healthful diet. Teaching methods and resources used: experiments; manipulatives; videos; science book; worksheets that reinforce topics and skills. Text: Be My Disciples RCL Benziger: 2014.

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By Asiya Jawed When we imagine humanitarian relief in emergency contexts, we automatically think about the people's basic needs, which include food, water, shelter, and clothing. However, people live in a state of emergency post-political unrest and turmoil for several months and years - sometimes even decades. This is when essential health and education interventions are carried out in emergency contexts. Due to the Western-rooted public imagination and skewed media, we tend to alienate individuals and communities living in emergency settings by thinking of them as ‘distant others’ who are going through certain human rights violations. Therefore, the solutions for people living in emergency settings are also very restrictive. Political leaders often refer to human rights violations to justify their specific policy measures. These can be used in debates around migration, poverty, and armed conflict. However, such policies are designed and implemented without any dialogue with the people whose rights are taken into consideration. Human rights are a powerful ethical idea and a moral notion - they demand that governments meet certain obligations and adhere to specific standards when dealing with people. Creative and arts-based strategies can prove to be a great tool when connecting with people to discern their problems. These strategies, in turn, can also result in healthy coping mechanisms and promote communal conversations and social cohesion. Sociologist Nick Stevenson (2014) argues that careful thought and consideration need to be given to encouraging a culture of human rights through more educated forms of dialogue and concern. These dialogues, through creative interventions, can question those with political and economic power, which can ultimately help ensure that human rights are adhered to. Understanding Cultural Realities and Contexts Article 27 of the Universal Declaration of Human Rights states that everyone has the right to freely participate in the community's cultural life and be able to enjoy the arts. Cultural rights cannot be separated from human rights, which means that individuals and communities have the right to express and exchange their thoughts, emotions, and feelings through arts-based practices. Using art strategies is a form of culture-making as they help reveal and enhance the underlying identity—the unique meaning, value, and character of the social state of the community. When we begin to understand communities through a cultural lens, we can truly understand their specific social phenomenon and work towards social justice through creative/arts-based strategies. Arts play an essential role in creating a ‘culture of human rights.’ These strategies can enable individuals living in emergency settings to engage with ideas about what constitutes their rights. International interventions that aim to achieve peace in conflict-ridden regions have a negative track record because of their detached praxis. One of the main problems with the international actors is reaching out and connecting with local communities and leaders who are vital in transforming societies and enabling lasting peace. Every community has its own form of expression, and no art form is particular to one community. Giving autonomy to communities while using arts-based participatory research helps de-colonise this methodology. It challenges hierarchies, fosters pluralism, and increases multi-vocality rather than promoting a one-dimensional white savior perspective. De-Colonising our Alleviation of Trauma Using the arts to alleviate trauma is a re-discovery of an old cultural phenomenon. The ritual of art in grieving and healing is already a pertinent practice in North American and Canadian indigenous communities. They have acknowledged the healing power of visual art, drama, music, and storytelling, while the western world’s recognition of the therapeutic benefits of the arts is more recent. Therefore, there is a lot to learn from indigenous communities’ healing practices. The Aboriginal Healing Foundation recently completed a study of the use and benefits of creative arts in First Nation, Inuit, and Métis healing programs throughout Canada. This study presents compelling evidence that creative arts, culture, and healing are all linked — to each other, indeed, and also linked to the idea that, when given the freedom to choose, community-based healing programs overwhelmingly include creative arts. Cultural activities and interventions included storytelling and traditional knowledge shared by elders, language programs, learning traditional art forms, drumming, singing, and dancing. Arts-based strategies have been scientifically proven to improve the mind-body health of individuals living in emergency settings. Art therapists have observed that it is difficult for individuals to talk about their traumatic experiences due to the overall stress and emotional pain of recalling the events. However, art forms that do not require verbal recollection, like drawing or painting, can help “make the invisible visible,” which proves to be essential to the recovery process. Music and movement are other practical arts-based tools for managing traumatic stress because of their soothing repetition, enabling affected individuals to own their stories and tell them in ways that replace the trauma narrative. Interventions can incorporate culturally resonant arts to the people affected by understanding how the community makes sense of their emergency context and what activities they perform as a community to self-soothe. For example, during the Six-Day War, Palestinian women had to stay indoors to protect themselves, so they started using Palestinian embroidery to reduce stress levels during the emergency. Understanding a community’s spiritual and cultural beliefs, where they find meaning, can help organizations develop arts-based programming that speaks more to them — and in turn, help them regain their voice. For instance, in the months and years following a 7.8 magnitude earthquake that hit Nepal in 2015, numerous forms of community art rose from the rubble, such as urban murals, spoken word poetry, public dance performances, and sacred art. Community art proved to be a relief and coping mechanism through the creation or observation of art. It was used as a means of communication, both as a tool for promoting connections and conversations in the community and cultivating messages of hope. And they were lastly, serving as a tool to create physical and emotionally safe spaces. The Need to Create and Hold this Space Initiatives that engage artists and affected communities in arts-based activities can improve overall health outcomes. Therefore, development programming should be promoted in emergency contexts by funding support and developing partnerships with grassroots artists and creative organizations. The International City and County Management Authority (ICMA), in its 20 years of experience across four continents, has found that using art-based strategies is key to increasing public involvement in planning and implementation in community recovery efforts. They believe that one of the most overlooked yet vital roles in emergency management is the role of the artists as they can (i) implement creative strategies to share community insights with policymakers, (ii) facilitate opportunities for community members where they can outline their own needs and (iii) overcome language and cultural barriers to strengthen communication and create solidarity. On this year’s World Social Justice Day, VOICE promotes arts-based work in emergency contexts where affected communities are encouraged to interact through artistic expressions rooted in their cultures. This will help them curate a safe space to reflect on their situation, express their fears and grievances, and develop coping strategies in an emergency situation to realise their human rights and imagine futures they want to live in. Asiya Jawed is an interdisciplinary researcher and writer based in Karachi, Pakistan. She explores space, power, gender and civic activism through qualitative methods. At VOICE, she is developing a strategy to inculcate creative practices in the organization’s internal and external work.

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When it comes to storytelling, the primary concept is the overarching, unifying aspect that binds together all of the other parts of fiction that the author use to convey the tale. This can be best defined as the prevailing impression or the universal, general truth that can be discovered in the tale, depending on your perspective. What is the best way to write the core concept of a story? - Try to encapsulate the primary notion in your own words in the third step. In most cases, it should not take more than one or two words to communicate the essential concept of a tale. Anything more than that indicates that you’ve either missed the primary idea or that you’re emphasizing things that aren’t essential. What are key ideas? a key or central notion in a paragraph or larger portion of writing that informs the reader about the subject matter of the paragraph or section Identify the key theme in each. How do you identify key ideas? Identifying the essential notion - Paragraphs, at the start of each paragraph The opening sentence of a paragraph frequently provides background information on the subject matter being addressed in the paragraph - the ending phrases of a paragraph frequently summarize the topic being discussed in the paragraph. The primary concept can be stated as a summary of the information included within the paragraph, as well as a link to the information contained inside the following paragraph. What are key ideas in a book? The central concept is what the book is mostly about. The message, lesson, or moral of a book is referred to as the theme. The core concept and topic of every book may be determined by asking important questions before, during, and after reading it! Are key ideas the same as main idea? The “key thought” that is being communicated is the central idea. Every paragraph has a central notion or central idea. The main idea of a paragraph is the most crucial piece of information that the author wants you to know about the notion that paragraph is attempting to communicate. While writing, authors have a specific concept in mind that they are attempting to convey to the reader. Why are key ideas important? What is the significance of identifying the primary idea? Finding the primary concept of a piece of writing is essential to understanding what you have read. The core concept is the thread that runs through all of the sentences of a paragraph or article. All of the other information in the reading should fall into place after you’ve identified the key topic. How do you teach main ideas and key details? There are nine strategies you should be employing to teach the main idea. - Begin by creating an Anchor Chart. Use pictures. Emphasize titles. Observe the first and last sentences on anchor charts. These are some of my favorite things to do in the classroom. Compare and contrast the supporting details to the main idea by employing key words. Make use of examples and non-examples. Organize information according to importance. What are key details? a word or phrase that conveys critical information about an event, such as who, what, when, where, and why it occurred. a term or phrase that provides us with a hint as to the meaning of an unfamiliar or unfamiliar word What are examples of central ideas? The Overarching Concept - In writing, the primary concept is the “main point,” or the most essential notion that the writer is delivering to the reader. Often, just by glancing at the title, the reader can figure out what the major point is. If a paragraph is named “Why Students Should Have Less Homework,” for example, it will provide arguments in support of that position.

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Metes and Bounds Updated: Oct 15, 2019 Before The Public Land Survey System was established in the newly formed United States, the eastern colonies were mapped using a variety of methods deployed by the English. The primary one was ‘metes and bounds’, a system that uses physical features of the local geography to define and describe the boundaries of a parcel of land. With the Public Plan Survey you had lines drawn arbitrarily upon the landscape, absent of topography or human or natural features. With metes and bounds you describe the land in a running prose style, working around the parcel in sequence, from a point of beginning, returning to the same point. The perimeter then is dependent upon natural features, man-made monuments, trees or neighboring property lines. As you can imagine then, surveying was a subjective process open to interpretation by the person or persons producing the document as well as open discussion to the persons abiding by the document. Metes. Refers to a boundary defined by the measurement of each straight run, specified by a distance between the terminal points, and an orientation or direction. Bounds. Refers to a more general boundary description, such as along a certain watercourse, a stone wall, an adjoining public roadway, or an existing building. "beginning with a corner at the intersection of two stone walls near an apple tree on the left side of Muddy Creek road one mile above the junction of Muddy and Indian Creeks, right for 150 rods to the end of the stone wall bordering the road, then 90 degrees along a line to a large standing rock on the corner of the property now or formerly belonging to John Smith… In modern day deeds the direction is described not by a clockwise degree measure out of 360 degrees, but instead by a direction north or south followed by a degree measure out of 90 degrees and another direction west or east. It looks something like this: “COM AT E 1/4 POST OF SEC, TH S 1 DEG 05′ E 112.42 FT IN E LINE OF SEC, TH S 66 DEG 08′ W 702.70 FT IN CENT OF HWY FOR PL OF BEG, TH S 14 DEG 06′ E 850.03 FT, TH S 66 DEG 09′ W 244.27 FT, TH N 22… Metes and Bounds proved to be difficult to adhere to over time. The landscape itself evolved and changed over time. Trees died, creeks dried up, buildings were removed. The land was dependent upon tradition and long-term use. The landscape then was more integrated to what was present, real, and tangible. In many cases they were tied closely to community, history, even legend. Imagine a map based on storytelling. A landscape composed of descriptions. Of Note: The eastern, or original states, continue to use the metes and bounds surveys of their founders. This system was imported to the original colonies that formed the United States. It is also used in some states that were previously part of one of the Thirteen Colonies, or where land was allocated before 1785. These include West Virginia, Kentucky, Maine, Tennessee and Vermont. Because Texas was an independent republic prior to statehood, its land system is primarily metes and bounds.

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SPECIAL SECTION- DIFFERENTIATION "The common theme that seems to have emerged from a number of literacy leaders such as Burkes & Yaris, Fountas and Pinnell and Calkins is that a child is not a level." A PICTURE Really is Worth a Thousand Words Julie Bryant and Tamara Samek lliteracy and comprehension in our students. When adults question children about their interpretations of illustrations in picturebooks and discuss their responses, it can help children interpret visual messages (Mantei & Kervin., 2014; Marciano, 2002; Serafini, 2014). Guiding students in activscaffolded conversations that involve teachers asking divergent (higher level) questions, leads students to deeper understanding of the illustrations (Marzano, Pickering, & Pollock, 2001; Gillenwater, 2014; Yu, 2009). Children strengthen their visual literacy as they listen to their peers’ responses and hear other perspectives and thinking modeled. When considering pictures vs. alpha characters, other benefits become prevalent. WPB offer students time to think more deeply about what is taking place on each page. The reader can feel free to “camp out” awhile to fully study and enjoy the message. Children often ‘hone in’ on details adults may overlook or deem irrelevant. Teachers should allow children time to ‘drink’ in the scene and really listen when they begin to relay what they ‘see’ happening within the illustration on each page. As they connect one illustration to the previous and next illustrations to form their story parallel to the original story, you may be surprised at the child’s level of meaning making. Additionally, WPB help young readers think about some other vital things: including how the illustrations support and often drive a story; how to retell a story in their own words, which encourages creativity, imagination, language play, and vocabulary development; and how to be the authors and illustrators of their very own stories. How to Share a WPB Before we begin sharing strategies, it is important that teachers have an understanding of how to best experience a WPB with a child. First of all, teachers should recognize there is not a "right" or "wrong" way to read a wordless book. We suggest first drawing attention to the illustration of the cover. Open the book to display the front and back cover to reveal a single expanded illustration, asking, ‘What do you notice?” Then, read the title asking, “How does the illustration connect with the title?” Next, take a "picture walk" through the pages of the book, enjoy the rich details of the illustrations. Look carefully at the expressions on characters' faces, the setting and the use of color, size of the characters, and where the characters are on the page in relation to each other. Talk to each other about what you see. Enjoy the pictures and point out a few things, but don't worry too much about telling a story yet. Just enjoy the pictures and get a sense of what the book is about. Then, encourage the child to "read" the pictures. After the child states what he thinks is happening or what he notices, ask “What do you see that makes you think that?” You can encourage more details by asking Who? What? Where? When? and Why? We recommend going back through the book a second time to allow for some great storytelling! Encourage the child to have characters use different voices, add sound effects and use interesting words as they share their version of the book. Finish your wordless book sharing by asking a few simple questions: What pictures helped you tell the story? What was your favorite part of your story? Have you had an experience like the one in your story? How close do you think the main characters are to you in age? Do the characters look like you and your family? Now that you know the benefits and how to share a WPB, let’s take a walk through some strategies using our P.I.C.T.U.R.E acronym.

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What Are the Most Important Skills in 12th Grade English? Students entering the 12th grade are expected to demonstrate competency in myriad techniques and applications relating to the English language. Besides reaching efficiency in grammar, speaking and listening skills, students must continue to develop their composition and analytic abilities pertaining to a broad variety of writing forms and styles. While specific English skill-set requirements vary according to state standards, there are many 12th-grade English skills that are important to any graduating high school senior. Reading Comprehension/Literary Analysis Students in the 12th grade must demonstrate the ability to analyze the structure, tone and techniques of various works of classic literature, according to the California State Standards. More specifically, students may learn to analyze the way writers and poets utilize figures of speech, irony and mood to solicit an emotional reaction in the reader. Excellent reading-comprehension skills are also an important skill associated with 12th-grade English; students should be able to competently analyze ways in which meaning is affected by or dependant on myriad writing elements such as structure, repetition and syntax. Usually, students are expected to infer the meaning of unknown words by drawing on knowledge of Greek, Latin and Anglo-Saxon roots. Writing Strategies and Applications According to Common Core State Standards Initiative, 12th-grade students must be able to use a variety of writing skills and techniques -- such as formatting, sentence structure, transitions and visual aids -- to write informative and explanatory texts. Students must develop and demonstrate a proficiency in many writing techniques, including simile, metaphor and analogy. Oftentimes, students can demonstrate these skills by writing fictional, autobiographical or reflective passages (where students will compare specific instances in a work to illustrate the original writer’s personal beliefs). At the 12th-grade level, students must demonstrate solid grammar, spelling, capitalization and punctuation skills in their written coursework. Written assignments must be coherent and clear, in an appropriate style for the task and audience. To satisfy California state standards, students must also be able to reflect relevant manuscript and essay requirements, while demonstrating a clear understanding of proper English usage. Speaking Strategies and Applications Thoughtful speaking and listening skills are important in 12th-grade English classes. Common Core indicates that students should be able to effectively take part in teacher-led, one-on-one and group discussions on a wide range of topics and issues. Students should be able to build on others’ ideas while expressing their own clearly, appropriately and persuasively. When working on group projects and presentations, students should demonstrate an ability to work with peers to establish self-appointed deadlines and individual roles. Bill Reynolds holds a Bachelor's degree in Communications from Rowan University. He has written hundreds of articles for print and online media, drawing inspiration from a wide range of professional experiences. As part of the UCLA Extension Writer's Program, he has been nominated for the James Kirkwood Prize for Creative Writing.

