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PURPOSE AND INSTRUCTIONS
This assignment challenges you to make up a story. About people. Make it credible with no requirement for suspension of disbelief. Some change must occur in one or more of the characters, either in thinking or feeling.
Present the entire story in two hundred and fifty words. Include in your story these elements: 1) the protagonist’s core desire or want (may be implied or stated) and the characteristic that will relate to the plot. 2) What the major conflict or barier-to-achievement is. 3) The resolution of the conflict.
Agree that stories can be character-based or plot-based. Since you’re writing literary fiction, make your story character-based, that is, make the character’s traits drive the action and the resolution of the plot. Instill human choice. (Genre fiction is plot centric. more fatalistic with characters more like puppets on strings doing the will of the storytelling puppeteer.)
EXAMPLES OF KNOWN STORIES.
Naive Little Red Riding Hood disobeys her mother’s advice (desire–go to grandma’s; flaws–disobedience, naivete) to talk to no one on her journey to Grandma’s house but she talks to a wolf (conflict) in the woods and the wolf (hungry) devours her grandmother and attacks Red (resolution). DOING WRONG DRIVES THE PLOT.
Sisters-and-stepmother-despised Cinderella (wants a husband) meets a prince (wants a girl) at a ball who, recognizing Cinderella’s kind nature, falls in love with her. But Cinderella disappears (conflict) back into her impoverished, in-servitude origins. A shoe is left behind and the prince finds Cinderella (choice, she probably left the shoe) by determining which girl fits the shoe (resolution). LOVE DRIVES THE PLOT.
Note that there are different interpretations that make every writer unique. The key is finding what your characters want and do to fulfill that want and the cause and effect that results.
EXAMPLES OF IMAGINATION GENERATED STORIES.
Seeing or hearing of a character or situation that you think might make an interesting story (or scene) and working through a character-based structured outline for the story. This gives the story action, purpose, drama, and consistency that will serve you well as you write the story.
Challenge. A homeless beggar begging on a median in the middle of a busy highway who’s tattered clothes were once stylish and expensive.
Imagined story outline. John is a single parent father. (want–raise child) His only daughter is killed by a drunk driver while riding her bike. The driver is never charged (conflict–no justice). John sets out to avenge (new desire) the death of his daughter. After repeated attempts he traps the driver and is about to maim him when he realizes the evil of his plan, and lets the man go. (resolution)
Challenge. Pretty girl about twenty sitting on a bus.
Imagined story outline. Cathy loves Bobby who does not love her. (Desire–Bobby to love her.) Bobby is to take a cruise with his fiancée. (Want–to marry fiancée.). Cathy secretly signs up for cruise determined to discredit fiancée (falsely) and convince Bobby to love her, Cathy. (Conflict.) She is successful but suffers guilt for having unfairly hurt and demeaned the innocent fiancée. (resolution)
WHAT TO DO.
-> Make up three stories as directed above. Each one no more than 100 words.
-> Submit stories for comment and ideas.
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This January, Greenpeace and a team of independent scientists from Stony Brook University sailed the Greenpeace ship Arctic Sunrise to the Weddell Sea in the Antarctic Peninsula to research the impacts of climate change on remote Antarctic penguin colonies.
We visited places that have rarely or never been documented before. Many of our findings confirm our worst fears; that once-pristine Antarctic ecosystems are changing drastically. But fortunately some of our findings in the Weddell Sea also offer hope.
Our team conducted research in the remote Weddell Sea. This is the site of a vast proposed Marine Protected Area (MPA), which was originally proposed nearly a decade ago by the Antarctic Ocean Commision (CCAMLR) but has still not been delivered.
To understand how the Antarctic Ocean is faring, Stony Brook scientists monitored the breeding of two of its integral residents: Adélie and gentoo penguins. Penguins are sentinel species, which means that the state of their colonies can tell us a lot about the changing health of an ecosystem. This was the reason why our team turned to them for clues on how climate change, industrial fishing and other pressures may be impacting the Antarctic.
While Adélie penguins need cooler ecosystems and rely heavily on the Antarctic cold water creature, krill, for their diets, gentoos can fare well in relatively warmer climates. Compared to Adélie penguins, they enjoy areas with less sea ice. They dive deep for their food and don’t rely as heavily on krill.
Based on trends shown in previous research, scientists predicted that gentoo penguins might be migrating further south in response to climate change, while Adélie colonies may collapse in already cooler, more southerly regions. Some researchers referred to these changes as a type of ‘gentoo-ification’.
What we saw confirms our worst predictions. We documented a new gentoo penguin colony never before recorded at Andersson Island, on the east side of the Antarctic Peninsula, as well as the first ever recorded findings of gentoo penguins in an unexplored archipelago just off the Antarctic Peninsula’s northern tip.
But there is hope: Adélie penguin populations have not yet collapsed across the Antarctic. We documented vast colonies of stable Adélie penguins in the Weddell Sea. Their stability is vital new evidence that the Weddell Sea could be an important climate refuge for wildlife, sheltering the wider ecosystem from the worst impacts of the climate crisis. We need to make sure it stays so.
The stories of the Adélie and gentoo penguins present a crossroads: our crew documented the climate crisis already changing the edges of the Weddell Sea with gentoos moving south, but we also saw the Adélies resilience in more sheltered areas. The penguin colonies’ entangled stories should be a call for action for world leaders to address the climate crisis and to protect Antarctic ecosystems and other vital marine areas globally.
This March, world leaders met at the United Nations but failed to agree on a Global Ocean Treaty that could enable the creation of a global network of ocean sanctuaries covering at least 30% of oceans by 2030. This is what scientists suggest we need in order to avoid the worst impacts to our oceans from multiple pressures, to allow ocean wildlife to recover, and to protect natural ‘blue carbon’ stores by safeguarding the systems that underpin them (a little known fact; ‘blue carbon’ in the deep ocean constitutes the largest carbon stores on Earth, containing 50 times the amount of carbon held in the atmosphere and over 10 times the amount of carbon in terrestrial vegetation, soils and microbes combined).
When properly protected, ocean ecosystems and communities are resilient, and can form an important lifeline in our defence against the climate crisis. Policy makers around the world have already committed to protecting the oceans, but these remain just words on paper. For example, the CCAMLR is moving at glacial pace to protect Antarctic waters; after committing to create a network of ocean sanctuaries over a decade ago, only two have been delivered (South Orkney and Ross Sea).
This isn’t good enough. In Antarctica, penguins on the move is just one of the ways the climate crisis is already changing life in the region. We do not need more evidence, we need action.
Explore the current issue
Beautiful photography. Captivating storytelling.
Take a look inside the latest issue of Oceanographic Magazine.
Subscribe to the digital edition for just £20 a year, or enjoy it for free courtesy of Oceanographic’s partnership with Marine Conservation Society. No cost, no catch.
Beautiful ocean stories straight to your inbox.
Join our community.
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Each piece of literacy is unique as it is shaped by the place and time in which it is written and the experiences of he who wrote it. In turn those to encounter the text will be effected, making each text a human experience. Shakespeare’s Othello reinforces the idea that literature is shaped by human experience and its counter act. During Shakespeare’s time there were events major disturbance, social and cultural crisis that shaped the language, imagery and character in his plays. Shakespeare’s mastery of plot development, character development and language, makes his works important in the study of literature throughout time.It is commonly believed that the eyes are windows to a person’s soul. However, Shakespeare allows the audience and reader of the play to see the true character through his words, giving words and the language of the characters great power. A technique that Shakespeare employs to great effect, is the use of the most poetic and lyrical language on that of the villain, Iago.
This technique sets Iago apart from the other characters and makes it easier for the audience to understand how Othello is drawn into Iago’s deceit.Opposite to Iago’s complex lyrical language are Othello’s lines, written in prose. The difference in their dialect represents their differences including race, status and good vs. evil. It also stands as a representation of the audience Shakespeare wrote for, which varied immensely in education, status (race) and wealth. Language used by Othello transforms throughout the play. At the beginning of the play Othello has such confidence in his skill with language; Shakespeare uses blank verse lines to portray him as a noble man with a calm nature.As he begins to believe Iago’s lies, his language changes as well, becoming offensive and giving numerous references to hell.
Under pressure from Iago in act three his language deteriates becoming fragmented and hesitant. “Ha! ” (3, 3, “o misery! ” (3, 3) there is also notable repetition, “not a jot, not a jot” (3, 3), “O blood, blood, blood! ” (3, 3) and “damn her, lewd minx! O, damn her, damn her! ” (3, 3). This shift from seemingly effortless verse to near inarticulateness, demonstrates how this larger then life, confident character is crippled by a mere jealousy.He looses grip further to a point where he can only helplessly and automatically echo Iago’s questions.
He is sent into frenzy, struggling to find the differences between “lying on” and “lying with”. His confidence with words and self control decreases so much so that he erupts in nonsense words, “pish! Noses, ears, and lips! ” (4, 1) this inability to communicate is symbolic of his inability to cope with the thought of an unfaithful Desdemona, and he is overcome physically and collapses. This transformation of Othello’s language is wholey due to the actions of Iago.Imagery is used in Othello as a means for its characters, namely Iago, to communicate their thoughts and personality, aiding in creating a dramatic atmosphere and helps define the various meanings and themes in the play. Animalistic descriptions are used constantly throughout the play.
Before Othello steps onto the stage he is described as an “old black ram” and a “Barbary horse” by Othello, depersonalising and degrading him to the level of an animal. This shows the level of respect he has for Othello.The major female characters are referred to as hobbyhorse, minx and minion, a representation of women’s standings during the Elizabethan era, suggesting they are nothing better then a common horse. Of significance is the animal imagery used to describe Iago. His malicious nature is likened to that of a snake through the imagery of poison and the name of “the viper” as described by Lodovico, indicating the character is similar to a snake, the ultimate sign of evil. Religious imagery is used often within the play, in comparing good and evil and in describing hatred of each other.Emilia to Othello “O, the more angel she, and the blacker devil you” (5, 2) shows contrast between Desdemona and Othello in addition to suggesting skin colour and evilness go hand in hand.