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The first mining experiments in space have revealed that microbes can efficiently extract elements from rocks in zero gravity. The tests, performed by astronauts on the International Space Station (ISS), open up possibilities for the human exploration and settlement of the Solar System. “On Earth, microorganisms play prominent roles in natural processes such as the weathering of rocks into soils and the cycling of elements in the biosphere,” the researchers explain in a paper in the journal Nature Communications. “Microorganisms are also used in diverse industrial and manufacturing processes, for example in the process called biomining.” Biomining bacteria can catalyse the extraction of valuable elements like copper and gold from rocks. Here on Earth, they are routinely used to mine rare earth elements (REEs) such as lanthanides, scandium and yttrium. The useful physical properties of REEs, like ferromagnetism and luminescence, make them critical components of phones and computer screens, as well as useful in catalysis, metal alloy and magnet production. But not only are REEs expensive to mine, they are also rapidly running out. If humans want to explore further into the solar system and build settlements on other moons and planets, we need to figure out a way to mine these elements in situ. This new study aimed to investigate whether microbes could extract REEs under differing gravitational conditions. The researchers, led by Charles Cockell at the University of Edinburgh, UK, spent a decade developing miniaturised biomining reactors that could be sent up to the ISS. These matchbox-sized mining devices were loaded with small pieces of basalt – a common rock on the Moon and Mars – and submerged in different bacterial solutions before being launched in 2019. Over three weeks, astronauts assessed the biomining potential of three different species of bacteria under varying gravitational conditions, from microgravity to simulated Mars gravity. The results show that the bacterium Sphingomonas desiccabilis leached REEs from basalt under all three levels of gravity, while the other two species of bacteria tested either showed reduced efficiency at low gravity or an inability to extract REEs at all. The success of S. desiccabilis could help us source materials essential for surviving in space. “Our experiments lend support to the scientific and technical feasibility of biologically enhanced elemental mining across the Solar System,” says lead author Charles Cockell, from the University of Edinburgh. “While it is not economically viable to mine these elements in space and bring them to Earth, space biomining could potentially support a self-sustaining human presence in space. “For example, our results suggest that the construction of robotic and human-tended mines in the Oceanus Procellarum region of the Moon, which has rocks with enriched concentrations of rare earth elements, could be one fruitful direction of human scientific and economic development beyond Earth.” The researchers further note that bacteria could also one day be used to break down rock into soil for growing food, or extract minerals to use in life support systems that produce air and water. This study may also be useful down here on Earth, helping scientists understand how gravity influences the growth and metabolic processes of microbial communities on the surface. 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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By Zenisha Shah, CEI Writer and Counselor at Innisfree House School Living in a world changing at unimaginable speed and filled with uncertainty can be exhausting and challenging. We are facing uncertain challenges of a global pandemic, climate change, and violence, that touches people of all ages, genders, races, and nationalities. Words are not enough to describe this shared experience of intense emotions. A language as universal as music and compassion is needed to express and help us overcome these challenges. Music is part of every culture, a way of emotional expression, entertainment, celebration, and storytelling. Researchers have been exploring how and why music can help us cope and act as a ray of hope. Music Helps us Cope Dealing with constant uncertainty can be overwhelming and stressful for everyone, especially youth. We are all looking for tools to help us cope, express strong emotions, and destress. Research across decades indicates that music can help us destress as well as increase emotional wellbeing (Hallam, 2010). Music can have a calming effect and reduce fear, sadness, and anxious thoughts in children (Zenin, 2016; Belapurkar, 2017). Lyrics can also function as positive affirmations and help lift our spirit (Zenin, 2016). Today, when physical distancing is the new norm, tools that facilitate emotional intimacy, like music, can act as a social glue, helping us cope better. Music, a Universal Language Research suggests that music has the potential to connect us, reminding us that we are not alone in this journey (Zenin, 2016; Grahn, Bauer, & Zamm, 2020). Over the past few months, global news has reminded us of the power of music to bring us together, be it Italian residents singing from their window during their pandemic lockdown; New Yorkers playing and humming to The Beatles from their windows; Spanish police singing on patrol; or Indians using steel plates, conch shells, and applause to thank the frontline workers from their balconies . At a time of extreme distress, this music making gives us a sense of purpose and helps us feel connected. Listening to music lights up our brain’s neural systems and is a natural reflex for us to join in (Grahn, Bauer, & Zamm, 2020). Psychology of Music (2012) supports this view and highlights that interacting through music not only helps us connect with each other, but also makes us more empathetic. Interacting through music helps us stay emotionally attuned to each other (Rabinowitch et al., 2012). Music can be used in classrooms, to help our students feel more connected and empathetic towards each other (Laird, 2015). Rhythmic exercises, music games, and making music together can help children recognize others’ emotions better, gives a sense of shared purpose, and creates a space for mutual honesty that is not limited by linguistic skills (University of Cambridge, 2012). You can read more about the applications of music in the classroom in our blog “In a World of Noise, Music is the Answer.” This universal and binding language of music can act as a crutch to help our children and educators walk towards a more compassionate future. During these challenging and changing times, music can help educators and students connect and share, working together to create a vessel to hold our emotions. Music, which has always been a tool of expression, can now be used as a tool for enhanced creativity, collaboration, and compassion. Together we can, one song at a time! Ashley, M. (2020). Children and school singing during the COVID-19-pandemic. Music Mark. Belapurkar, A. (2017). Music for emotional and social development of child. Scholarly Research Journal, 4(30), 32-37 Brewer, J. ( 2020) Helping your kids face their uncertainty. Elemental. Children’s medical group. (2018). Children and music benefits of music in child development. Cherry, K. (2019). 10 surprising psychological benefits of music. Verywell mind blog. Grahn, J., Bauer, A.R., & Zamm, A. (2020). Music-making brings us together during the coronavirus pandemic. The Conversation. Hallam, S., (2010). The power of music: Its impact on the intellectual, social and personal development of children and young people. International Journal of Music Education, 28. Kennelly, S,.(2012) Does Playing Music Boost Kids’ Empathy? Greater Good Magazine. Laird, L. (2015). Empathy in the classroom. Music Educators Journal 101(4),56-61 Rose, D. (2017). How music benefits children. The Conversation. Rabinowitch,T. R., Cross, I., & Burnard, P. (2012). Long-term musical group interaction has a positive influence on empathy in children. Psychology of Music, 41(4),484-498. Suttie, J. (2018). Music and empathy brain. Greater Good Magazine. University of Cambridge. (2012). Music of kindness: playing together strengthens empathy in children. Vandinther, J. (2020). How music therapy is helping some manage pandemic stress. CTV News. Zenin, G. (2016). The power of music: Enhancing young children’s wellbeing. Care for Kids.

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Sublime (literary) – Wikipedia - The sublime in literature refers to use of language and description that excites thoughts and emotions beyond ordinary experience. Though often associated with grandeur, the sublime may also refer to the grotesque or other extraordinary experiences that “take [s] us beyond ourselves.” The sublime in literature refers to use of language and description that excites thoughts and emotions beyond ordinary experience. Though often associated with grandeur, the sublime may also refer to the grotesque or other extraordinary experiences that “take [s] us beyond ourselves.” What is the concept of sublime? In aesthetics, the sublime (from the Latin sublīmis) is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation. What is the sublime in Gothic literature? Romantic literature elicits personal pleasure from natural beauty, and Gothic fiction takes this aesthetic reaction and subverts it by creating delight and confusion from terror. This use of terror is called the sublime, which is an important tool in these narratives. What is the sublime in romanticism? For Romantics, the sublime is a meeting of the subjective-internal (emotional) and the objective-external (natural world): we allow our emotions to overwhelm our rationality as we experience the wonder of creation. Because the sublime is emotional, it is traditionally considered something one must experience alone. What are the characteristics of the sublime? The sublime is further defined as having the quality of such greatness, magnitude or intensity, whether physical, metaphysical, moral, aesthetic or spiritual, that our ability to perceive or comprehend it is temporarily overwhelmed. Can a person be sublime? More figuratively, a somewhat old-fashioned verb meaning of sublime refers to the act of elevating something to a more venerable, refined, or wholesome state. This use suggests that a person or object that was once either average or inferior in some way has been transformed into something of higher worth. What are the five sources of sublime? Longinus finds five principal sources of the sublime, the first two of which are largely the gifts of nature the remaining three the gifts of art (1) grandeur of thought, (2) capacity for strong emotion, (3) appropriate use of Figures, (4) Nobility of diction, and (5) dignity of composition or a happy synthesis of all What is the point of Gothic literature? Gothic novels allowed writers and readers to explore these ideas through the medium of storytelling. Ghosts, death and decay, madness, curses, and so-called ‘things that go bump in the night’ provided ways to explore fear of the unknown and what control we have as humans over the unknown. What are the 8 elements of gothic literature? - Gothic elements include the following: - Setting in a castle. - An atmosphere of mystery and suspense. - An ancient prophecy is connected with the castle or its inhabitants (either former or present). - Omens, portents, visions. - Supernatural or otherwise inexplicable events. - High, even overwrought emotion. - Women in distress. Why do authors use Gothic elements? Often, Gothic writers use melodrama or “high emotion” to convey a thought. This exaggerated, impassioned language helps convey the panic and terror inherent in many characters. Themes of madness and emotional distress were seen in many of the 20th century Gothic novels that depicted the condition of psychosis. Is sublime an emotion? According to Kant (1764/2008), sublime is an emotion that presupposes the soul’s excitability. He includes a sense of dread and respect as yet another property of the sublime. Bodei (2008/2011) defines the sublime as an experience of simultaneous fear and pleasure. How do you use the word sublime? Sublime sentence example - Demetrius calls his statues sublime, and at the same time precise. - The children were amazed as they saw the dry ice sublime into a gas instead of melt. - The whole of Bhutan presents a succession of lofty and rugged mountains abounding in picturesque and sublime scenery. What is the difference between sublime and beautiful? According to Burke, the Beautiful is that which is well-formed and aesthetically pleasing, whereas the Sublime is that which has the power to compel and destroy us. The preference for the Sublime over the Beautiful was to mark the transition from the Neoclassical to the Romantic era. What is the test of great or sublime literature? ‘Not instruction or delight or persuasion is the test of great literature, but transport caused by an irresistible magic of speech’. If the hearer is spell-bound by what the writer says, he can neither think nor feel except what the writer thinks or feels. Then the work has the quality of the sublime. What does Longinus say about Sublime? By its nature the sublime, “produced by greatness of soul, imitation, or imagery,” cannot be contained in words, and Longinus often refers to its heights as reached by journey, or flight: “For, as if instinctively, our soul is uplifted by the true sublime; it takes a proud flight, and is filled with joy and vaunting,

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How Can I Help My Child Learn Early Numeracy Skills Numeracy is about understanding numbers and solving problems. Numeracy skills are crucial in the children’s early development and preparation for formal schooling. Good thing is kids naturally pick up numeracy skills even without our active participation. Children actively learn through experiencing and watching numeracy in action (e.g. telling the story of ‘Goldilocks and the three bears’, everyday activities such as counting fingers and toys and recognising numbers on signs and books). During storytelling time and normal conversations, opportunities for numeracy are always there (e.g. while driving we can say we’re already halfway, it’s 7pm and this means bedtime and 6pm it’s dinnertime). Helping your toddler build numeracy skills Great thing here is that even without our conscious effort we can always help our children better understand numbers. For more opportunities though, we can make counting a part of everyday life (e.g. whenever you’re out you can encourage your child to count the number of trees around). You can also read books and sing songs that have numbers in them (good thing is that many children’s books and songs have repeating rhythms and patterns that are easy to remember). We can take it a step higher by introducing the concepts of size (big, small), height (high, low), weight (heavy, light), speed (fast, slow), distance (close, far) and order (first, second, third, last). For example, you can point at two different trees and tell which one is high or low. You can also make use of a growth chart to introduce the concept of height and also warm up your child to how tall can he/she grow. While cooking or preparing food, you can talk about order (which comes first or which comes next) and also about the relative amounts of ingredients to add (more of that, less of this). Every moment can actually be a golden opportunity to help your child better understand numbers. Good thing here is the whole thing can be made more fun and part of everyday routine. This is important for productive learning because fun can encourage and even accelerate learning and development. It’s also our approach here at Star Academy Kids Early Learning Centre. We make learning fun and productive because of our approach (helping children have a strong sense of Belonging, Being and Becoming). With a play-based curriculum, kids build a strong foundation on numeracy and literacy while also having fun and developing their social and emotional aspects.

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Podcasts are a great tool for learning and to showcase learning. With cloud based podcast platforms like Anchor and Spreaker, creating a podcast is simple and accessible to all. I have curated twenty five different podcast assignment and project ideas for students whether working remotely or in the classroom. Each one can be adapted per grade level and content area taught. 1. Myths Around the World – Mythology is part of the curriculum in elementary school, middle school, and high school when students study ancient cultures. First students can read and listen to creation myths and hero myths from around the world to understand the elements of mythology. Taking examples from Greek, Native American, Indian, and Chinese mythology, students then write their own creation or hero myths. Students create their own mythical characters and write descriptions about their origins. Students can work collaboratively to write and then record their original myths for a class podcast series. 2. What On Earth Science Debates – Earth Science teacher in New York, Deb Davis has her 8th grade students research and prepare opening debate speeches around controversial topics in earth science: fracking, genetically modified foods, Keystone Pipeline, space travel. Students prepare an evidence file collecting valid and reliable research to utilize for their debate. On the day of the debate, students record the entire debate and create a podcast channel for the science debates. Parents and other students can listen to the debates and evaluate them for solid evidence and effective arguments. 3. Let Me Tell You My Story – Based on content area of the class, this podcast requires students to conduct interviews of people about their experiences living during a specific time period (history connection), or career exploration, or stories about community development. 4. Book Versus The Movie – Which was better, the book or the movie? Students can debate and discuss the qualities of a book turned movie and which they would recommend. 5. RadioLab Style Informative Inquiry – I love the Radiolab Podcast and have written about having students create their own Radiolab style podcast on this blog and in a chapter of Teaching Literacy in the Digital Age. The podcast is organized like an informative essay with three body paragraphs, evidence to support the claims, and enhanced with sound effects and interview clips. Students can have lots of fun discussing key topics in science or be more light hearted by debating who is the better super hero: Batman or Superman. 6. “Tribe of Mentors” – So I am a podcast junkie, and Tim Ferriss’ is one of my all time favorite podcasters. His podcast series includes interviews with celebrities, athletes, scientists, and more. Have students interview the people who they consider influencers and forward thinkers to share expertise and insight how to live your best self. 7. Create a suspenseful podcast like Lethal Lit to tell a mystery, horror or gothic tale in a series of episodes that lead the listeners through the mystery with red herrings and lots of suspects. 8. Need To Know – What are the things that you need to know before you graduate from high school (or elementary school or middle school). This podcast can be a series of short podcasts about what people should know once they leave school. For example, maybe balancing finances and how to fold your laundry. Have students brainstorm a list of things that they think are imperative to know to help them navigate their lives beyond school. 9. Personal Narratives and Memoirs are great for podcasting and storytelling. Check out The Moth Radio Hour for examples for storytelling that makes you laugh and cry. 10. Poetry Podcast – Have students write their original poetry and then podcast their work to share with others. Students might also consider podcasting their favorite poems and discuss the elements of the poem that make it memorable. 11. On This Day – Create a short podcast to introduce important events that happened on the specific day recording the podcast. The podcast can be based on history, scientific findings, or famous feats. 12. Wonderopolis: The Podcast – Wonderopolis is a fantastic website with daily wonders about our world curated on its website. Students can create their own wonders and then create a podcast to share their wonder findings. 13. Newscast – Students can take their school newspaper to another level with a podcast. Allow students to share movie reviews, news about school, and highlight school related stories on the podcast. 14. Let Me Help You – Students can create a podcast to teach others about technology. Allow students to podcast short and easy to follow “How To . . . Tech” lessons for older adults. This can be adapted to any content or subject matter. For example, I can really use a math podcast to explain aspects of geometry and algebra. 15. Choose Your Own Adventure – Remember the choose your own adventure books from the 1980s? What if students worked together to create their own stories that listeners were able to select where they want to story to go next. This could be an entire class or grade level project with each student writing and podcasting their “chapter.” 16. In The Know – Students can research all about animals, diseases, or sports and create an encyclopedia podcast that catalogues all about these topics. 17. The Best Recipes – Students can share family recipes on a podcast to create a collection of delicious dishes to share with others. 18. The Best Book I Ever Read Podcast – Here is a way to collect book recommendations and showcase students favorite reads. Students can access the podcast to find out what to read next. Think of it like a podcast for GoodReads in Classroom 2A. 19. Reader’s Theater – Have students create an “old time” Prairie Home Companion show with sound effects and original music. 20. The Story Seeds Podcast is a collaborative podcast among kids and authors. Each episode “captures the magic that happens when kids ages 6-12 meet and collaborate with beloved storytellers who grow original short stories inspired by their story ideas.” Have students create their own story seeds or borrow one from the show and create their own story magic to podcast. 21. Investigative Journalism – The Serial Podcast brought attention to an unsolved murder mystery and also the excellence of a podcast. Have students be their own investigative journalists and go hunting for the truth about local legends or unsolved crimes. 22. Reel vs. Real – Whether you are a Mythbusters fan or not, watching movies and shows online you might question the science of car races, explosions, or the reality of people’s lives in the moves. Have students analyze the films to discern fact from fiction. 23. Making the Invisible Visible – Many times history and characters are one sided and we rarely see or hear about those who are silenced. eclipsed, and ignored. Let’s bring them to the forefront by having students research and create podcasts that are history or literary based and give voice to those who were kept voiceless. 24. You’re Wrong About – This is actually a podcast series now and the idea is genius if you have students create their own podcasts to research and discuss things that adults are wrong about. 25. What this song means to me – For music fans, have students choose their favorite songs and podcast their close reading and analysis of what the song means to them. They might also address the craft moves of the artists and the key elements of the song. Want More? Check out Building Book Love blog post which highlights many awesome podcasts that you can listen to, share with your students, and inspires more podcast creation ideas.