Religious imagery describes the preoccupation people of the Elizabethan era had with religious order and the place of it in the chain of being… Imagery as a whole is a reflection of the thoughts of the characters in the play who in turn reflect the views of Elizabethan society and Shakespeare himself.It helps illustrate the characters and their relationships who reflect the culture and time in which it is written, furthermore it represents the authors human experiences and ideas. The relationship between Othello and Iago is of extreme importance to the degeneration of Othello’s relation ship with Desdemona and Cassio and therefore, the development of the plot.
The malicious nature of Iago, the true antagonist of the play is conflicting to the protagonists, Othello. Iago abuses Othello’s trusting nature and naive traits to cunningly convince him of Desdemona’s supposed unfaithfulness.Henry Warnken describes Othello and Iago’s relationship, stating that while “Iago’s evil corrupts Othello, the potential for evil already lurked within the moor, Iago merely frees his capacity for evil”. Suggesting that Othello isn’t as pure and ‘good’ as the imagery already led the audience to believe.
This would prove Iago’s intelligence in plotting to use Othello for his own gain, “I follow him to serve my turn upon him” (1, 1). Desdemona and Emilia are principle female characters. Just as Othello and Iago are opposites, so too are Desdemona and Emilia.
The two women are loyal characters, wanting to please their husbands, for different reasons as they see marriage in different ways. Emilia knows of the value of marriage and wishes to be loyal to Iago as part of her duty as a wife, however Desdemona wants to please her husband out of love. This difference demonstrates the views of the Elizabethan era. Emilia’s marriage is acceptable unlike Desdemona’s, however it is Emilia’s whose fails. She is loyal to her husband up to a point where she decides to speak out against Iago, being the cause of all the chaos.
Unlike Desdemona who remains loyal throughout the play even after Othello murders her she still tries to protect him when Emilia asks who murdered her she revives momentarily to state “nobody; I myself. ” And they both remain in love. The idea that the socially unacceptable couple, married out of love remained loyal to each other until the end in contrast to the acceptable couple whom ended up fighting against each other, is one that would surprise much of the audience during the Elizabethan era.Human experiences are at the core of all literature, and the reaction we get from it. It is what shapes the plot, the language, characters and imagery used in the play.
It creates themes such as love and loyalty which are vital for the story to transpire. In relation to Othello, Shakespeare’s opinion of Elizabethan values and focus on human nature creates themes of love and loyalty which still resinates with today’s audience. If human experience had no place in literature, every text would be virtually the same.
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Deejaying, emceeing, graffiti writing, and breakdancing. Together, these artistic expressions combined to form the foundation of one of the most significant cultural phenomena of the late 20th century — Hip-Hop. Rooted in African American culture and experience, the music, fashion, art, and attitude that is Hip-Hop crossed both racial boundaries and international borders.
The Foundations of Hip-Hop Encyclopedia is a general reference work for anyone interested in Hip-Hop’s formative years. In thirty-six entries, it covers the key developments, practices, personalities, and products that mark the history of Hip-Hop from the 1970s through the early ‘90s.
All entries are written by students at Virginia Tech who enthusiastically enrolled in a course on Hip-Hop taught by Dr. Anthony Kwame Harrison, author of Hip Hop Underground, and co-taught by Craig E. Arthur. Because they are students writing about issues and events that took place well before most of them were born, their entries capture the distinct character of young people reflecting back on how a music and culture that has profoundly shaped their lives came to be. Future editions are planned as more students take the class, making this a living, evolving work.
Afrocentric Political Rap
In its most basic understanding, Afrocentric political rap is a subgenre of Hip-Hop music known as socially conscious rap (awareness of social and political issues surrounding black communities). The purpose of socially conscious rap is to challenge the dominant narratives relating to society, culture, politics, and economics. Through these means, it allows a platform for the voices, stories, and experiences of the black community to be heard. Specifically, black youth used political rap in order to raise consciousness about the historic oppression and injustices experienced by their community. While Afrocentric political rap is most certainly an important subgenre of Hip-Hop, knowing its development is equally as important.
The early development of Afrocentric political rap begins with the emergence of the golden age of Hip-Hop, which many would agree dates back to the 1980s and early 1990s. It is important to note that before the eighties and nineties, the Black Power movement, led by the Black Panther Party, played a pivotal role in inspiring the emergence of Afrocentric political rap. All throughout the eighties and early nineties, artists like Public Enemy, Sister Souljah, the Jungle Brothers, and X-Clan all possessed aspects of socially and politically conscious Afrocentricity. These artists, through their politically and socially aware music, helped to solidify the popularity of Afrocentric political rap as both a memorable and influential subgenre of Hip-Hop. Additionally, connecting the social and political context to Hip-Hop music helped to unify the voices and experiences of black youth within their communities through personal narratives and storytelling. The specific topics socially conscious rap addresses include but are not limited to institutional racism, incarceration, poverty, violence, police brutality, the criminalization of black people, and drugs.
While socially conscious rap brought about social awareness of the realities of black communities, it also allowed rappers and their crews to advocate for black liberation and solidarity. In relation to social and political contexts, it helped not only to bring awareness but also to assimilate these experiences into a society that slowly, but surely, began to shift its culture towards a more multicultural perspective. The main accomplishment of Afrocentric political rap was to raise social and political consciousness about black experiences, which contributed towards a general understanding of the social, political, and economic context of black communities altogether. Because of the profound influence of Afrocentric political rap in the dominant mainstream, the sociocultural landscape of the communities it hailed from shaped the development of Hip-Hop.
As Afrocentric political rap quickly grew into a highly popular and influential subgenre of Hip-Hop, it became implicated in the shift from socially conscious rap to gangsta rap (a subgenre of Hip-Hop characterized by aggressive tones of violence experienced by black people). Some notable artists within gangsta rap include N.W.A, Ice-T, Tupac, 50 Cent, and Ice Cube. In terms of stylistic elements, gangsta rap is arguably the counterpart to socially conscious rap. Gangsta rap, as compared to Afrocentric political rap, favors more of an aggressive tone and style that exposes the violence, substance abuse, and harsh realities of black communities. The shift from Afrocentric political rap to gangsta rap reflects the complexities of the effects the sociocultural landscape had on the development of Hip-Hop at the time. This narrative and cultural shift from socially conscious rap to gangsta rap represents the constant dynamic of the ever-changing subgenres of Hip-Hop throughout its history.
Understanding the historical development of Afrocentric political rap is necessary to comprehend its current significance. Noteworthy and talented artists like Azealia Banks, Brockhampton, Childish Gambino, Kendrick Lamar, Noname, and Vince Staples are all credited with being socially conscious. For instance, Childish Gambino’s “This Is America” is filled with numerous symbols representing the racism and violence experienced by black people. With his racially and politically charged lyrics, Childish Gambino made it clear that racism, oppression, and violence against black communities are far from over. As long as Afrocentric political rap continues to effectively influence Hip-Hop, socially conscious rap will continue to remain prevalent in the politics and culture of our society.
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It is possible to increase reading comprehension skills by participating in reading comprehension activities. Improving reading comprehension can assist a student in comprehending concepts in class as well as recalling material when it is needed later on. It is straightforward but effective. In many of the children’s books available for purchase, there are two different stories: one based on a real-life event and another based on fictional events.
Any form of narrative can assign to students, which will help them enhance their reading skills while also increasing their motivation to improve their reading comprehension levels. Here are some suggestions for beneficial reading comprehension activities that students might participate in during class.
Teach children who are just learning how to read a new style of poetry called phonics-based poetry, in which each word begins with a different letter, to children who are just learning how to read. It is a valuable guide for parents and instructors who want to educate their pupils on something new that they may apply in the future and remember.
2. Picture Puzzles
Reading exercises and picture puzzles will find, and students will have a great time doing them. They are pretty adaptable and maybe put together in a variety of ways. Print them in color and laminate them or print the black and white version as worksheets during reading.
3. Asking Questions
The students read the passage several times and colored in the pattern after each reading required by the teacher. They will develop fluency through repeated reading, answering, and completing a variety of questions to aid in developing comprehension abilities and fluency.
The pocketbook is an excellent resource for teachers and students, a collection of reading comprehension tasks drawn from all of the texts in our read-aloud programs. It contains exercises, sections for writing practice, and other resources. The most effective use of some of these would be with pupils already familiar with the figures before they begin reading the book. The tasks range from simple comprehension questions to more complex ones that are more focused on topic and analysis, among other things.
5. Word Games
Word games assist students in researching many tactics for close reading and have established a process that will improve the effectiveness of your instruction while also helping your students develop skills to read for deeper meaning in their reading.
For reading comprehension activities, the ability to retell a story is essential. Students will understand what storytelling is, how it might benefit them as readers, and how they can improve their retention skills. They’ll also touch on some of the obstacles when quickly practicing a craft.
7. Auditory and Memory
Reading-related activities that include auditory and memory stimulation will assist your child in developing their brain as they learn to read. By picking up a book, you can witness your child’s dissatisfaction and boredom transform into excitement and engagement. The more involved book activities you engage in with your child, the more interested they will be in reading.
8. Cootie Catcher
When it comes to reading comprehension, using a cootie catcher is a terrific method to make reading more enjoyable. Our cootie catchers use flashcards throughout the summer months, which is a particularly effective exercise for teaching prepositions, adjectives, and stem verbs, among other things.
9. Story Elements
For reading comprehension in primary school, there are numerous tale aspects to consider. Let’s start with something simple: a person’s perspective. When students read stories that feature multiple points of view, they frequently have difficulty grasping the air of the characters. The narrator is the individual who tells the story. They could be a character in the story, someone who knows everything that happened, or just a fly on the wall with no awareness of what was going on. The narrator’s point of view influences how readers comprehend events on the page and link them to their own lives in a novel or short story.
10. Thinking Mark Charts
Any school-aged child can benefit from thinking mark charts for reading comprehension activities. Additionally, they are not required to utilize grammar or vocabulary exercises. For tasks such as reading comprehension and sentence construction, they employ effectively. They also make it easy for students to locate the beginning, finish, or the following phrase by utilizing arrows, which is particularly useful when reading aloud in the classroom.
11. Visualize Text
Other advantages of employing text visuals for reading comprehension with your students are numerous, not the least of which is the introduction of inferencing abilities to your students through text visuals for reading comprehension. As long as you adhere to a few fundamental criteria while creating your graphic, it will utilize to teach various abilities across the curriculum and the grade-level spectrum.
12. Vocabulary Activities
There are various other ways to expand your vocabulary for reading comprehension activities. One method to do this is to incorporate vocabulary activities into your reading. One process of accomplishing this is to create vocabulary strategy cards and offer them to students as homework. Afterward, students can put the concept into practice on their own or with a partner in a literacy center or while participating in small group instruction time.
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No other books for children have so compellingly told the often exciting story of history than the Landmark book series published by Random House (roughly 4th through 7th grades). There will be no “twaddle” found here. The appropriate Landmark books are here keyed to their matching chapters in The Story of the Middle Ages.
The Life of Saint Patrick by Quentin Reynolds (W17)
Middle Ages chapter XXVI., The Bishop of Ireland.
Written in a wonderful and adventurous narrative story style, this excellent biography of Saint Patrick begins with the definite details we know of Patrick’s history, and fills in the probable background with the perilous life in England, Ireland, and Europe during the 5th century as well as many details of 5th century Christendom. A fascinating, recommended glimpse into the close of the Roman era and the beginnings of the Dark and Middle Ages.
King Arthur and His Knights by Mabel Louise Robinson (W05)
Much of what we know of King Arthur has devolved to legend. This book has the tricky task of presenting the history, as true to history as we can know it, and yet also giving us a glimpse of the heroic and legendary, and does a good job in an enjoyable, page-turning style. For those wanting strictly the legends of King Arthur for literature’s sake, The Story of King Arthur and His Knights by Howard Pyle, or The Boy’s King Arthur by Sidney Lanier are excellent.
The Vikings by Elizabeth Janeway (012)
Middle Ages chapter XLIV., The Coming of the Northmen, through chapter XLVII., A King’s Narrow Escape, and chapter LIII., The Normans Besiege Paris.
This excellent Landmark history focuses on Eric the Red and Leif Ericson, and their voyage and discovery of North America as related by the Norse sagas. They are not mentioned in The Story of the Middle Ages but rather in The Story of the Thirteen Colonies. However, a child will receive a good background in the Vikings as a people and their way of life.
William the Conqueror by Thomas B. Costain (W41)
Middle Ages chapter LXVII., The Battle of Hastings, through chapter LXIX., Death of William.
The 1066 takeover of England, relieving it from native English (Anglo-Saxon) kings and installing the line of Norman French kings and nobility, is a pivotal event in the history of England, and a hinge of history for European and Western civilization. Beginning with William’s childhood, Costain delivers a rousing tale of knights, battles, and arms and armor – and yet all of it true history!
The Crusades by Anthony West (W11)
Middle Ages chapter LXXI., The First Crusade; chapter LXXIII., Arms and Armor; chapter LXXVIII., The Second Crusade; chapter LXXXVI., The Fall of Jerusalem through chapter LXXXVIII., The Faithful Minstrel; chapter XC., More Crusades; chapter XCV., The Seventh Crusade through chapter XCVII., Effect of the Crusades.
The Crusades cover a very complicated period of Medieval history and spanned several centuries. This narrative history, first, delivers the historical details, and second, retains the storytelling style the Landmark books are so famous for. The author masterfully simplifies the complexities, helpful for a first introduction to the Crusades to gain the big picture. He also wrote before the era of political correctness, and so you are exposed to those true details of history that are out of vogue in the modern history books.
The Magna Charta by James Daugherty (W26)
I personally love every history book James Daugherty has ever written for children, and this one for the Landmark series is one of my favorites of the favorites. Daugherty divides the book into four parts: The Twelfth Century, The Angevins (the ruling house of England – Richard the Lion-Hearted of Crusade fame and King John of Robin Hood fame), King John and the Magna Charta, and Children of the Magna Charta. The narrative history is exciting, the language beautifully poetic, often humorous, and best of all, the importance of this hinge of history is left indelibly etched on the heart and mind. If you only read one Landmark in conjunction with The Story of the Middle Ages, make it this one.
Joan of Arc by Nancy Wilson Ross (W04)
Middle Ages chapter CXXXVI., The Maid of Orleans, through chapter CXXXIX., Martyrdom of the Maid.
There is so much legend interspersed with the history of Joan of Arc, that it is often difficult to divest fact from fable. This book does a good job presenting what has come down to us about Joan of Arc, and provides the wonderful and detailed backdrop of high medieval life in France, the influence of the Church in State affairs, and the terrible century-long Hundred Years’ War between England and France. As well, since the book ends with Joan’s trial and burning at the stake as a heretic, it makes a great bridge from the worldview of the Middle Ages to that of the Renaissance and Reformation, the next era of history.
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It takes more than a sound understanding of English grammar to become a skilled technical editor or writer.
You also need to understand how to format your work so that it can be easily and quickly understood.
This rule applies whether you’re trying to:
- compose a sentence in an email
- write a short article
- structure an engineering report
When determining how to format any text containing more than one sentence, you first need to ask whether or not it will require a list. A list can help convey your content with greater clarity and precision, allowing the reader to skim the text to understand the essential items.
However, it may not always make sense to use lists in the text; you may want to break long paragraphs into shorter ones instead of defaulting to list items.
In this guide, we’ll discuss the proper way to format a list and help you figure out which list format makes the most sense in a given situation.
The General Guidelines of Writing Lists
When determining which type of list to use, you need to understand why it is essential to consider your audience. Knowing your audience will help answer fundamental questions like, “How do you punctuate a list in a list?”
The punctuation will depend on the type of list, and the list type will depend on the audience. A legal document might contain a different sentence structure than a blog post, for example.
Two broad types of lists exist–vertical lists and horizontal lists. Horizontal list items utilize commas to separate each list item in a sentence (i.e., “a horse, a cat, and a dog”).
A vertical list does not use a comma to space out each list item, but, instead, uses bullets or numbers.
Technical writers categorize this latter type as a vertical list because the formatting causes the list items to stack on each other in a top-down structure. Continue reading to learn about different examples of list items.
When to Use Lead-Ins
Before each list, you typically include a lead-in to introduce the list items, followed by a colon. The lead can be an incomplete or complete sentence. For example:
How to read a manual:
- Open the manual
When to Use Numbered Lists
A numbered list typically includes a lead-in followed by a series of list items. It looks something like this:
The Top X Reasons to Use Numbered Lists
- Each list item proceeds sequentially (i.e., step one, then step two)
- The reader needs to know the total number of list items
- The numbers increase in importance
- It is necessary to identify a list item by a specific number (i.e., “Tip #1”)
Are you wondering, “How do you write a top 10 list?”
Numbered lists work well for list items that contain rankings or a specific number of items. However, the most critical distinction between a numbered list and a bulleted list is the order.
Make sure to write a list using numbers if the order matters or if you’re writing a step-by-step guide, in which item #1 must precede item #2.
When to Use Bulleted Lists
You should create bulleted lists starting with a lead-in then using between 4-10 list items. For most list items, you will use bullet points. A bulleted list delineates items in which the order doesn’t matter, such as items on a grocery list or types of software.
Sometimes, a piece of writing will contain a sublist within a list, known as a nested list. Nested items work well when you discuss a topic that needs breaking down into additional bullets. Be sure to indent nested lists to a new indent point to the right of the bulleted list to indicate that it is subordinate.
When to Use a Colon
You may be curious to know, “When is a colon used in lists?” “The colon: when to use?” can be a tricky question.
From the lead-in example, you saw to use a colon before adding items to the list. But beyond the lead-in, colons also sometimes occur within the text of a sentence.
You include colons before introducing horizontal lists, but only if a complete sentence precedes the list. For example: “I need to tell you three names: Janet, Isaiah, and Thomas.”
When to Use a Semicolon
How to use a semicolon? Semicolons separate two related independent clauses (a.k.a. complete sentences). You could also replace semicolons with periods and use proper capitalization for the sentence after the period.
Alternatively, you could replace a semicolon with a comma plus coordinating conjunction (such as “and”).
But you might still be wondering, ‘When is a semicolon used in lists?” In horizontal lists, semicolons can help group items together, making lists with lengthy phrases–especially if those phrases also include commas–less confusing to interpret.
An example might look like this: “Bruce has lived in San Francisco, California; Louisville, Kentucky; and Omaha, Nebraska.”
Writers use semicolons less frequently in vertical lists. However, you will see semicolons in vertical lists in legal writing. In legal writing, a semicolon comes at the end of a bullet point in a list, which may not necessarily contain complete sentences. The word “and” precedes the final bullet.
Here is a hypothetical example of vertical lists in legal text:
The client entrusts the following assets to his son:
- Personal heirlooms;
- Real estate; and
Beyond the legal field, in business and web writing, do not put punctuation after each list item unless it is a complete sentence, and always be consistent.