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An epithet is a descriptive term or qualifier that identifies an attribute. From the Greek term that means “added,” it is a useful literary or rhetorical device when describing a character for the reader. While a modern use of epithets can be derogatory, classic literary epithets are an important element of literature. Epithet Examples in Literature Types of Epithets There are three types of epithets that are effective in different ways, depending on historical and literary contexts. Here are some definitions and examples. In longer pieces, the author may repeat an epithet that describes the character over several different scenes. A more common use of a fixed epithet is known as a nickname or sobriquet. Example: In The Odyssey, Homer refers to Odysseus many times as “son of Laertes,” Penelope as “wife of Odysseus,” Eurymachus as “son of Polybus,” and Zeus as “king of kings.” Another type of epithet is a kenning, which is a compound or two-word metaphorical expression that replaces a noun. Kennings are primarily found in Old English and Old Norse works. Example: The Anglo-Saxon epic poem Beowulf includes many kennings, including “wound-sea” (blood), “sail road” (the sea), “spear-din” (battle), and “sleep of the sword” (death). Negative or disparaging epithets take many forms, from teasing nicknames to ethnic, racial or homophobic slurs. Unlike euphemisms, these derogatory terms are meant to insult an opponent or group of people without directly stating the targeted characteristic. Example: “Piggy” in William Golding’s Lord of the Flies is named by his bullies for his short, stocky figure. Archetypal Literary Epithets Some epithets are such apt qualifiers that they become archetypes of their own. Regardless of their source material, these well-known descriptions can be found in many different works of literature – and even in political movements. Romeo and Juliet were the prototypical “star-crossed lovers” from William Shakespeare’s Romeo and Juliet. But, they were far from the last. The epithet indicates a couple whose future is ill-fated or meant to fail. Example: John Green’s The Fault in Our Stars (named after Julius Caesar, another Shakespearean tragedy) features lovers Hazel and Augustus. They are two cancer patients who must make the most of the time they have left. Commonly used as a derogatory term for a black person who follows the authority of a white person, the epithet “Uncle Tom” originated in Uncle Tom’s Cabin by Harriet Beecher Stowe. Its use in this context predates the Civil Rights Movement of the 1960s. Example: The character of Mammy in Margaret Mead’s Gone With the Wind is considered by many to be an “Uncle Tom” figure. She is depicted as a black character who is content to be a slave. He Who Must Not Be Named Sometimes an epithet can be silent. Consider the nameless gold-spinner in Rumplestiltskin or the wildly undead ghost from Beetlejuice. In both cases, the pressure to refrain from naming an antagonist causes characters to rely on some unconventional epithets. Example: Characters in J.K. Rowling’s Harry Potter series often refer to Voldemort, the wizarding world’s dreaded villain, as “He Who Must Not Be Named.” More Examples of Epithets Epithets are present in history books and modern culture, as well. Members of royalty often have an epithet after their name. Also known as cognomens that signify how a person is well known, these epithets represent the figure’s historical legacy. - Catherine the Great (Catherine II, Empress of Russia) - Richard the Lionheart (Richard I, King of England) - Leopold the Able (Leopold III, the Duke of Austria) - Bloody Mary (Mary I, Queen of England) Having an easily recognizable epithet in popular culture is often a sign of success for musicians and actors. Here are just a few of the most famous cultural epithets. - The Bard (William Shakespeare) - The Piano Man (Billy Joel) - The Duke (John Wayne) - The King (Elvis Presley) - The Prince of Pop (Michael Jackson) - The Boss (Bruce Springsteen) - The Gipper (Ronald Reagan) - The People’s Princess (Diana of Wales) Using Literary Devices in Your Writing Though using an epithet can help to establish a character’s traits, it’s still important to use descriptive writing in your piece. Check out some famous examples of descriptive text from literature and learn how to effectively combine literary devices for the ultimate storytelling experience.

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At Stannington First School, we believe that high-quality art lessons will inspire our pupils to think innovatively and develop creative, procedural understanding; qualities that will support their future employment opportunities and prepare them for the job roles of the future. Our art and design curriculum provides children with opportunities to develop their skills using a range of media and materials. Pupils learn the skills of drawing, painting, printing, collage, sculpture and digital art and are given the opportunity to explore and evaluate different creative ideas. They will be introduced to a range of works and develop knowledge of the styles and vocabulary used by famous artists. The skills they acquire are applied to their cross-curricular learning, allowing children to use their art skills to reflect on and explore topics in greater depth; for example, by sketching historical artefacts in detail, researching geographical locations to support their work on landscape painting or using art as a medium to express emotion and thought to enhance their personal, social and emotional development. Many areas of art link with mathematical ideas of shape and space; for example when printing repeating patterns and designs and thinking about 3D shapes to support structures. It is paramount that art work be purposeful; be this as a means of expression or to explore the styles of other artists that inspire our own work. Pupils are clear what the intended outcomes are and have a means to measure their own work against this. In Art, pupils are expected to be reflective and evaluate their work, thinking about how they can make changes and keep improving. This should be meaningful and continuous throughout the process, with evidence of age-related verbal and written reflection. Children are encouraged to take risks and experiment and then reflect on why some ideas and techniques are successful or not for a particular project. Morpeth partnership curriculum statement Art, Craft and Design has the power to expand our cultural awareness, increase our ability to problem solve, cultivate our fine motor skills and aid us in producing a range of opinions and views on our world. We use these skills each and every day as tools to navigate our way around our visually complex world. Creativity builds self- esteem and confidence, independent learners, and prepares our future artists to appreciate the design world, develop a passion for the subject within the classroom and externally (through interaction with our local area, region, artists and galleries). Art supports the school’s core values including inclusivity and diversity, and helps to raise self-esteem. It provides an exceptional opportunity to broaden experience and support social, moral, spiritual and cultural learning. ‘Creativity takes courage’ Matisse The Art lead from Stannington First School has worked with colleagues across the Morpeth Partnership as well as all of our staff at Stannington to create a long term art plan that shows clear progression of knowledge and skills from EYFS through to Year 13. There are medium term plans which outline a sequence of lessons for each subject, carefully planning for progression and depth. Each session/lesson follows a well planned format that includes a recap of learning, assessment opportunities, discussion opportunities and discussions about key artistic vocabulary (buzz words). In Stannington First School we also hold a yearly ‘Take one Picture’ project across the whole school. We value pupil voice and involve all children to steer their learning. With this in mind we allow all children an opportunity to vote on an artist/theme. This is inspired by similar projects organised by the National Gallery; (National gallery/Take One Picture) This Take One Picture project encourages each class to create a different response to the same picture. It involves artist research, creative writing and other creative arts such as dance, music or drama. The work created is shared with the community at our local village show and displayed in our hall. As all artwork should be admired, we take every opportunity to display and celebrate the pupils’ art work in their class, around the school, on our website and via social media platforms. Teacher assessment is measured against the key knowledge and skills and other forms of assessment are used, such as: The use of flashback 4 questions which review prior learning, supporting learners’ ability to retain earning and increase space in the working memory Challenge questions create opportunities for pupils to apply their learning and educational visits and visiting experts are planned to enhance the learning experience Class discussions and critiques of pupil’s and artist’s artwork/crafts. Through use of knowledge organisers. Art and Design is loved by pupils and teachers across our school. Teachers have high expectations and quality evidence is presented in a variety of ways. All pupils use technical vocabulary (buzz words) accurately, speaking confidently about their art and design work and their skills when creating and when evaluating. Our pupils are expected to know, apply and understand the skills and processes specified. They are also increasingly confident in analysing their art work and giving their opinion on their own and other works of art. Linked to our school values, our pupils show competencies in improving their resilience and perseverance by reflecting on and considering how they can improve their work. We measure the impact of our curriculum through the following methods: A reflection on standards achieved against the planned outcomes set by ‘My progress goals’ Child-led assessments such as KWL grids are completed as a class Pupil discussions about their learning which includes discussion of their thoughts, ideas, processing and evaluations of work Feedback and evaluation from a wider audience at community events such as the Stannington Make, Bake, Grow and Show Children develop a real passion for art and deploy skills taught across the curriculum and during extra curricular activities

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Learning Journey & Sequencing Rationale The Key Stage three curriculum introduces learners to a range of fiction and non-fiction forms, aspects of narrative and rhetorical devices. Learners are introduced to fundamental concepts in English including context, form, language and structure and explore these through a range of texts and authors. Learners are also introduced to different narrative forms including plays, poems, novels and short stories and explore the aspects of narrative specific to each form. Learners explore texts from a range of literary periods, which are informed by diverse historical and social contexts and are taught to consider the idea of the literary canon, alongside authorial intention and responsibility. They revisit these substantive and disciplinary concepts across Key Stage three, encountering them through more complex texts and learning to master understanding and application of key concepts in English. In Year 7, learners are taught the history of the English language ensuring that learners understand the origins of English as a language and literature as a concept. Learners are introduced to the context, plot and themes of the epic poem ‘Beowulf’, discuss its significance in English literary history and read a Heaney translation of an extract. Learners are also introduced to ‘The Canterbury Tales’ as a seminal literary text in Middle English before moving on to the study of Shakespeare. Learners are introduced to Shakespeare’s life and work and begin to explore his use of language. This unit teaches learners about key periods in the development of the English language and introduces them to the notion of the literary canon. Through this unit, learners read, retrieve and infer information from both non-fiction texts and literary extracts and apply this knowledge to their own extended writing, producing their own information articles. In the second part of this unit, learners build on their understanding of Shakespeare’s language and the context in which he wrote through the study of two of his sonnets, where they are also introduced to key concepts in English including figurative language and poetic meter. In spring term, learners learn how society and literature developed between Shakespeare’s era and the Victorian era. Learners study the genre of detective fiction and explore its origins in the context of the rapid social changes taking place in Britain at this time. Learners explore the short stories of Sherlock Holmes and are introduced to the concept of genre, the short story form and key aspects of narrative such as characterisation, setting, plot and narrative perspective. Learners are taught to identify genre specific conventions, analyse these and emulate them in their own creative writing. In summer term, learners build on their understanding of genre through the study of a full-length children’s fantasy novel and revisit a key aspect of narrative (characterisation). Learners also revisit their knowledge of figurative language and are taught a wider range of terminology in order to analyse the presentation of character. Learners are explicitly taught the conventions for analytical writing, producing their first analytical essay at key stage three. In Year 8, learners are reminded of the importance of social and historical context when reading and interpreting texts. Learners study the novel ‘War Horse’ alongside a range of non-fiction literary texts and poetry from world war one to develop an understanding of the war and its influence on literature. Learners are introduced to the concept of authorial intention and are taught to embed contextual detail to develop interpretations of a whole novel. Learners also revisit key aspects of narrative such as characterisation, setting and narrative perspective. Learners are also taught about how to produce their own literary non-fiction texts to express attitudes towards war. In spring term, learners study the origins of gothic literature and draw on prior knowledge of the Shakespearean era and Victorian eras to understand the way in which the origins of the gothic were a reaction to the changes in society at the time. Learners revisit the concept of genre and develop their understanding of how figurative language contributes to generic conventions. Learners continue to develop their repertoire of terminology and practise refining their analytical writing to explore character and setting. As in Year 7, learners use their knowledge of generic and stylistic conventions to create a piece of writing in the style of the gothic genre. At the end of year 8, learners revisit the short story form with a focus on narrative perspective through their study of a range of contemporary short stories. Learners draw on their understanding of the ways in which contemporaneous contexts influence writer’s choices about narrative voice and perspective, linking this to authorial intention and the responsibility of the writer. In autumn term, learners study an example of 20th century American fiction (Of Mice and Men) alongside poetry and non-fiction texts from this era. Learners once again revisit the concepts of context - exploring social, historical, political and literary contexts of the time and compare the ways in which writers in 1930s America communicate their attitudes and beliefs. Learners are introduced to the notion of the writer as a social critic and explore the limitations surrounding Steinbeck’s ability to comment on the experiences of marginalised people as a white, middle class man. Learners re-visit the concept of characterisation as a tool to communicate authorial intention, linking text-level analysis to whole text purpose. Learners spend fourteen weeks studying a full-length Shakespeare play (Macbeth). Learners revisit the context of Shakespeare and the form of a play and look at the conventions of tragedy in preparation for their study of Romeo and Juliet at key stage four. Learners revisit the concepts of characterisation and theme, and are also introduced to methods unique to the dramatic form (stage directions, asides, soliloquies). Learners revisit and practise key analytical skills needed for key stage four (annotation, inference, interpretation) and practise honing their ability to write critically about both character and theme. In the final 8 weeks of year 9, learners study the art of rhetoric, exploring its history and being taught the key concepts of rhetoric. Learners identify and analyse the use of these concepts in a range of 20th and 21st century speeches from Michelle Obama to Greta Thunberg. Learners make inferences about writer’s viewpoints and perspectives in preparation for their study of non-fiction texts at key stage four. Informed by this knowledge of rhetoric, learners plan, write and deliver their own speeches about a contemporary issue of their choice, as part of their spoken language component of their English language GCSE. A knowledge organiser is an important document that lists the important facts that learners should know by the end of a unit of work. It is important that learners can recall these facts easily, so that when they are answering challenging questions in their assessments and GCSE and A-Level exams, they are not wasting precious time in exams focusing on remembering simple facts, but making complex arguments, and calculations. We encourage all pupils to use them by doing the following: - Quiz themselves at home, using the read, write, cover, check method. - Practise spelling key vocabulary - Further researching people, events and processes most relevant to the unit.