You may also run into list problems, such as issues with incorrect parallelism in a sentence. Creating lists using a parallel grammatical structure for each item means that the writer similarly structures all items for easy understanding.
This can include using the same form for all verbs, starting each item with a participle, or making each item a noun phrase.
Effective Communications Skills
At Vista Projects, we provide high-quality engineering services, including resources for individuals working to become proficient technical writers.
Understanding different writing techniques can help you outline each sentence to make the most sense to the reader or recipient. Check out more technical writing tips in our resources section.
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“One language sets you in a corridor for life. Two languages open every door along the way.”
– Psycholinguist Frank Smith
Young children naturally absorb new information like sponges and delight in the process of learning. Language instruction is a beneficial experience for toddlers as young as three years old. Not only does it give you something fun to do with them, but there are many developmental, social, and economic benefits. At Shine, we make second language learning interactive, engaging, and fun.
Key Facts on Learning A Second Language at an Early Age
Children who learn a second language have better:
- Tolerance and intercultural awareness
- Academic performance on SAT and ACT tests
- Risk assessment and analytical decision-making
- Creativity, mathematical scores, and basal ganglia function
- Maintenance of focus and attention, despite external stimuli.
- Vocabularies, working memory, and problem-solving abilities
- Ability to gain language fluency due to gray matter increases
- Chance at becoming an executive, as two-thirds speak multiple languages, earning 5-20% more
- Protection from Alzheimer’s, with onset delayed by as much as five years.
Choosing A Second Language For Your Child
You may consider choosing:
- A heritage language that carries cultural and personal significance, like German or Italian.
- A profitable language like Mandarin Chinese, which analysts say is ideal for career development.
- A popularly spoken language, such as Spanish, Chinese, Arabic, or French.
- Kid-friendly languages like Spanish, found in TV (Dora the Explorer) and books (Skippyjon Jones).
- An etymological language like Latin, which helps kids understand the root of English words.
- Easier languages to learn that are written and pronounced the same, such as Spanish or Italian.
What Does It Take For Children To Learn?
Linguists say the most effective teachers are parents, caregivers, immersion schools, and living abroad. Daily preschool classes can be helpful – but only if backed up by foreign language books and time spent with au pairs or babysitters who speak the language. Toddler programs and once-a-week classes train the ear to help kids get a head-start on learning the language later.
“To really learn a foreign language, children must spend 30 percent of their waking time exposed to it,” Christina Bosemark, founder of the Multilingual Children’s Association, told the NY Times. Children with less exposure will have the capacity to understand the language, but will be hindered in speaking it correctly.
Susan Behrens, associate professor of communication sciences and disorders at Marymount Manhattan College, adds: “If you introduce a language in the spirit of play and being embedded in their daily lives, you’re going to be much more successful than if you say, ‘Okay, you’re going to class now.’”
Parents Love Shine’s Listillos Language Immersion Program
One of our most popular programs is Listillos, a Spanish immersion class that uses storytelling, music, visual arts, games, and dance to give children a better understanding of the language and culture. Children as young as pre-school will spend time learning vocabulary and culture based around a particular theme, while older kids will delve into the culture of Spanish-speaking countries with art activities featuring Dia de los Muertos flowers, luchador masks, Colombian, molas, and Aztec codex. Going one step further, the Listillos Uno-a-Uno program adds in private, one-on-one instruction that includes cooking, field trips and advanced art projects. A native Spanish speaker teaches this bilingual class designed for ages 2-10.
By Jenn Fusion for Shine
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Black History Month 2020
What is Black History Month?
Black History Month is a yearly observance and celebration, which commemorates and gives recognition to the history, achievements and contributions of people of African, Caribbean and Jamaican backgrounds.
Black History Month, which originated from the US in the early 20th Century, takes place in the UK every October. Carter Godwin Woodson, a historian and co-founder of the “Association for the Study of Negro Life and History” is credited with giving rise to this important month.
Woodson believed that education about black history was vital in the study of race within society, stating:
"If a race has no history, it has no worthwhile tradition, it becomes a negligible factor in the thought of the world,
and it stands in danger of being exterminated."
Black History Month is crucial to the education of children, by providing an educated understanding of the history of, not only slavery, civil rights and the injustices of today, but the rich history and culture that is not consistently represented. More importantly, this celebration of Black History and Culture should be integrated full time into the National Curriculum, and every year this dedicated month creates awareness and helps work towards this.
What we did/doing for
Black History Month 2020?
Because the inclusion of Black History and Culture is, and should be, of such importance in todays society,
we ran many diversified lessons and discussions. These sessions - free online and safe in-person workshops - helped to create a vaster knowledge of the history, heritage and culture of Black Communities, t alongside Black History Month classes at school, by highlighting and giving recognition to topics and histories that may not be equally represented in main educational settings.
We aimed for these sessions to assist students in learning; to be able to create a deeper and richer knowledge of the history and culture of Black communities.
We hoped that by providing more personable and specific sessions, on a range of topics, will alongside the national curriculum that schools provide, help to give students a broader education and perception of Black communities, their history and culture. In-turn we hope that these sessions can contribute to strengthening awareness and inclusivity of our community; to help start a much needed conversation on the importance of change to create a more diverse, equal and united community, society and human race.
Our Black History Month Sessions will consist of lectures and talks on various aspects of culture and history. They will provide an important understanding, and a richer, more specific knowledge of culture, that is often overlooked and under-represented.
Sessions are on our events page, ready to sign up to! Sessions are added in advance, for as broad of ages as possible. Once registered for the Black History Month event on our events webpage, you can then sign up for sessions and receive updates and info on new sessions that are added!
We will have sessions such as:
Black Photographers of Today
Unrepresented Figures in Early History
Black Figures in the Fashion Industry
History of Music Origins and Contributions
Unrepresented Figures in Recent History
History of Notting Hill Carnival
History of Slavery and Civil Rights
African Slave Rebellion During British Colonialism
Contemporary Black Photographers
Criminal Justice System
Youth Charter Black HISTORYwise Packs
Sport, Racial Injustice and Activism
We also had an exciting competition, in partnership with Young Ealing Foundation! Following the enthusiasm and creativity of students for the Poster Competition during the 'Free Online Summer School Project', we decided to do another competition. We felt that the students' creative outlet needed more freedom to flourish; and what better time than Black History Month. We have tried to give the students a vast range of options for their piece of creative work, so their expression and artistic skills can thrive, whilst having fun and enjoying creating a piece of work of their choice! Below are the suggestions/options for students to choose from.
- Short Story
- Creative Writing
- Personal Essay
- Short Script/Play
- A Song
- Spoken Word
- A Dance
- Or any other creative piece of work, outlet or activity that you would like to do as a tribute in celebration of BHM.
The submissions that we had for the creative competition have been incredible. The talented student's and children who submitted work have really shown their understanding, creativity, work and solidarity, so we had a wide range of incredible, powerful creative work to decide from! Together with Young Ealing Foundation, we awarded the winning student's below prizes!
Daniel Lai Age 17
"My creative piece of work is a collage of sneakers designed by famous black men. Taken by myself in a streetwear setting of the diverse city London capturing it's both aspects of style and appreciation of black culture".
& Masy -
Arabic School Newham
Marta Shlosberg Sibley
Natalie Kolyan Age 10
Simonas Stankus Age 9
Arabic School, Newham
Micah Francis Age 5
Age 15 &
Nikita Congdon Age 8
Imran Sharipov Age 8
Sofia Sidorova Age 6
Amina Rudakova Age 6
We wanted to say an enormous thank you to the students that have participated and submitted their beautiful work into the Creative Competition! Thank you for your incredible talent and your initiative to learn and celebrate Black History and Culture!
We know how important it is for children to have a social, in-person, outlet for their creativity, and with Covid-19 there have not been many chances for this outside of school time. Now Covid-19 restrictions have softened, we are able to (with socially distanced restrictions and safety precautions) provide 2 workshop's this month for the children of the Ealing and Newham Communities.
Both of these FREE, Black History Month, in-person workshop's will be run by us at Znaniye Foundation. Both workshops will be split into 2 age groups; 5 -7 years and 8-12 years; lasting 2 hours for each age group. These workshops will be bringing creative, fun and educational activities related to Notting Hill Carnival. We will also have Black History Month Wise Education Workshop Resource packs, covering topics such as civil rights, slavery and activism brought by Youth Charter who have partnered with us for this project! We also welcome children to create/begin creating their piece of work for the Creative Competition.
The first workshop was held on the 24th of October 2020 in Newham, and we were delighted to be joined by over 100 children aged from 4 upwards! The children were incredibly excited to hear Geoff Thompson MBE, 5-time world karate champion and founder of the Youth Charter, speak with them to begin the session. Geoff spoke to the students about their heroes, their life ambitions and goals, and how many of these wouldn't be possible without the inventions and barriers broken by black males and females in the past.
The students learnt about Geoff's journey to success, how sporting can push us both physically and mentally in life - and importantly about how they as young people need to work towards becoming informed and active members of society, to create a better future for all.
Following this, the students were introduced to the Black HistoryWISE packs from the Youth Charter, that were created to be embedded in students curriculums, with the ultimate goal of reaching every student in the UK and further afield.
We are pleased to be able to offer these packs as well, for anyone to use. Please download here
Students were then provided materials to create their own posters based on what they had learnt, individually or as teams, along with materials to make Notting Hill Carnival Costumes and Headbands.
We are so proud that through our funding from YEF, with our partnership with Youth Charter, and with the commitment from our communities we are able to bring this vital education to more students.
We are always looking for more volunteers and people to get involved and help out for their community! If you would like to partner, teach sessions, do outreach work or help with any events, please feel free to contact us.
Contacts to inquire about getting involved:
Znaniye Foundation Info Email: [email protected]
Logistics Coordinator: [email protected]
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Collab Lab 26 focused on storytelling and how we can use those practices to empower student voices and drive engagement.
We started the discussion with the question “What hopes do you have when students are given a chance to tell stories that matter to them?”:
- Students will be able to share stories with an authentic audience
- Students will develop a sense of identity and worth
- Students will have the chance to understand a commonality of experience
- Students are able to advocate for their ideas
- Students capture history making connections
- The process models collaboration, community, and critical thinking
- Students understand the power of their voice, and empathy for others
- Students share and support authentic representation, identity, and learning
- Empathy – students see the ethical and therapeutic potential of seeing others as human
- Students gain a sense of freedom, choice, ownership, authenticity, bravery, and dignity from the stories they share
Authentic storytelling comes with risks, so we also asked about the fears participants had when students tell stories that are meaningful to them:
- We are not prepared to hear a story in a supportive way
- A lack of efficacy or ability to change lives
- If we don’t teach the art and science of storytelling, students will stop telling them– they need an audience
- No acceptance of failure (shame, exposure, sharing)
- Sensation of negative, leads to negative – e.g. if one student tells a story of harmful behavior does that lead others to emulate that behavior?
- It is difficult to combat the toxicity of Celebrity as Hero.
- Vulnerability of students (low initial stakes with incremental risk)
- Exposure of trauma without an ability to care for it
From there we moved on to ask “What questions can help students identify stories worth telling?” Here, the need to as these questions in an iterative, repetitive way was called out as a necessary step in getting students to think deeply about their responses. The goal for participants here is to help students find a story they can tell from the heart.
- Who are you?
- Where are you from?
- For what and for whom?
- How can this story touch one person?
- How do you tell different stories to different people?
- What’s your reason – your personal mission statement?
- What is/are your:
- zip code
Our final question asked participants what they need to help students tell these stories:
- To create a culture and community that supports students’ voices, and provides safety and comfort as they tell their stories
- To give students options about how to tell their stories
- To provide students a space that makes them feel awesome
- Time, flexibility, community, connections
- Access to storytelling expertise
- Time for students to play
- A culture of storytelling that recognizes the need for authentic listening, and receiving
- The opportunity to use non-linguistic media
Give the focus on storytelling, one of our discussion groups captured what this might look like as a story:
At MLK Elementary, a 6th grader who was sometimes seen as a troublemaker got up in a front of a room and told the story of how she realized she was a naturally gifted pool player. This resulted in lots of positive attention for her! The workshops and prep time she used paid off!
Youth Education (for young people): https://mkefilm.org/for-
Educator Services: https://mkefilm.
Milwaukee Visionaries Project (MVP) UWM-sponsored after-school animation program serving middle and high school students from throughout the city of Milwaukee. Our programming for middle and high school students aligns with the MPS school year and we enroll students on a rolling basis throughout the year. MVP does not currently offer a summer session, but UWM’s greater Art Ed networking organization (ArtsECO) runs Pre-College Art and Design classes for high school students during our off-season.
Information for Pre-College programming available at UWM can be found here: https://uwm.edu/arts/
Using place and identity as framework for storytelling as an https://geoconvos.org/
Have something to add that we didn’t catch here? Let us know.
Thanks again to The Commons for providing the space for this month’s Collab Lab. Thanks also to our featured participants:
Karen Ambrosh — Teacher, Audubon Technology and Communication High School
Emily Berens — Program Coordinator, UWM’s ArtsECO
Wendy Harrop — STEM/Library Integrator, Summit Elementary School
Dominic Inouye — Founder and Director, ZIP MKE & Jane’s Walk
Megan McGee — Co-founder and Executive Director, Ex Fabula
Cara Ogburn — Programming & Education Director, Milwaukee Film
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List of Some Writing Strategies for Diverse Learners in Elementary School
Students learn in different ways, each influenced by differing elements in a teacher’s style. This includes visual learners, who learn by seeing demonstrations, auditory learners, who learn by hearing instruction, and kinesthetic learners, who learn by doing projects themselves. While it may seem daunting to learn each student’s specific learning needs, you can incorporate elements of each of these in your lessons to create a diverse writing strategy.
1 Interactive Teaching
Interactive teaching is a combined process of demonstration and explanation. Demonstrate the writing process by writing sentences on the dry erase board for visual learners, while verbally citing the reasons you made each writing decision for the auditory learners. For instance, write the sentence, “I had a sandwich, chips and soda for lunch,” while saying, “I’m writing a list, so I know that I need a comma between each list item.” This technique incorporates both visual and verbal teaching methods, in conjunction with the kinesthetic process of writing assignments.
2 Visual Referencing
Visual references include pictures drawn by students prior to beginning the writing process. Instruct your students to draw pictures, including some of the elements from the story they intend to write, providing a visual reference supporting the needs of the visual learners in your class. Interact with your students, walking around class, asking questions about each of their pictures. Encourage them to add additional elements to their pictures, but use this verbal engagement to stimulate your auditory learners. Use this technique to teach your visual learners to envision a scene as they write, and your auditory learners to get in the habit of asking their own questions as they write.
3 Group Brainstorming
Group brainstorming provides a visual and auditory experience for students, allowing them to watch the prewriting process occur. Start the brainstorming process by writing a central idea in the center of your dry erase board and then expanding from it with adjoining ideas and lines connecting each to the original idea. Invite your students to add their own suggestions, turning the brainstorming process into a social event. Use this technique to teach students how to perform a visual and kinesthetic learning technique on their own, for writing projects outside of the narrative style, such as research papers or opinion papers.
4 Topic Flexibility
Expanded topic flexibility allows students to focus their writing techniques around the topics and story formats with which they are most familiar. More flexible topics encourage students to think about their individual backgrounds, cultural influences and writing experience, to construct a topic to which they can closely relate. For instance, give your students a general topic idea, such as favorite family memory or ask students to discuss how their culture influences their ideals. Leave the specifics of each topic up to individual student interpretation, highlighting their diversity as part of the assignment.
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Language learning games can help your students to improve their skills as long as you know how to choose those language learning games that perfectly serve the purposes of your language lessons. In this post you are going to learn how to choose the types of games that better serve your language teaching practice and how to pick them according to the lesson, the goals and your students’ needs. Let’s get serious about games!
Here are the questions I’m going to answer:
- What are language learning games?
- What types of games are the best fit for the language classroom?
- How can you choose the best language learning games for your students?
Let’s get started.
What are language learning games?
Language learning games are playful activities and dynamic exercises you can propose within an educational setting. The main goal of language learning games is to facilitate the language acquisition process. In fact, the acquisition of the target language remains at the centre of all language learning games.
What types of games are the best fit for the language classroom?
There are a number of classifications of games and, more specifically, of language learning games. One of the classifications I personally found more helpful is the distinction between linguistic games and communicative games by the author Jill Hadfield (see her bibliography here).
Linguistic games focus on accuracy, for instance: find the correct antonym, or turn singular nouns into plural nouns.
Communicative games focus on successful interaction and exchange of information and ideas, for instance: discussing the differences between two similar pictures.
What type of games shall we use in our lessons, then? It depends on the phase of the lesson. Remember the Acquisition and Didactic Unit pattern? In another blog post I explored that topic and you learned about how to structure a language lesson that really facilitates acquisition.
Linguistic games perfectly serve the phases Analysis and Assessment, whilst communication games better suit the phases Motivation (some specific drama games only), Globality, Synthesis, Discussion and Assessment (depending on what skills we need to assess).
The taxonomy is not that strict, therefore you we can find elements of interaction in linguistic games as well as elements of accuracy in communication games. As you can figure it out by yourself, teachers can decide whether to put the accent on accuracy rather than on communication in each type of game. For example: in a labelling game, where students match labels and pictures, we might want them to reflect on the grammar (e.g. the game will focus on plural and singular forms), or we might want them to practice speaking, negotiating, explaining ideas, and so on (e.g. the game will focus on explaining concepts that can be seen from different point of views, for instance: happiness, success, richness).
So, in choosing the language learning games for your lesson plan, the first element you need to keep into consideration is which phase of the lesson you want to gamify. Starting from that, you know you will need games focusing on either linguistic accuracy or communication. That is the first step.
General-wise, linguistic games are easier to deliver than communication games. This is because linguistic games cover specific chunks of information and they focus on specific competences. For instance: learning about synonyms and antonyms. On the contrary, communication games require well engaged students, possibly students who are familiar with language learning games already.
How can you choose the best language learning games for your students?
The second step for you is to decide on the type of language learning games. There are 9 types of games you can choose from. Here they are.
9 types of games:
- Sorting, ordering, or arranging games. For example: classifying verbs describing actions, or putting a dialogue in order.
- Information gap games. In such games, one or more people have information that other people need to complete a task. For example: Pictionary or any quiz where one of the participants has got the answer key and he/she has to give clues.
- Guessing games. These are a variation on information gap games. For example: Twenty Questions, in which one person thinks of a famous person, place, or thing. The other participants can ask 20 Yes/No questions to find clues in order to guess who or what the person is thinking of.
- Search games. These games are another variant on two-way information gap games, with everyone giving and seeking information. For example: Find Someone Who. An example of how this game can be played is that students are each given a grid. The task is to fill in all the cells in the grid with the name of a classmate who fits that cell, e.g., someone who is a vegetarian. Students circulate, asking and answering questions to complete their own grid and help classmates complete theirs.
- Matching games. Students need to find a match for a word, picture, or card. For example: matching nouns with their antonyms.
- Labelling games. These are a form of matching, in that participants match labels and pictures.
- Exchanging games. In these games, students barter cards, other objects, or ideas. Similar are exchanging and collecting games.