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By Tommie, Moses Lake Public Library Women have always been on the front lines of the literary world. From poets like Emily Dickenson and authors like Mary Shelley, to women writers like Octavia Butler and Agatha Christie. So many powerful women who created genres, new poetic meters, and incited revolutions that are still ongoing. As we wrap up our celebration of Women’s History Month, we are highlighting just a few whose contributions are still recognized today. (Click on their names to discover books written by them!) One of the most well known female poets of the ancient world, Sappho of Lesbos was considered a “muse” in her time, with recognition from famous philosophers like Solon and Plato. She perfected an ancient meter of poetry that was later coined as the “Sapphic Meter” in her honor. It is because of her poetry that we have terms like “Sapphic” and “Lesbian” today. Most known for her written essay, “A Vindication of the Rights of Women”, Mary Wollstonecraft is largely credited for the early strides of the feminism movement. Her work outlines how in the 18th century, society was training women to be frivolous and incapable. She rallied the women of her time around the betterment of education, positing it toward a new societal change. Her early work led the way for modern women to be able to fight for their rights and even get to the place where we are today. As the first African-American woman to win the National Book Award and the Pulitzer Prize, her acclaimed novel “The Color Purple” was just the start of what remains a fantastic and prolific career. Not only is Walker a groundbreaking author, but she also has made leaps and bounds for women in civil rights and womanism, the term Walker coined for the intersectionality of feminism and being a woman of color. One of the most widely known Spanish-language author writers of all time, Isabel Allende broke political and literary ground with her novel “The House of the Spirits”. Challenging the Chilean government, the book was also a letter to her dying grandfather. She has won several awards for her novels and for her activism efforts in the preservation of women’s rights. A member of the Muscogee Nation, Joy Harjo is the first Native American Poet Laureate of the United States. Her works of poetry have won awards for decades and she is a well celebrated poet across the entire nation. With emphasis on First Nation storytelling traditions, Harjo also touches on concepts of feminism, social justice, and the beauty of the natural world. Angie Thomas’ best-selling novel, “The Hate U Give” was published in a time of great turmoil for the US. Inspired by the Black Lives Matter movement, her novel sparked conversations across the nation, leading to a film produced by Fox 2000. Her novel helped to inspire more authors of color to be able to publish their own works, giving voice to experiences that were once silenced. For these authors and more, check out our blog as we continue to celebrate Women’s History Month this March!

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Having strong literacy skills sets your child up with a strong foundation for success. Having the ability to read complex articles as well as write and communicate eloquently allows your child to understand complex concepts and communicate effectively. Although many children do not receive the appropriate tools at typical schools to allow them to unlock their complete potential. In school, English is a mandatory course, whereas creative writing is not mandatory and may not even be offered for your child. However, there are many benefits to taking creative writing as opposed to just English. English tutoring can be repetitive and rigid in structure, whereas creative writing allows for just that- more creativity. If you are looking to improve your child’s literacy skills, creative writing tutoring may be the best option compared to typical English tutoring. Here at Success Tutorial School we have compiled a list of reasons outlining why creative writing could be a better option for your child! Creative writing allows your child to go beyond their usual writing routines and use their imagination. Writers block is a very real difficulty that many students face when writing. Developing imagination allows students to be more readily able to write, without the dreaded writers block. Having a strong imagination, permits students to have in-depth and developed thoughts, which can be communicated through their writing, thinking process, storytelling and oral communication. With Imagination Comes Vocabulary Students who utilise their creativity and imagination in their writing are often looking to expand their vocabulary in order to properly convey their thoughts and meaning in their writing. With imagination, vocabulary must be expanded in order to convey meaning to the best of their ability. Due to all of the creative ideas and expression that they are presenting in their writing, students inherently must expand their vocabulary, which in turn creates stronger writers and communicators. Increased Ability to Think Creative writing allows students to access imagination and vocabulary that they may not have been able to develop as deeply without creative writing. With this, students are able think more deeply and more critically as their language skills have improved. Think of it this way – without proper imagination or vocabulary, students are not as readily able to think of concepts on their own or to reflect on these concepts with depth. If they do not possess the imagination or vocabulary, they are not as readily able to form in-depth and critical thoughts. Thus, imagination and vocabulary are key components to create in-depth and critical thinkers. Improved Problem-Solving Skills With an overall increase of their literacy skills in writing, imagination, vocabulary and critical thinking, students are truly developing their problem-solving skills. Being able to access these critical thinking skills are key components to creating strong problem solvers. Therefore, creative writing can create better problem-solving skills. Overall, creative writing is very fun! It allows students to step away from the rigid thinking that is so often found in school settings, including in English class. It allows students to be free in their thinking and their writing, without the common restraints found in English class and tutoring. This permits students to develop their imagination and have fun with their writing! Students who are engaged in their writing, in turn will write more and become better writers. Allowing students to express themselves through writing is a very strong skill to allow them to develop. Letting students have fun with their writing will increase engagement and overall writing skills. Creative Writing Opens Doors to Job Opportunities Writing is often a sought-after skill for many companies. In fact, there are many job opportunities for creative writers. Job opportunities include novelist, communications or public relations specialist, grant writer, copywriter and children’s book writer. Provide your child with more opportunities for employment by improving their creative writing skills. Creative writing is an exciting and engaging opportunity to develop your child’s overall literacy skills. This can make a big impact in your child’s learning, abilities and success. Allow your child to go beyond the rigid expectations of English tutoring and develop their literacy skills by enrolling them into a creative writing program. Here at Success Tutorial School we provide creative writing lessons for all types of writers – beginners, moderate and advanced. We have devoted ourselves to creating an engaging and supportive environment for our learners. We create lessons and activities tailored to your students’ needs and interests. Provide your students with the opportunity to enhance their literacy skills by enrolling them into our Creative Writing program here at Success Tutorial School! With 30 years of experience we will provide your child the tools they need to succeed. You can call us at our following locations: SCARBOROUGH: (416) 412-3170 – RICHMOND HILL: (905) 709-9819 – MARKHAM: (905) 471-3131 for more information.

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R.E.A.C.H Values at Dual Language Middle School The Dual Language Middle School perceives character development as an integral part of the middle school experience and works to nurture and promote the development of sound character. The elements of sound character that the school has identified as essential for community are: Respect and Responsibility Respect involves treating oneself and others with dignity: accepting and celebrating our differences. Respect should be extended not only to members of the DLMS community, but also to the community at large. Responsibility includes fulfilling our obligations to each other and to the school, taking action when we encounter a problem that needs to be solved, and taking responsibility for our actions especially when it requires leadership and courage. Enthusiasm requires you to keep an open mind and do things with a positive attitude. No whining, complaining, or pouting even when an activity is new, hard, or not interesting to me. We participate appropriately and with positive energy and do not talk or distract others. Enthusiasm includes following directions the first time and giving your best effort every time. Following the dress code and keeping a neat and clean appearance, participating actively in class activities, and asking and answering questions thoughtfully are all ways to demonstrate enthusiasm. Achievement means doing your absolute best – TOP QUALITY – work on all assignments. You complete all homework and independent reading every night and keep your binders, notebooks, and book bag neat, clean, and organized. The achievement value requires setting high goals for yourself and always demonstrating progress towards meeting high standards. Missed work is always made up. Citizenship has four elements: integrity, generosity, honesty, and fairness. Integrity: Integrity means maintaining our commitments to our individual moral values. As we build integrity, we develop the ability to stand up for what is right. Integrity requires taking responsibility for your actions and accepting the consequences without making excuses, blaming others, or worrying about what consequences others may receive. Generosity: Generosity involves helping others, both at the Dual Language Middle School and elsewhere. It is a natural outgrowth of compassion and refers to a willingness to take action—to give—when needed. Working well with teammates to complete assignments and helping others without being asked or expecting anything in return are ways to demonstrate generosity. Honesty: Honesty requires that we be truthful both in our academic work and in other areas of our lives. Honesty means always telling the truth. You must do your own work and only get help from others when it is appropriate. Fairness: Fairness means to treat all people in a just and appropriate manner. Hard work means coming to school every day and arriving on time. Hard working students come to class ready to start the day with all necessary books and materials. Hard work requires that you commit two eyes, two ears, and one big brain to listening and learning. Never giving up when you are given an assignment or asked a question. Trying your best and asking for help from a teacher or classmate even if it means giving up free time to get extra help demonstrates hard work.

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Each year we celebrate Martin Luther King Day on the third Monday of January. The day celebrates the life and achievements of Martin Luther King Jr., an influential American civil rights leader. In the Primary classrooms, children read picture books about the life and legacy of Dr. Martin Luther King Jr. and they listened to a small excerpt from his “I Have a Dream” speech. Kindergarteners were invited to write creative writing pieces applying the idea of “I have a Dream” to something that is important to them and to share their vision for a peaceful and more equitable future. Some students drew self-portraits, thinking about each person’s uniqueness and commonalities, appreciating our differences, and recognizing our similarities. Lower Elementary students learned about why we celebrate Martin Luther King Day and they created amazing artwork in honor of Dr. King. They traced their hands and completed the sentence “I have a dream…” before putting them all together on a poster. Upper Elementary showcased and shared a selection of picture books that celebrated his life and legacy. Ballad of Martin Luther King, Jr., 1963 Ten thousands join ten thousands Without goading police. The singers sing, their anthems ring, The speakers speak their peace. Around the world astonishment— The ceremonies heard Or seen on every continent, And still to come: the Word. Spectators waving handkerchiefs, Small children, hearts to seize, Will tell it taller years from now, Grandchildren at their knees. Blue sunshine worships morning, No cloud would dare to rain For in his jacket mercy And in his pocket pain. Equality his brother And sisterhood his pride Meet common sense, nonviolence, The means he’s deified. The afternoon is dying down, The Reverend takes the stage. George Washington spreads out the book, Abe Lincoln turns the page. He reads his notes religiously, An old familiar theme. “But please, Martin,” Mahalia shouts, “Tell ‘em about the dream!” And first he puts away his speech Then sweeps away the crowd: The memory of his remarks Peals like a thundercloud. “The content of our character Personifies a sage.” One day in 1963. Belongs to every age

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Get lucky with these 10 St. Patrick’s Day texts that can be used to explain the meaning of the green-themed holiday, as well as introduce young students to Irish culture and traditions. This list offers mentor texts of history, fantasy, folklore, and more, to bring the spirit of the holiday into the classroom. Check out the 10 Lucky St. Patrick’s Day Texts with Teacher Tips![/vc_column_text] This lively book teaches you all you need to know about how to catch a leprechaun! By using pots of gold, shamrocks, rainbows, and various STEAM concepts, you can catch your own leprechaun if you’re lucky! Teacher Tip: Ask students to reflect on the changes in Chrysanthemum’s character in the beginning, middle, and end. (Skipping to school, reacting to peers, Mrs. Delphinium making her announcement) Infused with Irish culture and language, O’Sullivan Stew displays the magical art of storytelling. The Witch of Crookhaven’s horse has been stolen, and the village will see no peace until it’s been returned! The bold Kate O’Sullivan takes charge of the situation but winds up getting herself and her family into hot water with the king. The only way for Kate to save the day is by using her wit and imagination to tell a story to save her family and village from peril. Teacher tip: For a St. Patty’s Day activity, create your own O’Sullivan stew! Print out a large picture of a pot of soup, cut out ingredients that Kate uses, and allow your students to make their own stew for an interactive experience that can be done during the read-aloud or after! Gail Gibbons has created this bright picture book to help introduce young audiences to the history behind St. Patrick’s Day. Readers will learn about Patrick’s life, as well as other legends about the saint, traditional customs of the holiday, and more. A wonderful mix of Irish culture, legends, and history, this book is a must have for teaching young ones about what this green day is truly about. Teacher tip: Create a mini-history lesson to pair with this book for a deeper understanding of this world-renowned holiday. This classic Irish tale follows two harpists on their journey to find the finest player in Ireland. The duo is an odd pair, because while Old Pat is very merry, Young Tom has a sour demeanor! Once Young Tom realizes that Old Pat is the better harpist of the two, he begins scheming to eliminate his competition. What Young Tom doesn’t anticipate is the interference of a mischievous leprechaun out to make trouble. Teacher Tip: Compare and Contrast the two characters. Talk about character development. With a lilting Irish tone, this story follows the struggles and successes of Tim O’Toole and his wife, Kathleen. The poor family has not a penny to their name, until Tim stumbles across a band of “wee folk” clad in green clothes who give him various gifts with which to make his fortune. Thanks to the wee folk, things are beginning to look up for Tim—if he can steer clear of the evil McGoon family that is… Teacher tip: Go to YouTube and find an Irish-narrated read-aloud for this book to show students about the interesting dialect and sounds of the Irish language. Jamie O’Rourke is known as the laziest man in Ireland, too lazy to even help his wife on their farm! However, after an encounter with a leprechaun, O’Rourke manages to grow the biggest potato in the world! How will Jamie and the villagers handle this out-of-control spud as it keeps growing and growing? Teacher tip: Compare this book with other classic tales, such as Jack and the Bean Stalk, to look for similarities between the genre of folklore! Young Jamie must find a way to prove to others that he isn’t too young to march alongside the others in the St. Patrick’s Day parade. Jamie’s inspiring efforts are supplemented with Irish history, culture, and tradition. Did you know that leprechauns are only lucky on St. Patrick’s Day? For the other 364 days of the year, these leprechauns cause trouble in the town of Dingle. But luckily the main character, Finn O’Finnegan, has a plan up his sleeve to fix the leprechauns’ mess! Teacher tip: Take the idea of Elf on the Shelf and revamp it for St. Patrick’s Day! For the days leading up to the holiday, use a stuffed leprechaun figure and have it getting into mischief at different places in the room each day. On St. Patrick’s Day, the leprechaun can do something good to bring luck into the classroom by having it “bring in” green treats for the students. Celebrate St. Patrick’s Day with this leprechaun family as they dance, march, and feast on their favorite day of the year! Teacher tip: This story is written as a delightful rhyme and would be perfectly paired with an accompanying lesson in rhyme and rhythm! This is a great time to teach students how to write Limericks! See resources below! This Irish folktale follows Fiona, a witty girl who must find a way to get Ireland’s luck back from the selfish Leprechaun King. Teacher tip: This book is a great introduction to Irish culture and would work well accompanied by a lesson that goes more into depth on the symbols, foods, and traditions of Ireland. It’s not easy being green, but there’s luck to be found in each of these 10 texts. Dive deeper into Irish culture with these fun, informative, and holiday-themed texts for this upcoming St. Patrick’s Day! FOR A FULL LIST OF ST. PATRICK’S DAY BOOKS, CLICK HERE! Discover related blogs and resources below.

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Grade 7 Homeschooling Curriculum Grade 7 Lesson Plans The detailed Lesson Plans walk you through day-by-day instructions and activities with your student. Answer Keys, Tests, and Quarter Report Forms are included. In this art appreciation course, students will study New Testament scenes by renowned Victorian artist, James Tissot. Inspired by the visions of Bl. Anne Catherine Emmerich, each picture in Art 7 for Young Catholics is accompanied by commentary and meditations written by the Catholic artist. Students study outlining in depth and learn principles that will enable them to outline compositions of any length as they read and write. Using the English 7 for Young Catholics text-workbook, students build on their previous knowledge of punctuation, the eight parts of speech, phrases, clauses, and sentences. Students are introduced to relative pronouns, adverbial objectives, complex sentences, and learn to diagram sentences containing adjectival and adverbial subordinate clauses. Our Catholic Legacy, Volume II helps students appreciate the richness of our Catholic heritage. Students learn about Michelangelo, St. Catherine of Sienna, Queen Isabella of Spain, St. Joan of Arc, Rembrandt, Cardinal Mindszenty, St. Maximilian Kolbe, and others. Also included in the course is Map Skills: Grade 7. Topics covered include using an elevation map, reading a population map, and using a map and a graph together. Teaching Textbooks Math 7 is an interactive online math course designed specifically for independent learners. The course contains a digital textbook, teacher lectures, and audiovisual step-by-step explanations of math concepts. Though Seton recommends using the interactive online version, students can also successfully complete the course using the printed textbook alone, which can be purchased instead of, or in addition to, the online license. In Teaching Textbooks Math 7, students study the following concepts: Adding & Subtracting Whole Numbers, Multiplying & Dividing Whole Numbers, Whole Numbers in the Real World, Fractions, Reducing Fractions, Adding & Subtracting Fractions, Multiplying and Dividing Fractions, Fractions in the Real World, Decimals, Decimals in the Real World, Percents, Percents in the Real World, Geometry Basics, Geometric Measurement, Statistics & Probability, Graphing Concepts, Equations & Inequalities, and more. For more information about Teaching Textbooks courses, please click here. Alternate: Saxon Math 76 (Textbook temporarily unavailable: Only enroll in this course if you already have the required textbook.) Using Saxon Math 76, students improve their skills in working with fractions, decimals, and percents. They show proficiency in working with time, money, and area; exhibit skill in basic geometry and graphing; and improve their accuracy and understanding in problem-solving. Students simplify expressions containing parentheses, perform operations with signed numbers, solve word problems with powers and roots, and learn about statistics and probability. In We Sing of Our Land, children learn musical notation. They will learn a collection of over 100 songs, including songs for every liturgical season, and parts of the Mass in Latin. Seventh grade reading builds students’ abstract thinking and analysis skills. The Reading 7 for Young Catholics: Thinking Skills and Reading 7 for Young Catholics: Comprehension workbooks are central in introducing new literary elements: conflict, motifs, and theme. Students learn to identify these and other literary elements in classic short stories and in episodes from the life of St. Margaret Mary, preparing them to analyze full-length novels for these elements later, in high school. Each of the four book reports uses the five-paragraph format done in previous years. This year the student incorporates a thesis statement into the essay to tie it together. Book Report Options 1ST & 2ND QUARTER - Johnny Tremain - Men of Iron - Singing Tree - Augustine Came to Kent - The Crystal Snowstorm (New for 2021!) - Anne of Green Gables (New for 2021!) 3RD & 4TH QUARTER - The Little Flower - St. Hyacinth of Poland - The Cure of Ars - St. Louis de Montfort - St. Isaac and the Indians - St. Anthony and the Christ Child - Edmund Campion: Hero of God's Underground - Saint Joan: The Girl Soldier - Bernadette: Our Lady's Little Servant As they continue to work through The St. Joseph Baltimore Catechism No. 2 as well as Religion 7 for Young Catholic, students build their understanding of the Creed, the Commandments, the Sacraments, the creation of the angels and of man, grace, and the Holy Spirit. Special emphasis is placed on the study of the Sacrament of Confirmation with the book Confirmation Preparation for Young Catholics. In Bible History: The New Testament, students grow in their knowledge of major events, people, and teachings in the life of Jesus Christ from the Gospels and the Acts of the Apostles. Science 7 for Young Catholics introduces students to chemistry, physics, aeronautical engineering, geology, and rocketry. Students do hands-on activities that require only household items. Students learn to spell by completing 36 lessons with exercises on the makeup and definition of the words, and then read the words in sentences and paragraphs. Stories focus on the saints and other influential Catholics throughout history. In Spelling 7 for Young Catholics, students cover such concepts as double letters, multi-syllables, consonant digraphs, diphthongs, prefixes and suffixes, science-specific words, and words from Greek, French, Spanish, and Latin. In Vocabulary 7 for Young Catholics, students begin each lesson with a fun and entertaining story. Each story introduces 15 new vocabulary words which are the basis for the week’s lesson. There are 24 delightfully engaging story/lessons in all. Each captivating story uses a clever twist to further engage the student. The endearing art of Ben Hatke increases the impact of the stories and helps capture the student’s attention. Crossword puzzles, a popular and rewarding way to recall the words students have learned, are part of each week’s lesson. The Value of Your Enrollment Your enrollment provides you with much more than just a box of books. It provides an accredited education, a strong support system, and a community of staff and homeschoolers who are in your corner. It provides access to academic and support counseling, grading and record keeping, and a solid Catholic curriculum that promotes strong Catholic values in each and every subject.

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4th Grade Curriculum Overview Text: Treasures. The McGraw-Hill Companies, Inc. 2011 Primary Units: characters; plot; setting; theme; genres; novels; short stories; poetry; plays; biographies; non-fiction Skills taught: comprehension skills; inferencing; analyzing; summarizing; cause and effect; sequencing; predicting; listening skills (read aloud); vocabulary development Teaching methods and resources used: Promethean Interactive Board, iPads/Chromebooks, novels; class discussion; computer resources; art projects; charts; maps; peer tutoring; writing projects; Accelerated Reader Program; paraphrasing; topic sentences; research; compare/contrast; using resource materials; genres of literature; simile; metaphor; synonym; antonym; homophone; compound and complex sentences; prefixes; suffixes; connotation; figurative language; voice and speech techniques; speaking before a class; indenting. Text: Treasures. Houghton Mifflin Harcourt Publishing Company Primary Units: capitalization; punctuation; kinds of sentences; parts of speech; working with sentence structure; noun and pronoun usage; adjective and adverb usage; verb usage (action and linking); conjunction usage; vocabulary; the writing process; literary elements; proofreading/editing; study skills; creative thinking; taking notes; paragraphs; literature journals; personal narrative; writing to inform; descriptive writing; narrative; personal letter; e-mail message; business letter; essays Skills taught: paraphrasing; topic sentences; research; compare/contrast; using resource materials; genres of literature; simile; metaphor; synonym; antonym; homophone; compound and complex sentences; prefixes; suffixes; figurative language; voice and speech techniques; speaking before a class; indenting. Teaching methods and resources used: Promethean Interactive Board, iPads/Chromebooks, Peer conferences; class discussion; computer resources; Daily Language Review; novels; teacher-generated materials; short stories; lecture. Text: Treasures. Houghton Mifflin Harcourt Publishing Company and Phonetic Connections Benchmark Education Company 2011 Primary Units: Vowel Diagraphs; Syllable patterns; Vowel patterns; Endings; Suffices; Prefixes; Greek origins; Long/Short Vowels; Blends/Digraphs Skills taught: word sorts; word meaning; word structure Teaching methods and resources used: Promethean Interactive Board, iPads/Chromebooks, Stories; Promethean Board; sort cards; spelling journals; anchor charts. Text: Saxon Mathematics New concepts are developed through hands-on activities that engage students in the learning process. Concepts are introduced, reviewed and practiced over time. Students move from the concrete to the pictorial to the abstract. Saxon capitalizes on daily mixed practice, frequent assessments, daily homework assignments and opportunities for students to make concrete connections to everyday life. Text: States & Regions. Harcourt Social Studies Student Edition, 2007 Primary units: Map skills; Geographic terms; United States geography; Arkansas geography and state facts; African-American History; Civics; Government; Regions of the United States. Skills taught: current events; map making; reading charts and graphs; examining cause and effect; classification; decision making; predicting outcome; time lines; use of resource materials; logic; elections; citizenship; leadership; outlining; research projects. Teaching methods and resources used: Promethean Interactive Board, iPads/Chromebooks, class discussion; lecture; group projects; peer tutoring; guest speakers; field trips; art projects bulletin boards; study projects; maps; atlases; time lines; computer resources; games; teacher generated materials; library research; supplementary texts; oral presentations; geography bee; supplementary videos; teacher-made video notes; tests and quizzes. Text: MacMillan McGraw Hill Science 2005 Primary Units: Life Science: The World of Living Things; Life Science: Animals as Living Things; Earth Science: Earth and Beyond; Earth Science: Weather; Physical Science: Matter; Physical Science: Energy; Earth and Space; Life Science Skills taught: scientific process; interpreting data; observing; recognizing relationships; predicting outcomes; cooperative learning; classifying information; use of resource materials; identifying cause and effects. Teaching methods and resources used: lecture; experiments; class discussion; projects; peer tutoring; science activities; field trips; guest speakers; videos; games; research; teacher generated tests; quizzes; chart/graphs; computer resources; supplementary text worksheets. Text: Be My Disciples RCL Benziger: 2014.

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We learned about Aesop’s fables today, exploring some of the history of this storyteller in Ancient Greece. Aesop was said to have been a slave who earned his freedom sharing his skills telling morality tales staring animals. Students listened to and discussed the messages of some famous fables, including “The Tortoise and the Hare”, “The Fox and the Grapes” and “The Boy Who Cried Wolf”. Then they took turns practicing their storytelling skills by retelling them in their own words. We also reviewed our division skills today, and then students had the option to join our math enrichment lesson on BEDMAS (order of operations). After lunch, we dove deeper into our learning about the fur trade. I brought in my “teaching toolbox” of related props and shared some more of the history from the first contact between the Indigenous peoples and the French and English explorers which drove demand for beaver pelts. We watched several videos, including the following: We then focused on how trade developed in the region that would eventually become British Columbia, learning about how fish and the sea otter were focal points of trade between Europeans and First Nations. We were lucky that some grade 4/5 students from another class had already completed a unit on the fur trade last term, and so we took a stroll down the hall to see the great information display they created… Also, we discussed how history may be understood and retold differently, with different details emphasized/included/omitted, depending on perspective. How would a settler from France describe the events of the first trade era as compared to an English settler, or as compared to a member of one First Nations community or another from a neighbouring region? (And, if animals could talk—as they do in Aesop’s fables—how would a beaver or sea otter retell the history of the fur trade?) Wrapping up the day, I sang for students a little song I wrote for them to teach students about the history of the fur trade and the ecological impact of extirpating heroic keystone species, like beaver and sea otters. It was a fun time! HOMEWORK: Keep practicing division as needed. Also, I invited students to go home and retell to a family “The Tortoise and the Hare” or another of Aesop’s fables. A student may also want to retell the fur trade history he/she has learned so far.

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What is Non-fiction? Non-fiction is writing that is expository and/or descriptive, having to do with ideas, issues, actual events, and/or real people. However, creative non-fiction borrows elements from fiction, poetry, and drama: plot structure of a true story, dialogue (re-created), “character development” of real people, scenes, summary, and description. Types of Non-fiction: Narrative Non-fiction and Rhetorical Non-fiction. However, the dividing line between these two types of non-fiction is often fuzzy.*Narrative Non-fiction:Diary: a more intimate, personal, and private chronology of events that is presented sequentially–mostly chronicles personal feelings. Journal: tends to be a more public forum, the writer being more concerned with ideas and the world at large. Literary Journal: direct responses to other texts, based on feelings, emotions, imitation, and/or analyses. Often used by writers for getting ideas of their own. Letter: informal or formal message written directly to a family member, a friend, an acquaintance, or a stranger. Letters of famous people are often published in collections. Epistle: a more formal version of the letter, often intended for public dissemination (publication and/or public speech). As such, the epistle usually addresses public issues, such as religion and politics. Biography: a chronology of a famous or distinguished person’s life, written by a biographer other than the person whose life is being chronicled. Typically, a biography attempts to cover the person’s entire life. Literary Biography: a specialized type of biography in which a writer’s life story is told from the perspective of his or her body of literary works. Autobiography: a writer’s (usually a famous or noted person), version of his or her own life. Typically, the writer attempts to cover his or her entire life thus far. Memoir: a writer’s (not necessarily a famous or noted person) attempt to emphasize events and/or people he or she has experienced and/or known from his/her own perspective. A memoir does not usually cover an entire life, but, rather, emphasizes key events and people. Memoirs tend to resemble fiction, and, in fact, some memoir writers have been accused of stretching the truth (see James Frey, A Million Little Pieces).Rhetorical Non-fiction presents facts and ideas in such a way to persuade a reader of a viewpoint.Parts of the Formal Essay (Traditional Five or Six Paragraph Format):Journalistic prose: reportage that goes beyond the simple reporting of events; thus, the writer takes and supports a position and then write a piece for publication. Descriptive prose: writing that is concerned with the physical world: sight, sound, taste, touch, and smell. Also known as “sensory” writing. Expository prose: writing that explains, offers information, and/or defends a viewpoint. Research is often involved. Often the line dividing the following can be fuzzy:Argumentative/Issue/Persuasive: writing that defends/supports a viewpoint on a controversial issue.Essay: a term for a piece of nonfiction prose that has an introduction, a body, and a conclusion–a complete work. Informative: writing that is intended to offer information on a subject–usually noncontroversial–without making major judgments on an issue. Process: writing that explains how something works (informative process) or how to do something (directive process)Informal essay: writing that is more personal, tentative, or subjective–not the “last word” on a topic. Language/tone/register tends to be informal/casual. Creative non-fiction falls into this category. Formal essay: writing that is serious in tone/register, objective, and formally structured. Extensive research of issues is usually involved.Introduction: the beginning of the essay that introduces the topic and attracts the reader’s attention by offering an anecdote, story, or scenario. Thesis: the major claim (position of the writer) or what the essayist plans to cover.Explicit Thesis: the major claim or topic of essay that is stated directly in a clear and concise sentence.Body: the “meat” of the essay, the evidence to support the thesis, which is offered to the reader, such as research, statistics, interviews, and solid reasoning/inferences. Implicit Thesis: the major claim or topic of essay that is implied throughout the essay–not directly stated. Counterarguments: in an issue essay, recognition, refutation, and/or accommodation of opposing viewpoints. Usually not needed for the informative essay, but a very powerful rhetorical device for controversial topics. Conclusion: the ending that wraps up the essay by restating the thesis in different words and sometimes offering an extra “nugget” for the reader for further thinking.

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March 10, 2021 Taught by Carol Brennan King Creative Writing: today we focused on using white space, lines, and punctuation as tools to help us communicate our stories. We also talked about how using breath units, or the words we want to be read in one breath, help us reach our reader to interpret the message on a given line. Posted on 12/28/2020 at 11:18 AM by Sadye Scott-Hainchek: “Even if you’re not writing with the audiobook in mind, and even if your reader never speaks your words aloud, your book will be “heard” by its consumers — in their heads.” C.S Larkin says, “This is yet another reason to consider the rhythm of your sentence and paragraph structures.” Lakin also says that writing is all about breath units, usually short sharing brief bites of information. Think about what much poetry looks like: short lines designed to be read in a breath. Her idea is that short sentences are read slower, closer. Longer ones are read faster as the reader wants to get through it for what they decide is important. So, as writers, you can take liberty, even in prose, to use short lines of content or dialogue to show the reader these words are important. Pay attention to them. We also talked about breath units as beats in a sentence. Lakin says, “You can drive home the character’s reaction by controlling the breath units of your phrasing.” She illustrates the idea of using breath units by comparing a sentence Vanessa Redgrave could have read as it was written. We all come to the theater with baggage. The baggage of our daily lives, the baggage of our problems, the baggage of our tragedies, the baggage of being tired. It doesn’t matter what age you are, but if our hearts get opened and released—well, that’s what theater can do. Then she rewrote it this way, so think about how it reads now with a different emphasis produced by writing it on the page in breath units. We all come to the theater with baggage. The baggage of our daily lives, The baggage of our problems, The baggage of our tragedies, The baggage of being tired. It doesn’t matter what age you are, but if our hearts get opened and released Lakin says, “Punctuation might be made of very small marks, but those marks create and break up breath units. Breaking up a long sentence into two or putting in an em dash or comma will add that second of pause.” For more on this in her words, google Utilize the Power of Breath Units to Write Masterfully by C.S. Lakin Writing prompts for next week: Choose one and see where it goes. Or do something else. - Write a piece around a missing item, a thing, or even a person. - A character you have come to know, or thought you did, begins to act out of character. Have the bad guy do or say something nice, or the good guy move to the other side in his behavior. Then what happens? - One of your characters admits their true feelings about someone else or something else. Maybe it is feelings of love, or a lack thereof. Perhaps he or she no longer wants to be part of this important thing. What is said, and what happens next? For more on this material: In today’s class we talked about how to bring the people in your memoir to life. We talked about three approaches to character development. - You might focus on the essence of each significant character in the story and the turning point or significant event that made the person who he or she is. - If you don’t know that, you might determine the character’s major impact in the story as that reflects the person’s strengths and weaknesses. - Think through the character’s essence, that center that impacts everything else around him or her. The memoirist must return to life the characters in the memoir. The reader should be able to see and hear and understand those people and why they do what they do. To ensure you create for your readers a person in full, develop each of the five dimensions of character: - Identity: the person’s name and relationship to the other people in the book - Description: Think how someone would describe this person as he or she comes into the room - Demographic factors: think race, gender, age, marital status, education, job, income. You might do some research about the period this person lived to see clusters of attitudes and behaviors. Think of the ripple effects of living in that period of history - Psychographic attributes: examine clustsers of attitudes, values, interests, activities and lifestyle. - Personality: the personality of a person provides the basis for his motivations and actions. - For more on this look up: https://www.wow-womenonwriting.com/44-FE5-PeopleInYourMemoir.html By Matilda Butler and Kendra Bonnett - You may write for any of the Chicken Soup books – google Chicken Soup submissions. - You may write for any of the Personal essay markets in the March/April Writer’s Digest. - You may continue on a current project keeping in mind that we want to see an application of today’s material. - Or write on anything else we talked about in class. - Or sample the prompts from the Creative Writing Class above.