- Board games. Scrabble is one of the most popular board games that specifically highlight language. Also, Chutes and Ladders adapted for language learning is another popular example.
- Drama games and storytelling. Role-play exercises, basic and advanced storytelling, creative writing exercises, improvisation: any type of drama game, obviously adapted for the purpose of the language lesson. In another blog post you can find a few examples explained.
Pick the best one for you
The criteria I suggest to keep in mind when you choose the language learning games for your lesson plans is to pick whichever game you feel more confident in delivering. Also, think about the input you want the students to acquire and choose the type of game according to what you think would be the best fit for that chunk. For instance: for analysing and consolidating the meanings of a list of verbs, I would recommend to go for a labelling game or matching game or a sorting game.
The fun thing about language learning games is that you can actually propose exactly the same content through different types of games and your students will still love it because the activity is fun, anyway. They won’t feel tired or bored because they’ll be working on the same content, I promise!
In this post you have learned you choose between linguistic and communicative language learning games and that your choice should relate to the Acquisition or Didactic Unit phase you want to gamify.
Once you got clear on that, pick the type of game that better suit the type of content you want your students to work on. Choose among the 9 types of games. Remember to keep this choice as simple as you can, to rely on your intuition and to pick something you feel confident with – because you’ll need to deliver it in your class!
Embodying language learning games in your classes is simpler than you think. Tons of free resources are waiting for you on the internet, to feed your imagination. If you don’t feel quite sure about where to start, join my Facebook group for getting support or get in touch directly with me.
Want more support?
Join the Facebook group Independent Language Teachers Collective to get daily advice, tons of free training and to branch out with other independent language teachers like you!
Available only for the Collective members: free list 103 question for sparking engagement in your language lessons.
This is what members say about the freebie:
Join in the Collective and grab your welcome gift:
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You are watching: Difference between narrative and expository text
Elements of a Narrative
A narrative text engages the leader in a storytelling format that closely examines the significant characters and also provides a sequence of occasions or a structured plotline. The plot often follows a chronological succession of events, but not always. Part narratives involve flashbacks or shifts between time periods. Rigid essays have a specific setup -- sometimes much more than one setup -- and also discuss vital themes, such as friendship, equality, death, love or aging. There"s constantly a problem or an concern that must be handle or solved for the main character, or characters, come experience an individual growth or change. For example, in The Adventures that Huckleberry Finn by note Twain, Huck must resolve misguided societal expectations and also establish his very own views around prejudice, fairness and equality. Examples of rigid texts encompass novels, short stories and also poems.
Expository text Features
Expository messages strive to education readers based upon facts. Also though they might include actual characters, such as those associated in a news story, the writer presents info in a method that notifies readers, quite than informing a story. Expository messages often incorporate lists -- occasionally enumerated through bullet point out -- of comparisons and also contrasts and also causes and also effects. Castle contain **a clearly defined thesis, evidential support, such as facts, statistics and also anecdotes**, and also transitions that clearly identify the major points, insurance claims or arguments, follow to the Purdue college Online creating Lab. Writers count on trustworthy sources, such as experts in the field, first-hand witnesses or academic materials, to assistance their information. Instances of expository texts encompass research papers, news articles, accuse manuals, textbooks, recipes, language guides and also self-help books.
One that the primary aims of a narrative text is to pull readers right into the emotional aspects of the story. Writers regularly use the first-person allude of view -- sometimes opting for the third-person allude of view if they desire to talk around events indigenous a variety of ideologies -- to assist readers relate come the key character"s feelings and also sentiments. Narrative texts additionally include sensory details, a plainly defined mood and a solid underlying tone to aid readers attach to emotional aspects in the story. For example, Harper Lee, author of To kill a Mockingbird, provides the first-person allude of view, vivid explanation of the Southern, racially separated town, a somber mood combined with irradiate humor and also an significantly dark and foreboding ton to reveal truths about the dysfunctional community. Expository texts space fact-based and educational, and don"t frequently engage the reader"s emotions.
The function behind a narrative text differs from that of an expository text. Rigid essays room "anecdotal, experiential and also personal," follow to the Purdue university Online writing Lab. Authors usage their creativity and also experiences to develop moving i that discuss important themes or morals and address life lessons. Expository texts strive to recommend or educate readers of factual information. Readers depend on expository texts as soon as they need concrete, well-founded info to do decisions or conduct real-world assessments. Expository messages don"t indicate the imagination and have a less personal, much more purposeful appeal.
See more: On How Old Are The Williams Brothers (Gospel Group), Did Frank Williams Have Children
As curriculum developer and also educator, Kristine Tucker has delighted in the plethora the English assignments she's read (and graded!) over the years. Her experiences as vice-president that an power consulting certain have provided her the chance to explore company writing and HR. Tucker has a BA and also holds Ohio teaching credentials.
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At The Galfrid School, writing is a crucial part of our curriculum with very strong links to our reading curriculum. It is our expectation that every child will leave our school with the skills of a proficient writer who is able to express their thoughts and ideas confidently and creatively thorough the use of the written word. Our aim is to create writers who:
Have the ability to write with fluency and stamina;
can write for a particular purpose taking into account the audience for which the writing is intended;
can imitate the language, structure and punctuation devices used in effective writing models;
can use an extensive bank of vocabulary and an excellent knowledge of writing techniques with which to communicate the written word with an appropriate authorial voice and tone;
can display excellent transcription skills that ensure their writing is well presented, punctuated, and spelt correctly;
can review, edit and proof-read their writing so that every piece of writing they produce is to the best of their ability and better than the last.
Our writing curriculum is also planned in a way which promotes the cultural capital of all our children. We enhance our curriculum, especially for the most disadvantaged, by providing opportunities to write for a diverse range of opportunities including those which allow pupils to write about:
Each year we plan to provide opportunities for pupils to take part in external writing opportunities and competitions.
At The Galfrid School we ensure that our reading curriculum links intrinsically with our writing curriculum so as to give pupils the maximum opportunities for developing a strong awareness of the reason for writing, audience, features and tone required to write effectively across a range of genres.
We use the United Learning English plans for each year group as a source for our ideas and follow the sequence in the long-term plan.
Two weeks prior to starting the unit, staff begin immersing pupils in the text type during their reading sessions. This is to give children ideas and expose them to the features of the text type and grammar features while building a bank of vocabulary. We ensure that whatever we want the pupils to demonstrate in their own writing, is present in the texts and other reading examples used in the immersion phase.
Through our very carefully planned and sequenced English curriculum, pupils will make good progress from their own personal starting points. By the end of Year Six they will be able to write clearly and accurately and adapt their language and style in, and for, a range of contexts, purposes and audiences. Our pupils will acquire a wide vocabulary and have a strong command of the written word. Most importantly, they will develop a love of writing and be well equipped for the rest of their education in Key Stage 3 and beyond.
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With the emphasis on teaching for exams and preparing for inspections increasingly evident, the age-old artform of storytelling is showing signs of decline in British classrooms. Whilst helping children to achieve top results is important, it’s also crucial that we don’t sacrifice the innovation and freedom that comes with this powerful learning tool.
Despite its name, storytelling isn’t as simple as reading a story out loud. Instead, it incorporates rich language, physical movement, imagination, emotion and conceptualisation in order to reveal key details and turn words into visual imagery, also integrating collaboration as a means of encouraging input from students. This format of teaching is so valuable that there are even Storytelling Schools that focus on using it as a springboard for learning, assisting students to master both language and subject content.
What’s more, storytelling doesn’t just apply to reading and writing. By using it to engage students and welcome participation, it can be put into practice across the entire curriculum, even in subjects that traditionally lack narratives, such as maths and science. Whilst it can be tricky to perfect this method, it’s very easy to begin delivering it in your classes – all you need to do is explore ways to make topics more exciting and demonstrate how facts, figures and information can be linked to one another.
Here are some tips for creating impactful stories that children will enjoy and remember:
- Build a strong series of core elements that are at their most effective when in a specific order, leaving room for queries and creativity.
- To get students invested in a story, you must show your own excitement and passion from the start and throughout.
- Modulate your voice, make regular eye contact and use gestures to bring the subject matter to life.
- Metaphors and creative license add value to a story, providing they don’t disrupt the flow or obscure the facts.
- Rather than a nonstop string of statements, include the occasional question and invite the class to finish some sentences that revolve around previously learned themes.
- As with any story, there should always be an ending that sums everything up and provides food for thought.
- If possible, set a task for children to write their own mini story at the end of a lesson or module, as this will allow them to show their understanding and express individual perspectives.
- Most importantly, make it fun and memorable, as this will support your students in retaining the fundamental details that they need for exams and life alike.
If you still need convincing that storytelling is at the foundation of all information, simply pick up a newspaper, go to a favourite blog, log onto your social media channels, watch TV or simply ask a friend how their day was. You’ll soon see that people don’t simply list the particulars without adding visual triggers and expressive vocabulary. And if we as adults use storytelling on a daily basis, it seems only logical and fair that teachers champion its implementation in the classroom too.
Get in touch
We specialise in marketing and design for the education sector. To find out more about how we can help, get in touch at [email protected] or call us on 0161 507 3365.
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Who Needs a Prescription for Play?
I read an article that began by stating “A new paper in the journal Pediatrics summarizes the evidence for letting kids let loose.” I thought, “Interesting.” The authors of this article went on to encourage pediatricians to write a “prescription for play” for their youngest patients. Why would they write a “prescription for play”? Because play, intrinsically motivated and unstructured fun, is disappearing from the lives of our children…and with it the benefits of play are disappearing from their lives. What are the benefits of play? Here are five benefits discussed in the article.
- Play promotes brain development. Specifically, play promotes the production of brain-derived neurotrophic factor (BDNF), which is important for learning and growing healthy connections between neurons in the brain. In other words, play primes the brain for learning.