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The Early Years Learning Framework (EYLF) was created by the Australian government to allow early childhood programs across the country to deliver consistent, high-quality education. It represents a mandatory standard that all education providers need to meet, so that regardless of where you send your child, you know the educators are working to meet the same key outcomes and using the same guiding principles and learning practices as every other childcare centre across Australia. The framework has been carefully created to nurture children’s development from birth to five years, with a focus on belonging, being and becoming. The foundation of EYLF is the five core learning outcomes: Children construct their identity through their relationships with people, places and things, as well as the actions and responses of others. Within the childcare context children should be supported to develop their sense of belonging through building connections with educators and peers and encouraged to explore different aspects of their identity through physical, social, emotional, spiritual, and cognitive exploration. This outcome is all about children learning to be active members of their community, and understanding how their actions can positively impact others. Educators should endeavour to create environments where children can act out mutually respectful relationships with other people and the environment, contributing to a child’s desire to work collaboratively and participate in communal events and experiences. Well-being incorporates both physical and psychological elements including good physical health, positive emotions, satisfaction with life and strong social bonds. Educators can support children’s developing sense of wellbeing by offering warm, emotionally attuned care, creating safe and predictable environments and encouraging respect for everyone within the childcare community. Other ways childcare centres encourage well-being is through teaching children to take responsibility for their own basic care (e.g. learning to wash their own hands), learning health behaviours such as good nutrition, personal hygiene, physical fitness, emotional regulation and fostering positive social relationships. Children who are secure in their childcare setting have the confidence to experiment, explore and learn. Children are also more likely to be confident learners when their educators recognise and incorporate their unique family and community experiences in order to assist them to make new connections and processing new experiences. A childcare setting should encourage children to use exploration, collaboration and problem solving to engage their natural sense of curiosity and creativity when engaging in learning. Children are encouraged to share their ideas, questions and feelings with others as well as to understand and engage with content in various forms. Educators should help children to learn literacy through a range of forms including dance, music, storytelling, art, talking, reading and writing. They should also be encouraged to communicate and engage with the world through numeracy skills which are developed by exploring spatial awareness, structure, patterns, numbers, measurements and other mathematical ideas. Early childhood education should also be inclusive of children from diverse cultural and linguistic backgrounds and educators should encourage children to value and integrate their home language and culture as well as develop competency in standard Australian English. While the five outcomes represent what educators are aiming to achieve, the five principles should guide educators’ approaches. These principles are based on the most up-to-date theories on children’s development and are supported by current research. As well as embodying the five principles of the EYLF, educators should also follow these ten learning strategies and practices to work towards the five key outcomes. So how does the EYLF impact children? Well, if it’s well-executed by a quality childcare provider the EYLF should positively impact children by creating curious, confident learners who feel secure and supported in their childcare environment. Children should create strong bonds with their educators, their peers and the wider community, helping to foster a strong sense of belonging and a secure identity. In short, the EYLF offers a fantastic educational framework for early childhood education which should foster inclusive, holistic and effective education that will leave your child well-prepared for the next step in their education. Talk to us today about finding the best childcare centre that is local to your neighbourhood.

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Types Of Conflict Worksheet 4 Answers Pdf Types of Conflict Worksheet 2 Directions. Decisional units directly or indirectly. View types-of-conflict-worksheet-4pdf from ENGLISH 11 412000 at Cabot High School. Types of conflict worksheet 4 answers pdf. In this conflict worksheets students. This worksheet has ten more problems to reinforce students knowledge of conflict types in. Read the brief description of each plot. 6th and 7th Reading and Writing. Types of conflict worksheet 4 answer key Psychotherapy is at its heart a process of guiding clients from conflict to resolution. Types of Conflict Conflict-a struggle between forces or characters Without a conflictproblem the story would be boring. Oct 30 2018 – Students need practice to master literary skills. These are applicable to the full range of conflict types from interpersonal to international levels 4. As a therapist counselor. Tell students that characters in a story face the same types of conflicts and it is important to identify them in order to understand the story completely. CONFLICT IN LITERATURE A CONFLICT is a struggle between two opposing forces. As the bus pulled up to the stop Renee steadied herself and slowly walked toward the edge of the sidewalk. Conflict Corner is an online chat in which middle school students share conflicts that theyre having and the chat hosts help them solve their problems. Looking for worksheets about the 6 types of conflicts in storytelling. 4th Grade Science 2013-2014 Bonneau. Type of Conflict Types of Conflict Worksheet Directions. One can plan how to handle conflicts. Types Of Conflict Worksheet Pdf and Types Conflict Worksheet Pdf New Fun Rhythm Worksheets Worksheets. Students practice identifying the protagonist antagonist and types of conflict in 9 short sample passages in this 2 page worksheet. First there is a poster for each of the four major types of character conflict. Read the brief description. Type of conflict. In literature there are 4 main types of conflict that are either. This resource includes 4 conflict posters and a 10-item worksheet. Use it to guide your actions in a way that. _ Types of Conflict 4 Directions. This worksheet is designed to help you resolve conflict through use of effective communication. Determine the protagonist central character and. Types of Conflict Worksheet 3 ANSWER KEYdocx. Identify the protagonist and antagonist and determine the type of conflict. Read the description of the story. Types of Conflict Worksheet 1.

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Types Of Conflict Worksheet 4 Answer Key Three things are most important and essential in any communication process they are. 6th and 7th Reading and Writing. Two or more characters in conflict. Types of conflict worksheet 4 answer key. Read the brief description of each plot. Types of conflict worksheet 4 answer key. Types of conflict worksheet 4 answer key Psychotherapy is at its heart a process of guiding clients from conflict to resolution. Feb 5 2019 – This is the fourth conflict worksheet in a series of four. Determine the protagonist central character and antagonist opposing force. _____ Types of Conflict 4 Directions. Students practice identifying the protagonist antagonist and types of conflict in 9 short sample passages in this 2 page worksheet. Identify the protagonist and antagonist and determine the type of conflict. Discover learning games guided lessons and other interactive activities for children. One can plan how to handle conflicts. Some of the worksheets displayed are Types of conflict 4 Person what Types of conflict. 4th Grade Science 2013-2014 Bonneau. This product includes 6 pages. Identify the protagonist and antagonist and determine the type of. Ad Download over 20000 K-8 worksheets covering math reading social studies and more. PDF 12201 KB This worksheet includes seven scenarios that students will read and determine. Types of Conflict Worksheet 1. Types of conflict worksheet 1 directions. Types Of Conflict Worksheet Pdf and Types Conflict Worksheet Pdf New Fun Rhythm Worksheets Worksheets. Types of Conflict Worksheet 2 Directions. In this conflict worksheets students. Discover learning games guided lessons and other interactive activities for children. Environmental conflict such as a. Icivics conflict and cooperation answers. Types of Conflict Worksheet 3 ANSWER KEYdocx. Strand 4 Standard 3 Materials Vocabulary worksheet Conflict Resolution PowerPoint Teacher Notes on Passive Aggressive and Assertive Behavior Worksheet. Looking for worksheets about the 6 types of conflicts in storytelling. These conflict worksheets will help students achieve mastery of this basic reading. A character in conflict with society. Read the brief description of each plot. The Outsiders Worksheets Answers. If you are looking for a short worksheet on the four major types of conflicts in literature then this is the place for you. As a therapist counselor. Showing top 8 worksheets in the category – 4 Types Of Conflict. Ad Download over 20000 K-8 worksheets covering math reading social studies and more.

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Poor Network. Digitally Rich. No Problem. If infrastructure sabotages your plans, leaves you stressed, and renders your devices useless, stop what you’re doing. Don’t waste one more instructional minute trying to stream video, just to lose connection, spin for too long, or time-out. Submit the problem to IT, and move on. Dust off the devices. Let’s focus on what can be done to change the way our students demonstrate their understanding of newly learned content and apply their knowledge without the network. Know these apps? Read through the uses to pick up a new twist on an old favorite. Not Just For Storytelling Ask students to explain their learning in a new way. 30 Hands allows students to import images from the camera roll, annotate those images, create new illustrations within the app, or combine all slide types to demonstrate their understanding of a new concept or apply learning with new connections. Once the images are imported, students will narrate each slide to create a presentation. Narrated presentations save easily to the camera roll. - An exit slip explaining what they learned - Steps in a procedure, experiment, demonstration, or problem - Math worksheet: students narrate certain problems and rotate around listening and checking their work - Examining or commenting on photos - Sequencing a story - Family history - Historical recount - Using vocabulary or spelling words in a sentence - Book report - Digital storytelling - All About Me Student Bio - Create an alphabet book Screencasting For Teachers AND Students Turn students’ devices into blank slates for illustrating concepts and explaining their understanding for a quick snapshot of learning. - Explanation of learning - Describe steps in a procedure, process, cycle - Record and deliver a lesson - Annotate images with audio explanation - Illustrate a concept or upload from the camera roll More Than A Web Although popplet is an excellent platform for brainstorming, think beyond a web. Anything in your content area that can be broken down into steps, can then be described, illustrated, applied, and extended using Popplet. - Illustrate the steps of a sequence, process, math problem - Lab report with procedures and illustrations or images - Visual discussions - Multiple solutions to a problem - Graphic organizer, brainstorming - Story board - How to - Math factors - Vocabulary words, definitions, sentences, and illustrations - Character maps - Timeline with images Put It All Together Collages are an excellent way to combine apps for stronger connections and internalization of learning. Create picture collages with images, text, and stickers. Easily customize colors, fonts, layouts, and backgrounds. Save it to the camera roll for use in other apps like 30 Hands, Educreations, and Popplet. - Visual writing prompt - Capture a lab and add captions - About Me collage - Visual summary of an activity, concept, or book - Vocabulary or spelling word collage - Add a few words and save to camera roll. Narrate in 30 Hands. Scan For More! No Connection Needed? QR stands for Quick Response and is typically used to link to a website. However, QR codes can also link to text! Think of all the extensions, hints, and answers you can add to your classroom walls, worksheets, and centers without worrying about the network! - Directions for center activities - Bell work instructions - Answer keys on worksheets - Differentiate assignments - Add to homework to explain directions or provide additional help - Link to spelling/vocabulary lists No network. No stress. No excuses. Use these five apps in powerful ways to assess student learning, demonstrate new knowledge, and present their applied learning to peers. **Some of these apps offer additional features with a connection, but it’s not required. If your students create something you love, then make arrangements to get connected. Just remember, not everything has to come off the device. What’s the purpose of the activity? If it’s to demonstrate understanding…. that’s done.

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No one knows when story telling began. All we know is that it is an ancient well respected art and played an important part is society. We can only guess what promoted the first story. Perhaps a hunter came back from the hunt and told of his heroic deeds or was it to explain why he came back from the hunt empty handed? Did a mother try to calm a child’s fears or doubts? Did a Shaman or tribal leader tell of an important event? The storyteller held an important position in these early societies. They were typically the priest, judge or ruler. People found their stories interesting and listened to them. Storytelling days were considered important. Before man learned to write, he had to rely on his memory to learn anything. For this he had to be a good listener. With the importance of the story established, the listeners paid close attention. These stories were not only told amongst themselves but, when people traveled they shared their stories with others in faraway lands when they traveled. And when they returned home, they brought back exciting new stories of exotic places and people. The oldest surviving story is believed to be the epic tale of Gilgamesh. This story tells of the deeds of the famous Sumerian king. The earliest known record of storytelling was found in the Egypt. Cheops’ scribes recorded the stories told by Cheops’ sons who told their father stories to entertain him. There are all kinds of stories myths, legends, fairy tales, trickster stories, fables, ghost tales, hero stories, and epic adventures, and that over time these stories were told, and retold. Passed down from one generation to the next, these stories reflect the wisdom and knowledge of early people. Stories were often used to explain the supernatural or unexplainable, confusing events and disasters. It was common for people to believe in the stories of gods that bound them to a common heritage and belief. Most historians and psychologists believe that storytelling is one of the many things that define and bind our humanity. Humans are perhaps the only animals that create and tell stories. Tell me your favorite story in a comment and your email address here and win a free copy of Knight of Runes (epub or pdf format), a new story by Ruth A. Casie. One person will be randomly selected on November 20. The characters are strong, vibrant, true to their nature, and albeit very heroic. The author, Ruth A. Casie, weaves an exciting and beautifully told legendary tale that is both rich and engaging. It is full of, ‘on the edge of your seat’ suspense, mind-boggling drama and a forever-after romance. Ms. Casie's sparkling new novel, KNIGHT OF RUNES is a winner! ~ Romance Junkies – 5 Blue Ribbons I totally enjoyed this time travel romance. I actually felt like I was Rebeka immersed in her adventure. I found this book well written, warmhearted and believable. I loved the use of runes, magic and ancient Druids as part of her plot. The romance was heartfelt and not overly mushy. ~ Bookloons – 3 Books Knight of Runes It’s the 21st century and time travel is still a Wellsian fantasy but not for Rebeka Tyler. While on an impromptu tour of Avebury, she takes a misstep at the standing stones, and finds herself in the right place but tossed back into the 17th century. When Lord Arik, a druid knight, finds Rebeka wandering his lands without protection, he swears to keep her safe. But Rebeka can take care of herself. When Arik sees her clash with a group of attackers using a strange fighting style he is intrigued. Rebeka is desparate to return to her time. She poses as a scholar sent by the king to help find out what’s killing Arik’s land to get access to the library. But as she decodes the ancient runes that are the key to solving his mystery and sending her home, she finds herself drawn to the charismatic and powerful Arik. As Arik and Rebeka fall in love, someone in Arik’s household schemes to keep them apart and a dark druid with a grudge prepares his revenge. To defeat him, Arik and Rebeka must combine their skills. Soon Rebeka will have to decide whether to return to the future or trust Arik with the secret of her time travel and her heart.

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Fourth Grade Ela Grammar WorksheetsBack Below is list of all worksheets available under this concept. Worksheets are organized based on the concept with in the subject. Click on concept to see list of all available worksheets. - Grammar Categorization Help your child sort out his parts of speech with this fun activity! He'll choose which word in each group does not match the others. - Pronoun Agreement 2 This activity will give your students more practice matching possessive pronouns correctly. - Synonyms for Home How many words can you think of that mean "home"? Your fourth grader will learn 24 words that will add accuracy and intrigue to his writing. - Sentence Makeover 2 Give a paragraph a beauty makeover! Take a paragraph this is choppy and create a more rhythmic and flowing paragraph. - Christmas Nouns and Adjectives #4 How many nouns and adjectives can your young reader find in these Christmas sentences? Help your child develop grammar skills with this Christmas worksheet. - Christmas Nouns and Adjectives #10 Get in the spirit with this Christmas nouns and adjectives worksheet. Your child will underline the nouns and adjectives in these festive holiday sentences. - Christmas Nouns and Adjectives #2 Get a great holiday review of some basic parts of speech as you prepare for Christmas! Your student can practice identifying nouns and adjectives. - Interjections! Word Search Woo hoo! Get excited about interjections with a loud and enthusiastic word search! Interjections are the most exciting part of speech. How many can you find? - Exploding the Moment Good writers also know how to slow down the action at just the right times to build suspense and pull the reader into the moment. - Synonyms for Pretty Vocabulary building is important at any age. With this worksheet, your child will learn 24 synonyms for pretty, and get to practice them. - Thanksgiving Parts of Speech Give grammar practice a fun Thanksgiving spin with this worksheet, where your student will identify the different parts of speech that make up the sentences. - Interesting Adjectives Adjectives turn ordinary sentences into exciting adventures. Dress up the sentences in this worksheet and transform your writing from plain to fancy! - Synonyms for Girl Improving vocabulary is an important step to improve writing and reading comprehension. Help your child learn to use synonyms with this practice sheet. - Crafting Imagery Show students how vivid a well-written description can be and then let them create imagery of their own. - Christmas Nouns and Adjectives #3 Stay spirited this holiday season as you help your beginning writer review some basic parts of speech! - Christmas Nouns and Adjectives #7 Is your little gingerbread boy or girl in need of some grammar practice? Try this Christmas-themed nouns and adjectives worksheet for some holiday fun. - Adjectives Beginning with "B" Help your brainy child build a better vocabulary with these fun exercises. She'll learn a few new words, and get some practice using adjectives. - Christmas Nouns and Adjectives #5 Stay in the spirit of Christmas while reviewing parts of speech! Each festive sentence is full of nouns and adjectives; can your kid identify which is which? - Easter Creative Writing #9 Little Easter Bunnies, get out your creative thinking caps and delve into this Easter writing prompt. Can you think up the best Easter egg hunt? - Adjectives Starting with "A" All of these awesome words begin with "A" and describe astounding nouns! Help your fourth grader recognize adjectives that start with the letter "A". - Synonyms for Boy When is it appropriate to say "dude" or "gentleman" instead of "boy?" Explore the subtleties of synonyms with this vocabulary worksheet. - Christmas Nouns and Adjectives #8 Find the nouns and adjectives in these Christmas sentences. Your beginning writer can hone his grammar skills with this festive worksheet. - Synonyms for Store Can you think of a better word to use instead of "store"? Your student will expand his vocabulary by exploring different word choices, or synonyms. - Christmas Nouns and Adjectives #9 Stay in the spirit of Christmas while reviewing parts of speech! These sentences are full of nouns and adjectives; can your child identify which is which?

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Allegory vs metaphor: What’s the difference? Figurative language tools can make writing more engaging and impactful. They can help the reader picture more vividly what the writer is saying. Allegories and metaphors are literary devices or figures of speech that will improve your writing. Allegories and metaphors may seem similar, but they’re not the same. Many writers use the metaphor and allegory regularly but often without knowledge of what the devices are and how they work. Skilled writers know the differences and how to wield each one well. Both the allegory and metaphor compare two unrelated ideas or objects to create more impactful writing. So what’s the difference? In general, metaphor is a short phrase or paragraph that compares two seemingly unrelated things to make a point, while an allegory is a long narrative that uses a seemingly unrelated story to teach a lesson or prove a point. Here is a closer look at what each one is, with examples demonstrating how to use them to write persuasively. What Is a Metaphor? Metaphors are literary devices that compare two unrelated objects. A metaphor describes one thing by comparing it to another without using “like” or “as.” A metaphor describes a single idea or symbol. It is short, often finished in one phrase or paragraph, and is never carried through the entire piece of writing. The Main Difference Between a Metaphor and an Analogy A metaphor is a figure of speech that compares two unrelated things, like “Time is a thief.” An analogy uses the same idea to build a type of argument, while explaining more in the description. For example, “Time is a thief, because it steals moments of our lives just like a thief steals belongings.” Examples of Metaphors from Shakespeare To demonstrate metaphors more clearly, let’s look at a few examples. William Shakespeare wrote some of the most famous metaphors in literature. These phrases compare unrelated items for rhetorical effect. “Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more.” Obviously, life, an intangible thing, is not actually a shadow. This metaphor describes two unrelated things to give meaning and vibrancy to a topic otherwise difficult to understand. In Jaques’ monologue from Act 2 of As You Like It, Shakespeare delivers one of his most famous metaphors: “All the world’s a stage, And all the men and women merely players; Clearly, the world is not a stage. People are not actors. This illustrations allows the reader to see the similarities and start contemplating the meaning of people in the big picture of life. Other Examples of Metaphors Today most of us don’t read Shakespeare outside of literature studies, so how would metaphors work into our day-to-day writing and speech? Here are some examples: - The baby’s smile was the cherry on top of the ice cream sundae. - The snow was a white blanket covering the ground. - Her hair was a flowing river of gold falling across her shoulder. Metaphors do not use “like” or “as” to make their comparison. When those words are in the phrase, the expression becomes a simile. This is a similar literary device that is more direct in its presentation. Using Metaphors Effectively Metaphors can be powerful tools, but they can also be clichéd. Relying on overused terms is a common writing mistake even seasoned writers make. Some metaphors, like “the calm before the storm,” have been widely overused. Knowing when to use metaphors and leaving clichés behind is important. Use metaphors sparingly and only when they add meaning to your writing or draw a visual picture. It’s also important not to mix metaphors by including two in the same sentence. For instance, here’s a good example: “The sports car flew through the traffic with a full head of steam.” In this example, “flew” brings to mind an airplane, while “a full head of steam” suggests a train. This mixes two metaphors and confuses the reader. You could state the same thing more powerfully like this: “The sports car barreled through the traffic with a full head of steam.” This maintains the image of a train throughout the statement. In general, use metaphors when they provide more meaning to the story, but use them with caution. Be careful to avoid mixing metaphors, and do not use a metaphor you have heard over and over. Definition of an Allegory Allegories are stories including a symbolic representation or the expression of truth using symbolic, fictional characters.that lets the reader draw a conclusion. In literature, an allegory is often called a “story within a story” or a surface story that hides a deeper truth. For instance, a story about two neighbors getting into a squabble over a property boundary line may actually be a hidden story about a current war. Allegories can be powerful and direct or subtle, depending on the writer’s goal. How Is an Allegory Different from Symbolism or Metaphor? Allegories are not the same as symbolism, because allegories are complete narratives. Symbolism uses one object (symbol) to stand for another within a narrative, but does not extend through the entire narrative. While allegories sometimes use symbolism, they are not the same thing. In some ways, allegories are extended metaphors. They compare two unrelated things in a story, however, the objects are not really what they appear to be. What Is an Example of an Allegory? Storytelling is a great way to get a point across, and many stories in literature are allegorical in nature. Perhaps the most recognizable of these is Aesop’s Fables. Though Aesop draws his conclusion at the end of each fable, the story itself is a cover story for the deeper truth. Here are some additional examples of allegories: - The Chronicles of Narnia – This series by C.S. Lewis takes themes from the Christian Bible and expresses them in a fantasy story about a mythical land called Narnia. - Animal Farm – George Orwell’s classic Animal Farm tells the society the animals on a farm create to criticize communism. This book highlights the problems created through the Russian Revolution. - The Faerie Queene –This epic poem, published in the late 1500s, follows Arthurian knights through their adventures. A deeper look shows that author Edmund Spenser provided commentary on Queen Elizabeth I and her reign through the poem. The Scarlet Letter – This novel written in the 1800s is an allegory on sin and the way society punishes evil behavior. It also explores hypocrisy, particularly in highly religious societies like the Puritans. The power of the allegory is clear. Many of these works show up in literature classes around the country. Academics and critics debate and discuss allegorical works to explore what the author’s meaning or intention might have been. Because authors rarely state the purpose of their allegories, years of debate can flourish in the academic world. Read our guide to Hero’s Journey writers. Using Allegories In Writing The allegory is more challenging to use in writing than a metaphor because you must weave it through your entire piece. For full effect, you must find a story idea that connects to your larger idea then devise the allegory to let your fictional characters explore your real-world topic. When writing an allegory, remember that the audience must figure out what your characters and story represent. Finally, give readers enough clues to let them see your overall purpose without stating your meaning and message. Be subtle, but ensure readers see the meaning of your allegory. The Final Word on Allegory Vs Metaphor Whether you choose to add a few powerful metaphors to your writing or decide to let an allegory define your ideas for you, understanding how these two tools are used will make your writing more powerful. Comparison helps the reader understand ideas that are difficult to grasp. Both the allegory and metaphor allow this in your writing. Want more? Check out our list of allegory examples. Join over 15,000 writers today Get a FREE book of writing prompts and learn how to make more money from your writing.

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The pricelessness of lapis lazuli and the association of blue historically as a royal colour (certainly in the Byzantine tradition) meant that throughout the 14th and 15th centuries the ultramarine blue pigment that this rare mineral produced would be reserved for the most special and revered usage by western illustrators. It was used as the colour of the heavens and even more specifically, to clothe the Queen of Heaven herself, the Virgin Mary, who even gave her name to the colour, ‘Marian blue’. However, it must be noted that the blue pigment in a medieval manuscript is not always necessarily lapis lazuli, as azurite was a cheaper and more plentiful alternative. In early iconography Mary was literally an Empress, commonly seated on a throne holding the Christ child as in this ivory above. In western art this image later softened and we begin to see an emphasis on the Virgin’s humanity, showing her more frequently as a tender young mother (1). The formality of her throne was gone but the ‘royal’ blue remained. The four images below are all of the annunciation from Rylands manuscripts ranging from the 13th to the 16th centuries. Clearly there are significant stylistic differences, but in each a consistent symbolism is also apparent. Naturally, each of the figures of Mary is clothed either fully or partially in her characteristic blue. Gabriel appears to Mary and the scene is an interior one: Mary is enclosed, reminding us that she is ‘intact’, i.e. a virgin. The archangel Gabriel is placed to the left and the Virgin is to the right; it is unusual to see these figures reversed. In each the divine word of God, the power of the Holy Spirit in the form of a Dove, signalling the moment of Immaculate Conception, is visible travelling towards Mary. In three of the examples Mary is kneeling, showing her submission to the will of God and she is also depicted reading, demonstrating her wisdom (2). There are of course further clues in the images. The gold-strewn border from Latin MS 21 (above left) contains wild roses, a flower often associated with Mary (the rose without thorns) and also a peacock, an ancient symbol of Christ’s resurrection. The blue gown of Mary in Latin MS 24 (above right) is decorated with a pattern of three white dots which refers to the Holy Trinity of God the Father, Son and Holy Spirit. In Latin MS 38 (above left) we actually see the heavenly father, a small figure in a burst of gold and of course blue, the exact blue in fact of the Virgin’s cloak, explicitly making a connection between the two figures. Similarly Latin MS 39 (above right) also signals the blue heavens between the arched frame of the room and the gold-strewn border in the same shade as Mary’s gown. The use of gold in and around all the images (illumination) is liberal. This is another signifier. The light that shines back at us from the gold represents the light of Christ and also the eternal nature of God: unlike silver, it does not tarnish and the gold in these masterpieces remains gleaming centuries on. Next – Medieval storytelling: From Golden Pages to the Golden Legend - Wendy A. Stein. How to Read Medieval Art, Metropolitan Museum of Art, New York (2016), p.109.

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ClSt/Coml 200: Notes and Supplements What is a Myth? The Oxford English Dictionary defines myth as a synonym for "untruth", "falsehood", or "lie". But the word has a long history and an equally long range of meanings. The English word comes from the Greek mythos, which Liddell and Scott's Greek-English lexicon defines much more variously than OED defines myth, with most of the meanings of the Greek word corresponding to the English story. Only towards the end of the entry is the issue of truth or falsehood explicitly raised; and it is raised in such a way as to cast doubt on the possibility of making any simple, straightforward distinction between the two. What is Truth? The ancient Greeks were capable of treating "truth" and "falsehood" as mere opposites; but they were also capable of seeing an intimate connection between the two categories. The Greeks told many stories about characters who inquired after the truth, and about others who were inveterate tricksters. Achilles, the hero of the Iliad, declares that he hates like death the man who keeps one thing hidden in his heart, but speaks another (Iliad 9.310). But Achilles speaks these words to Odysseus -- hero of the second great epic poem of archaic Greece, the Odyssey, a poem in which the hero tells many extravagant lies, all of which stand in complex relation to the truth. Many people from all over the ancient world consulted oracles, and one of the most famous was the oracle of Apollo at Delphi in central Greece. This oracle was regarded by many as the most authoritative in the world; but its prophecies were typically so worded as to be completely misleading. A famous story concerns the Lydian king Croesus, who asked the oracle whether he ought to make war on the Persians. When the oracle answered that, if he did so, he would destroy a great empire, he went to war -- and in the process destroyed his own empire (Herodotus Hesiod, one of the earliest Greek poets and the first surviving Greek mythographer, commented rather enigmatically on the complex relationship between truth and falsehood in his own craft (Theogony 25). In doing so, he gave early expression to what remained in later times as well a very uncertain relationship between "truth" the representation of truths in stories. These few examples illustrate the complexity of the relationship between truth and falsehood in Greek thought generally, and locate this relationship especially in the telling and interpretation of stories. Who Owns a Myth? One of the reasons that the truth-value of myth is so urgently questioned is that myths and bodies of myth often have to do with identity: people who the same stories tend to feel that they have something in common with one another, and that they differ from people who tell different stories. early Greek historian Herodotus of Halicarnassus said that it was the even earlier Greek poets, Hesiod and Homer, who gave the Greeks their gods: i.e. by virtue of their mythic storytelling, they contributed to determining the national identity of their people (Herodotus have to an extent modelled their own storytelling on that of the Greeks -- presumably on the assumption that the stories themselves carry with them something of value, and that by adopting the stories one takes on qualities that one associates with and admires in the ancient Greeks. This is most obviously true of the Romans at the height of their power; and it is strange enough that the greatest empire of antiquity should have refashioned its own mythology to make it conform with that of a conquered people, even if the two systems shared certain features to begin with. But even after the pagan culture of classical antiquity began to give way before the Christian culture of the middle ages, the classical myths maintained a certain importance down into early modern times. And even in this century, in which various sciences and technologies are often said to have replaced myth and religion in setting the parameters of our attempts to make sense of the world, mythology is continually invoked, even by the inventors of these sciences and technologies themselves. The most outstanding example is perhaps that of Sigmund Freud and the "Oedipus Complex", a supposedly universal human impulse that both explains and is explained by the power of the Oedipus The myths we will study in this course are primarily those of the ancient Greeks; but as this brief summary suggests, we will be concerned with these myths both in their ancient applications, and in later adaptations. These myths, like all myths, are often thought of as containing "universal" messages: though they may be regarded as literally false, they may nevertheless felt to be true on a more fundamental level; and at the same time, while the particular form that a myth may take in a given culture may be thought of as somehow defining that culture, myths are just as frequently held to offer access to insights that transcend any one culture. In this course we will consider the cultural significance of the Greek myths in their historical dimension, as they have been continually adapted to various purposes How Do Myths Work? The correct question might really be, How Are Myths Used? Because myth is credited with providing access to some of the fundamental truths about the human condition, it is often, prerhaps normally regarded, as something to be taken very seriously. This impression is reinforced by the fact that mythology provides the subject matter for some of our most famous and revered works of art -- not just literary art, but sculpture, painting, and other forms as well. But historically, all myths -- including, but not limited to, the Greek myths -- have been a significant part of popular culture as well. The ancient Greek satyr plays parodied what we think of as the more typical, high-minded treatment of the same stories in tragic drama. In Christian Europe the Greek myths afforded an opportunity to indulge a taste in frivolous and risqué stories under the guise of an interest in the Classics. In contemporary culture, it is primarily Norse mythology that informs the popular genre of "adult fantasy literature" (Conan the Barbarian and his ilk), but Greek mythology is represented as well. A single production company currently produces a pair of television series -- The Legendary Journeys and Xena, Warrior Princess -- that loosely borrow their basic concepts and some of their material from Greek mythology. Another typical but more ambitious example of how the idea of mythology can be found in a certain episode of Start Trek: The Next Generation that first aired in October 1991. In this episode, which is entitled the hero involuntarily finds himself in a dangerous situation and in the company of an alien being whose language he cannot understand. Gradually, he discovers that the the alien speaks in phrases that recall events in the mythology of his (the alien's) culture, and that the situation in which the two find themselves parallels a particular myth from the alien culture. The hero is able to turn this insight into an understanding of how much his own culture actually shares with that of his counterpart, and encourages him to learn more about the "root metaphors" of Earth's culture -- which prove to be, the stories found in Greek mythology! A basic knowledge of Greek mythology and an informed critical approach to how they have been used in various times and places thus has an obvious value. What is important to remember, however, is that when we try to focus our attention on these myths, we are aiming at a moving target. The myths did not mean any one thing to the Greeks themselves, but took on different meanings depending on who was telling the story to whom, when and where the telling took place, in what form and for what purpose. This is all the more true of later adaptations. Our task will be not so much to unlock the meaning of these myths, as to come to grips with there