- Play reduces obesity and diseases associated with obesity. Running, jumping, and climbing helps children build confidence in their physical ability. It helps them learn the limits of their body as well. Knowing the limits helps them remain safe (Let Them Take a Risk). The physical activity of play helps them develop into physically active and healthy adults. In fact, children who got the most outdoor time were 42% less likely to be overweight.
- Play contributes to improved behavior and reduced stress. Children resolve traumatic events through play, working through the troubling aspects of the trauma so they can learn to “put it behind them” rather than let it intrude into their present lives. Obviously, this will reduce stress in the child’s life. Moreover, a study in which teachers engaged children in one-on-one play led to improved behavior in the children who engaged in play compared to a control group. (Investing Time & Attention in Your Children)
- Play helps families to bond. Play brings people together. It helps us learn to listen and it teaches us to compromise. Play helps us attune to our children emotionally, mentally, and physically. This attunement allows us to help our children learn to manage their emotions in an effective manner. (Make Your Child a Head Taller Than Himself)
- Play contributes to academic success. Play encourages language development, the exploration of ideas, the ability to delay gratification, and spatial relationships. Each of these skills contribute to academic success. Blocks encourage increased knowledge in putting words, ideas, or architectural materials together. Playing store promotes social skills, math, and negotiation skills. Imaginative play promotes storytelling and self-regulation. Physics, social skills, language development, storytelling, arithmetic, geometry, emotional regulation…it can all be found in play. And children learn it faster and better while playing. (Learn more in Have Fun AND Reduce Childhood Aggression.)
We could expand on this list of the benefits of play, but you get the idea. Let the children play. I’m not a pediatrician, but I am a “doctor” of psychology. So, if you need a prescription, here it is: “Your child is to engage in imaginative, unstructured play for at least one hour per day.”
Follow that prescription and your children will flourish…and you could find yourself rejoicing in their growth and maturity!
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“Literacy is a fundamental human right and the foundation for lifelong learning. It is fully essential to social and human development in its ability to transform lives. For individuals, families, and societies alike, it is an instrument of empowerment to improve one’s health, one’s income, and one’s relationship with the world.” - UNESCO
At The Henry Beaufort School, we are keen to promote the importance of excellent literacy skills and increasing our students’ confidence in developing these vital skills. Being literate is the ability to read, write, speak and listen in a way that allows us to communicate effectively and make sense of the world. Lacking vital literacy skills holds a person back at every stage of their life, therefore it is crucial that out students learn and value the importance of possessing good literacy skills.
As a result, literacy is not only a key focus of our English lessons, but it is woven into all aspects in our school curriculum. We ensure that our students leave The Henry Beaufort School having developed their literacy skills through real-world material. All teachers are teachers of literacy and every staff member at The Henry Beaufort School takes pride in advocating strong literacy, in order to model the skills of reading, writing, speaking and listening to all students.
We pride ourselves in promoting literacy across the school. We do this by:
- A cross-curricular approach – Teachers in all subjects work together to promote literacy skills using a common language. In all subjects, students’ work is SPAG marked (Spelling, Punctuation and Grammar) and there are opportunities across the curriculum for reading, writing and speaking and listening activities, all with the aim of boosting students’ confidence in these fields.
- Designated tutor time activities – Once a fortnight during tutor time on a Thursday (Week B), students have the opportunity to learn about and practice key literary skills. These topics range from: Common Literary Mistakes, where we explore common misspellings and punctuation mistakes; Professional Communication, such as email communication and CVs to aid with future careers; and public speaking, in particular debating, to allow students to build their confidence in speaking and listening.
- Competitions – At The Henry Beaufort School we encourage pupils in all year groups to participate in numerous competitions. Already in 2020 we have seen pupils take part in The Nutshell’s poetry competition in honour of National Poetry Day, as well as taking part in the Young Writer’s SOS Sagas: Trapped creative writing competition.
How can you support your child with their literacy beyond the classroom?
- Encourage your child to read. All reading is worthwhile, be it newspapers, football magazines, leaflets, websites or novels. Encourage them to be curious and find texts that interest them and ask questions about what they are reading.
- Demonstrate that you value effective writing and show you child that everyone writes to communicate – emails, letters, articles etc. You could share examples of writing you have done for communication purposes to emphasise the importance of strong literacy skills in everyday life.
- Encourage your child to practice their spelling, punctuation and grammar. Check your child’s home-learning for every subject and encourage them to proof-read their work and edit for any mistakes.
Useful resources to support with developing your child’s literacy skills:
- https://www.bbc.co.uk/bitesize/topics/z7vdy9q (KS3 Spelling, Punctuation and Grammar)
- https://www.bbc.co.uk/bitesize/topics/zpyg6fr (GCSE Spelling, Punctuation and Grammar)
- https://henrybeaufort-hantssls.wheelers.co (E-Book and Audiobook Access)
If you have any further questions about literacy in school or further supporting your child, please do not hesitate to contact our Literacy Lead – Miss Knight.
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Graphic Novels for Kids: Classroom Ideas, Booklists, and More
Graphic novels for elementary and middle grade children have become enormously popular and widely accepted by parents, teachers, and librarians. In this resource section, learn more about this highly visual form of storytelling and how it can be used in the classroom, meet some writers and illustrators of graphic novels, and browse the "best of" booklists.
Similar to comic books, graphic novels weave rich, lively visuals with a limited amount of text to drive the narrative. Graphic novels can be especially appealing to readers who are reluctant to pick up a more traditional book.
The graphic novel format can be found in a wide range of genres: fantasy, science fiction, historical fiction, fairy tales and myths — as well as nonfiction, including biography, history, and science.
For example, Nathan Hale’s Hazardous Tales is a popular graphic novel series that showcases major events and individuals in history — "a wonderfully fun rumpus," says Meryl Jaffee in her blog about using graphic novels in education. Another example: there are graphic novel versions of the popular Rick Riordan series, Percy Jackson and the Olympians — stories inspired by Greek myths.
Struggling and reluctant readers
Graphic novels are a great way to help struggling readers strengthen vocabulary, build reading confidence and stamina, and develop a deeper appreciation of storytelling. They also allow struggling readers to have reading successes, as described by author/illustrator Cece Bell (El Deafo):
"But there was like this sense of satisfaction for readers who maybe have a little bit of difficulty reading. Here are these pictures that help propel me through. It doesn’t take very long to get through a page. Suddenly you read a 220-page book, and you’ve never read a 220-page book in your life. It’s like this gateway to reading maybe things that are more difficult down the road ..."
— Cece Bell (El Deafo)
Graphic novels offer struggling readers different cues to a story. If a child comes across unknown vocabulary or a complicated narrative twist, the illustrations can provide contextual clues that can help the reader figure out the meaning of that passage.
Graphic novels can introduce struggling readers to the world of classic literature. Classical Comics and Graphic Classics, for example, publish graphic novel versions of Dickens, Shakespeare, Twain, Alcott, and other great writers.
Graphic novels in the classroom
Browse these articles and resources on using comics and graphic novels in the classrom:
Recommended graphic novels for kids
You can also search School Library Journal for up-to-date reviews of graphic novels.
Gene Luen Yang: Reading Without Walls
Gene Luen Yang began drawing comic books in the fifth grade. In 2006, his graphic novel, American Born Chinese — a memoir about growing up as an Asian American — became the first graphic novel to win the American Library Association’s Printz Award. He is the author of the Secret Coders series and has written for the hit comics Avatar: The Last Airbender and Superman. In 2016, the Library of Congress named Gene as the 5thNational Ambassador for Young People’s Literature. Later that same year, Gene received the MacArthur Fellow "Genius Grant."
As part of his Ambassador outreach, Gene publishes a video blog, Reading Without Walls, on Reading Rockets. A few sample posts:
Gene Luen Yang: The Making of a Graphic Novel
Watch as Yang demonstrates the steps in his writing and drawing process. (Credit: The Kennedy Center Education Department, Performing Arts Series).
Interviews with graphic novel writers and illustrators
Listen in as these award-winning writers and illustrators talk about graphic novel storytelling, how this format can support struggling or reluctant readers, using graphic novels in the classroom, and more. You can view selected clips in the playlist here, or view the complete interviews (see the links below).
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Having a newborn baby at home is really a special feeling. Parents are always in awe of those cute giggles and adorable gestures that babies make before they learn to speak. Generally, verbal skills develop at the age of 6-9 months in newborn babies. Babies start speaking words like ‘mommy’, ‘daddy’, ‘hey’, at this age. Children who are verbally gifted might not show symptoms initially but gifted communication skills can be identified within 2-3 years of birth.
At an infant stage, babies do not speak clearly, and therefore, it becomes quite tough for parents to figure out if they have verbally gifted kids. Early years childhood care teachers and Special education teachers have the capabilities to identify these challenges. Online learning disabilities course provides supreme guidance to special ed teachers so that they can figure out such verbal gifts and use teaching strategies to help them to communicate freely.
SIGNS OF VERBALLY CHALLENGED KIDS:
Class teachers in inclusive classrooms should have the capability to find out the verbal challenges of a special kid in case parents of gifted children are not aware of the fact. It becomes quite transparent if children are having issues with their language skills. When kids reach a certain age when they can easily express their social and emotional points of view but are unable to express them verbally or express much better than other kids of the same age. By 1 year, kids can speak short sentences and if they are verbally gifted children they can be pointed out at how they are speaking.
Reading, speaking, creative writing, foreign language, and general verbal reasoning are 5 areas where it can be identified if a child is having verbal gifts or not. A learning environment should be created for these special kids to provide them with exact language learning sessions. In order to teach students having verbal gifts, SEN teachers must be well aware of their potential and mental growth level.