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Yellow Leaves on a Photinia Fraseri Photinia fraseri plants, commonly referred to as fraser photinias, add a sleek visual impact to the home garden with their shiny foliage that grows in a clean, symmetrical habit with an oval form. This shrub, or small tree, displays burgundy-hued new leaves that become dark green as they age, as well as showy, white summer flowers. While fraser photinias add interest, they may also call for extra attention when their otherwise evergreen foliage begins to turn yellow. Monitor trees regularly and jump into action when foliage shows signs of discoloring. Healthy, well-maintained trees are more likely than neglected trees to avoid and overcome health problems. Optimal care begins with growing fraser photinias in areas of the home landscape that offer full sunlight. Though these plants can handle shaded conditions, the lack of sunlight encourages disease. Fraser photinias thrive in well-drained soil, as wet conditions lead to rot disease and plant death. These evergreens perform best when planted in U.S. Department of Agriculture hardiness zones 7 to 9. Yellowing foliage on fraser photinia plants may be the result of a nitrogen deficiency. Nitrogen is an essential part of healthy soil, which provides strength to plants for successful growth and uniform color. Foliage may appear stunted or suffer from diminished health. While managing this problem typically calls for applications of nitrogen through fertilizer or other nitrogen-containing materials, such as elemental nitrogen, blindly applying a substance may have serious consequences. A home gardener's best option is to first bring a soil sample to a lab for a soil test. Though the soil may need more nitrogen, it may also have other overages, deficiencies or problems. Gardeners should make any suggested amendments to improve soil. Amendments will likely include fertilizing the soil surrounding the tree followed by irrigation. Following a professional diagnosis is the safest approach. While most insect pests cause little damage to fraser photinias, gardeners should still examine plants regularly for potential problems. Sucking pests, such as aphids or scales, are the most likely insect culprits for yellowed foliage. These pests suck plant tissue fluid and may lead to distorted, yellowed foliage, stunted twig growth, dieback and diminished plant health. Aphids are tiny, soft insects with teardrop-shaped bodies in a diverse set of hues, such as yellow, brown or red. These pests often gather on the undersides of leaves, where they feed together. Scales are pests commonly mistaken for bumps or growths on tree surfaces. These pests display soft or armor-covered bodies and are generally immobile, feeding in a single resting spot in maturity. Aphids and soft scales excrete a sweet, sticky substance as they feed. This substance, honeydew, drips onto plant parts below and sometimes to the ground. A black fungal growth called sooty mold is encouraged by honeydew, often covering plant foliage and interrupting photosynthesis. Armored scales, however, do not secrete honeydew. To control sucking pests, gardeners may first release natural enemies, such as parasitic wasps or predatory beetles. For more aggressive management, the application of low-toxicity insecticides, such as insecticidal soap, neem oil or narrow-range oil, offers effective treatment. Gardeners must thoroughly cover affected plant tissue, as these insecticides kill on contact. Sooty mold fungal growth will wear away once the sucking pest infestation is under control. Fraser photinias are no strangers to destructive diseases. Those that result in yellow leaves are fungal in nature. Phytophthora root rot disease, caused by fungal pathogens of the Phytophthora species, results in wilting leaves that discolor to a lackluster yellow, green or red hue as roots decay. A sticky, gummy substance may run from the trunk area as a result of rotting roots. This disease commonly ends in plant death. Powdery mildew disease also causes yellowing of foliage. This fungal infection typically spread on wind and thrives in a temperature range of 60 to 80 degrees Fahrenheit, according to the Ohio State University Extension. Though humidity encourages development, standing water is not necessary for growth. Powdery mildew also results in the growth of a powder-like, white coating on plant parts, as well as malformed leaves and leaf drop. While there is no chemical cure for phytophthora root rot, gardeners must maintain well-drained soil, as wet soils encourage rot. Incorporating organic matter, such as compost, into the top several inches of soil improves drainage. Gardeners should remove and destroy affected plant parts immediately. In addition, preventive sprays of a fungicide with the active ingredient fosetyl-al provides protection. To control powdery mildew, gardeners should first remove and destroy affected plant parts to decrease the severity of disease. Tools, such as pruning shears, must be sterilized between each cut and between uses on one plant to the next, to avoid spreading the fungus. Thorough coverage with a fungicide containing an active ingredient such as thiophanate-methyl or triadimefon provides control, particularly when sprayed during the disease's preferred weather. - University of Florida IFAS Extension: Photinia x Fraseri -- Fraser Photinia - Washington State University Clark County Extension: Fraser Photinia - Oregon State University Department of Horticulture: Photinia x Fraseri - University of California Agriculture and Natural Resources: Fertilizing Landscape Trees - University of California Integrated Pest Management Program: Aphids - University of California Integrated Pest Management Program: Scales - University of California Integrated Pest Management Program: Phytophthora Root and Crown Rot in the Garden - Ohio State University Extension: Powdery Mildews on Ornamental Plants - University of California Integrated Pest Management Program: Photinia -- Photinia Spp. Family Rosaceae Tarah Damask's writing career began in 2003 and includes experience as a fashion writer/editor for Neiman Marcus, short fiction publications in "North Texas Review," a self-published novel, band biographies, charter school curriculum and articles for various websites. Damask holds a Master of Arts in English and creative writing from the University of North Texas.

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9th Grade English Language Arts Curriculum When a student enters high school, they are beginning advanced courses for college preparation. In their freshmen year, students should have opportunities to develop listening and speaking skills included in their 9th grade English language arts curriculum. As they continue the process of learning grammar, vocabulary, composition, reading comprehension through the exploration of diverse texts, they should see their oral language skills strengthened. The information below will guide you through the 9th grade English language arts activities your students should be completing and how Time4Learning can help you achieve academic excellence. Here is what you’ll find on this page: What English Language Arts Concepts Should a 9th Grader Learn? A typical course of study for 9th grade English language arts will include a variety of literary works from different cultures around the world. 9th graders usually cover book reports, which build both reading comprehension and composition skills, as well as expand on writing skills they built in previous years. Some of the 9th grade language arts activities your student should perform include: - Learn to identify the features and purpose of myths, as well as contrasting myths from different cultures. - Learn how to interpret similes, analyze figurative language and use prior knowledge to make predictions. - Researching and writing about mythical characters. - Explore the different thematic links in the texts they read such as love, beauty, family, freedom, friendship and overall human nature. - Read and understand increasingly challenging texts that build knowledge in history, science and other subjects. - Compose texts that present multiple points of view. - Conduct research and select information from multiple sources to support their arguments. - Continue learning best practices for grammar and also expanding their vocabulary, both written and orally. - Constantly read and analyze classical books, short stories, poetry and more. Learn more about Time4Learning’s ninth grade English language arts curriculum by checking out the 9th grade English language arts scope and sequence and the 9th grade English language arts lesson plans. Reading Goals & Objectives for 9th Grade In terms of reading goals for 9th graders, your high school curriculum for language arts should aim at increasing the student’s ability to understand unknown words, as well as turning a more critical eye toward literature. Reading goals and objectives for 9th graders should include: - Decipher elements of the plot arch, setting, narrative, character development, Point-of-View, and more. - Accurately identify the author’s point of view in a story. - Adequately identify and explain the use of allegory and satire in novels. - Achieve clear understanding of figurative language, form and perspective. - Develop skills to evaluate materials for accuracy and discussion techniques. - Read between the lines and notice subtext, worldview, and implications. - Learn to track a plotline from the inciting moment to the climax and denouement. - Explore the meaning of the author’s voice, choice of narrative and POV, and use of character development. Get more detailed information on our homeschool reading curriculum. Writing Goals & Objectives for 9th Grade The ideal English language arts curriculum for ninth grade will encourage students to strengthen their writing skills by producing creative and coherent writing. Writing goals for a ninth grader should include: - Use different traits for writing, including organization, content, voice and word choice. - Use figurative language to compose their own poetry. - Develop and support ideas with specific examples, and citing information from reliable sources. - Formulate appropriate questions and paraphrase problems. - Identify areas of improvement in their own writing. - Understand proper composition skills. - Avoid plagiarism and accurately give credit to whom credit is due. Grammar Goals & Objectives for 9th Grade Even for a natural writer, grammar can be a struggle. Grammar extends beyond understanding how sentences flow together and instead, focuses on the rules of punctuation and types of phrases. 9th graders are expected to master high level grammar skills as proper writing skills are necessary for most career fields. Consider these objectives for your 9th grade ELA curriculum: - Understand and apply the proper grammar rules in their writing (pronoun-antecedent, apostrophes, etc.) - Recognize run-on sentences, and sentence fragments and avoid them. - Successfully diagram sentences. - Subordinate clauses - Participle phrases - Relative clauses Learn more on our homeschool curriculum grammar page. Why Choose Time4Learning Ninth Grade English Language Arts Homeschool Curriculum? Time4Learning’s 9th grade English language arts curriculum tackles each of the concepts mentioned above and more through engaging, interactive lessons with multimedia features and easy-to-follow instructions. Time4Learning follows a step-by-step method to bridge any possibilities of learning gaps and track the student’s progress. Consequently, students can move forward through the program as quickly or slowly as they need. Time4Learning is dedicated to helping your students reach their academic goals while also enjoying their experience. Below are some reasons why parents and students prefer Time4Learning to help them meet their academic goals: |As a Full Curriculum ||As a Supplement Additional 9th Grade Homeschool Resources Click here to return to the 9th Grade Curriculum Overview. Or explore the our other ninth grade resources:

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This month, we’re exploring how to teach young children theory of mind. Eddie (3 years old) had been upset when his mum left him in the morning. His childminder rang his mother so that Eddie could speak to her and put the phone to Eddie’s ear. Eddie said, ‘Look what I made, Mummy!’ and held up his picture for his mother to see. This is a cute scene and one that has been replicated over the land! Eddie does not realise that his mother can’t see his picture over the phone. He thinks that just because he can see it, she can too. This is about theory of mind, which is the ability to understand that just as you have your own thoughts, feelings and beliefs, other people have their own thoughts, feelings and beliefs. When we are truly empathetic towards another person and put ourselves in their shoes, this is theory of mind in action. Theory of mind is all about social interaction and begins developing at a young age when babies of around 6 months old can distinguish between animate and inanimate objects. As they grow and develop, young children will be able to engage in joint attention with other people (around 12 months) and learn how to sense the direction of another’s gaze (around 18 months). The ability to engage in pretend play and imagine that an object is something else (around 2 years) also contributes to their understanding of theory of mind. However, it really starts to develop more fully at around 4 years old when children begin to understand that other people have their own thoughts, feelings and beliefs. They can also begin to understand that sometimes someone has a false belief. Imagine you open your favourite box of chocolates to find that it has conkers inside. Your colleague comes in and looks at the box – what do they think will be inside? Chocolates? This is an example of a false belief, where someone believes something to be true that is not true because they do not have the same knowledge as you. In a short video clip Cameron (4 years old) is shown a playdough container that doesn’t contain playdough and he is asked what is inside. He guesses playdough and finds that it is full of candy. He is asked what his cousin would think is in the box and he answers candy. This demonstrates that he is, as of yet, unable to realise that other people do not know what he knows. A year later this scenario is repeated in a similar way with a chocolate bag that actually contains cars, and in another clip Cameron, now 5 years old, demonstrates his theory of mind as he realises that his Grandma would guess that the chocolate bag would actually have chocolate in it. When these false belief activities are completed with 3-year-old children, they are not able to guess correctly, whereas most 5-year-olds realise that another person does not have their knowledge. This involves predicting what one person thinks, feels and believes about what another person is thinking, feeling and believing. Theory of mind also involves complex language such as idioms, metaphors and sarcasm which can usually be understood at around 6 or 7 years old. This is why, when an adult uses a phrase such as ‘It’s raining cats and dogs’, we find our young children run to the window to look! Some experts believe that theory of mind develops over a lifetime and certain groups of people find it particularly difficult. No or limited theory of mind makes it difficult to realise why people do and say the things they do and to understand different perspectives. It can also make a person vulnerable in the sense that they may not understand the true intentions of another person which could become a safeguarding issue. Limited theory of mind can also make it harder for groups to role play, engage in storytelling or pretend play and ultimately more difficult to make friends and socialise. Groups who find theory of mind particularly difficult include: - Children under 5 (or older for faux pas/ metaphor etc.) - Adults and children with specific needs, for example, autistic spectrum disorder (ASD), Asperger’s syndrome (AS), major depressive disorder (MDD), mesial temporal lobe epilepsy (mTLE), schizophrenia - Adults or children who are deaf or those with hearing loss - People with lower competence in language or social communication difficulties - Adults or children with damage to specific areas of the brain. As children get older, they also become more socially competent picking up on subtle social etiquette such as faux pas: Lisa (5 years old) was given a present for her birthday from her Uncle John. She unwrapped it in front of him – it was a pink, sparkly tiara and wand set. ‘Urggh – I hate pink’ she said and threw it onto the floor! This is a classic example of faux pas, when you ‘put your foot in it’. As a grown-up we inwardly cringe at this social mistake, however, at 5 years old, Lisa does not yet understand about other people’s feelings and social etiquette. Children are learning from experience and from imitating others and thus they may learn the social rules prior to understanding why those rules are in place. For example, they may know that they are not supposed to point at the large lady sitting on the bus sitting in front of them, long before they understand why they are not supposed to do this. Generally speaking, understanding of faux pas does not develop until around nine to eleven years old. This is much older than we probably think and older than the age when an adult will brush away comments believing them to be cute rather than rude. However, although children may not have fully developed theory of mind, we can still support them in learning the rules about social interaction. There are many reasons why we should teach children about theory of mind. It will help them to develop self-regulation and teaches them a social language. It can assist them to manage their own feelings and, in turn, move the child from being egocentric to being more sensitive about how other people feel. It can also support children to develop feelings of empathy. Strategies to support children’s development of theory of mind - Teach children to be emotionally literate - Help children to be aware that other people have their own thoughts and feelings - Consider different perspectives in games and stories - Teach how to read non-verbal cues and gestures - Role-play and rehearse different social situations - Use visual aids to support teaching about abstract concepts - Teach sign language to aid communication. Here are some ideas of activities to try which will support children with their theory of mind: - Help children to recognise different facial expressions and follow eye gaze by playing ‘hotter and colder’ with facial expression and eye gaze to help the child find a hidden toy - Overemphasise your body language and ask the children to guess how you feel - Play a ‘guess the gesture’ game - Play the ‘what if?’ game e.g. What if I was singing loudly and mummy was trying to get my baby sister to sleep. What should I do? - Engage in pretend play - Read stories and talk about what a character might do next, how they feel and what could happen… - Plan activities that encourage children to think about feelings and emotions and what they mean - Tell jokes, use figurative language and idioms, explaining what you mean - Explain other people’s behaviour in past, present and future scenarios - Use Social Stories to support understanding - Use the language associated with thinking, feeling and believing; feel, forgot, think, know, guess, thought, believe, understand, excited, angry, sad, happy etc. When we have an understanding of the ages and stages of development relating to theory of mind, we can respond more appropriately to young children, understanding that sometimes the things they say are not unkind or rude, instead they are demonstrating that they have not yet fully developed theory of mind, just like Eddie and Lisa above. About the author Tamsin Grimmer is an experienced early years consultant and trainer and parent who is passionate about young children’s learning and development. She believes that all children deserve practitioners who are inspiring, dynamic, reflective and committed to improving on their current best. Tamsin particularly enjoys planning and delivering training and supporting early years practitioners and teachers to improve outcomes for young children. Tamsin has written two books – Observing and Developing Schematic Behaviour in Young Children and School Readiness and the Characteristics of Effective Learning.

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