Some verbally gifted children tend to get rid of language learning stages, observing them as they stay silent is definitely not an option. For example, a verbally gifted child may not imitate words as most children do at age 1. They also may not begin speaking simple sentences like "Me bag" at age 2. Then suddenly at 2 and half years age, they will ask a question like "Where's my bag?"
Reading is a skill that kids acquire when they are being properly instructed by teachers or parents. However, that instruction will be in vain unless children are having a grasp of the basics of a language. A written word is simply a visual representation of spoken language, and if a child does not have the ability to read properly, it will be next to impossible to make the connection between the spoken word and the written symbols on a page.
Hence, verbally challenged kids may speak better than children of their age or may not speak at all. Parents often confuse seeing their kids speaking quite advanced than other children and might consider that as a real talent. Online learning disabilities courses help class teachers and parents to identify of kids are verbally gifted or not.
Asian College Of Teachers Ltd (UK)
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For several generations, stories from Africa have traditionally been passed down by word of mouth. Often, after a hard day’s work, the adults would gather the children together by moonlight, around a village fire and tell stories. This was traditionally called 'Tales by Moonlight'. Usually, the stories are meant to prepare young people for life, and so each story taught a lesson or moral.
In the African folktales, the stories reflect the culture where diverse types of animals abound. The animals and birds are often accorded human attributes, so it is not uncommon to find animals talking, singing, or demonstrating other human characteristics such as greed, jealousy, honesty, etc. The setting in many of the stories exposes the reader to the land form and climate within that region of Africa. References are often made to different seasons such as the 'dry' or 'rainy' season and their various effects on the surrounding vegetation and animal life.
Educate and Have Fun with Short Stories
- Hundreds of short stories for children teaching values
- Modern stories with fairytale characters
- Educational resources for Parents and Teachers
- An entry into the world of educational stories
The value of storytelling as part of education and family life
The greatest benefit of education, no doubt, is the ability that has a story to convey values . Perhaps we have not consciously made good on it, but if you think, most values more firmly rooted in our own personality came to us from the hand of a story: in "The three little pigs", for instance, we instilled the importance of working well; "The tortoise and the hare" were showing us that constancy and modesty had borne fruit, and "The cicada and the ant" made us see that it was more profitable to be working than being a laggard.
This is not accidental. Every story, including tales, has a logical argument that unites the different parts, making them much easier to remember. In this way, our memory stores precisely because this plot is the glue of all these elements, and therefore the easiest way to access the remaining details of the story. And the moral is the best summary of a story, and so what better retains it. For example, one can forget what all details about the cicada and the ant, but do not forget that one was spending time while the other worked hard to store food.
Second, and closely related to the above, is the usefulness of stories to teach new things . Precisely because it is easier to recall the main story, and its importance as a link, the story allows easy access to other details. In fact, the stories have always been used to transmit ideas and knowledge, starting from Bible and Jesus of Nazareth, whose parables were a way to educate in a very practical style. I can still remember the case of a classmate at school who always got bad marks, which surprised everyone with an excellent note on a review of the history of the First World War precisely because he had been seeing a couple of films on the subject ...
But in addition to being powerful tools of education and teaching, stories customized just before Sleeping allow to establish a strong link with the kids . To be creative and original every day, we must must devote all our ability and attention, if only during that time, and that is something that children, accustomed to be the focus of their parents' events, but no of their mind attention (too many parents have so many "brain noise" to park their concerns entirely, if only for a while) perceive with great gratitude and enthusiasm. And to customize a story (I always let them choose the main characters of the story), parents are forced to listen and take care for their children, so children feel really special. That emotional link is so strong that it is another important factor that facilitates memorization and assimilation as taught in these stories. I myself have discovered many times how my children were surprisingly recalling many low level details of stories I had told them long time ago, and never ever talking again about them.
Finally, telling stories without books nor pictures, with the room in darkness and children lying on their beds, as I like to do, is a very effective way to help counteract the lack of attention that many children are suffering nowadays , caused by the fact of living in a world with so many visual stimuli. Using an out of the room light, and with the reassuring presence of their parents, children are prepared to open their ears to the world carried by the story, and without even realizing it, they are learning to focus their attention; but not only that, they do also use heard as a primary sense, quite the opposite of what will happen during daylight. I usually take advantage of this situation to further stimulate their visual sense, but in a creative way, as too many stimuli so perfectly constructed may do not help develop properly. So I flood stories and characters of bright colors, forcing them to imagine each part of the story.
If you are looking for an application with the best moral stories in English, then you have come just right! Refresh your life by imbibing the lessons you learn from these short stories with good morals.
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Start bringing a good change in your life by imbibing the lessons learned from these short stories with good morals. No need to hither and thither for a good morality to read out! Directly pick any one from this and make the best use of it. Also, this short moral story in English app is helpful for those who want to improve their reading skills.
We have elite english stories which will teach you the actual facts of living and help you to improve some important things in your life such as, positive manner, anger management, the priority of social unity, mutual respect, etc!
This Moral based stories in English app contains different kinds of great short stories with good morals like the motivational stories, witty, inspirational stories, etc
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Stories from Text Messages and Cell Phone Photographs
Lit./ELA – Writing Exercise
The lesson, including reading of student work, will require one 45 – 55 minute class period.
Common Core State (Curriculum) Standards:
Writing: Anchor Standards #s 1, 2, 4, 5, 9 & 10 for Writing and related standards. See CCSS pg. 41.
The following lesson offers two opportunities for students to make use of their cell phone texting or picture-taking to exercise writing skills usually taught in more traditional assignments. Teachers may want to precede this lesson with TWM’s Teaching Students to Write a Narrative.
Students will exercise and improve narrative-writing skills, including description and dialogue.
In these lesson plans, cell phone texting and picture function as a motivational device to interest students.
LESSON PLAN #1 — Stories from Cell Phone Text Messages
1. Prior to the planned activity, teachers should print TWM’s Cell Phone Texting Lesson Plan Handout or create their own. The handout is designed for students who do not have cell phones or do not have text messages to use for the assignments. Some students may be reluctant to reveal any information on their cell phones; the handout will be of use to them as well.
2. Tell the students that they must bring their cell phones to class on the day of the assignment. This may be contrary to the rules.
Step by Step
1. Define narrative-writing, if your class has not yet addressed the skill set associated with this genre. A narration is storytelling which relies on description to show, rather than, tell about the people and events that form the plot. Be sure they are clear that the use of dialogue is an important narrative tool.
Instructions to the students:
1. Copy onto a sheet of paper 10 of the last cell phone text messages you have received.
2. Using these messages as the dialogue that occurs in an interchange between characters, write a story that makes use of all 10 texts. No added dialogue is allowed.
3. In the narration that precedes and follows the text message, use descriptive language so that your reader can get to know the speakers, where the conversation is being held, and what is going on.
4. Use tone words to create mood and show feeling that may not be apparent in the text message but that helps shape your story.
5. Be clear about your ending. The narrative must conclude, rather than simply stop.
1. Ask students to share stories with one other member of the class.
2. Ask students if any one of them read an interesting or entertaining story and select among the responding students a few who will read the chosen stories aloud.
3. Pursue comments from students in the class about what made the stories they have heard interesting. Consider the following:
- Were the story’s characters presented so they could be visualized?
- Was there a well-defined place where the event in the story occurred?
- Did the action or event in the story make sense, create a bit of drama, or did it puzzle the listeners?
- Did conflict and resolution emerge from the dialogue?
- Was the story nonsense, yet still fun to hear?
4. Allow the students to “grade” the stories themselves, on a scale from one to three, according to the following:
- Score 3: Interesting story with lively characters sharing meaningful dialogue. Place and event clearly definable.
- Score 2: Story could be followed; characters differed from one another and dialogue made sense. Place and event were vague but did not detract from the conversation.
- Score 1: Story could barely be followed and characters seemed to talk nonsense in a place that could not be determined. Unknown event.
LESSON PLAN #2 — Stories from Cell Phone Photos
Tell the students that they must bring their cell phones to class on the day of the assignment. This may be contrary to the rules.
Step by Step
1. Define narrative-writing as above and inform students that captions, which are brief explanations printed beneath a photograph, identify a place or event, the people in the picture, and any significant information that explains the purpose in the photograph. Thus, stories are illustrated.
2. Direct students to select six of the photographs that they have saved on their cell phones and to place them in a suitable chronological order so that they can be used to tell a sequential story. The photographs may be unrelated; this allows for creativity, and though a bit more complex, may be entertaining.
Instructions to the students:
1. Look closely at the six photographs you have chosen and find a connection between the pictures. On a sheet of paper, identify the photograph through a quick drawing and a brief description of what a viewer sees. Place all six of your efforts on one page.
2. Write a story, using description, action, and dialogue that weave the images together into one coherent narrative. Children’s books often use photos or drawings for this purpose. The photographs are separated from one another by your writing and illustrate visually what the viewers are seeing.
3. Write brief captions associated with each photograph that clarify elements in your narrative.
4. Your stories may appear as a travelogue. They may be offered as evidence in a courtroom. The unfolding narrative is entirely up to you.
1. Ask students to share their drawings and the narrative with one other student. They can feel free to show the actual pictures themselves from the cell phone.
2. Ask students if they saw any interesting photographs and heard an interesting story that was created from the sequence of photos.
3. Have students whose assignments were defined as interesting from classmates to read the stories and describe the photographs to the class as a whole.
4. Students can then critique the stories and photos using the questions to consider and the three-point scale from above as their standard.
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I. What is Poetry?
Poetry is a type of literature based on the interplay of words and rhythm. It often employs rhyme and meter (a set of rules governing the number and arrangement of syllables in each line). In poetry, words are strung together to form sounds, images, and ideas that might be too complex or abstract to describe directly.
Poetry was once written according to fairly strict rules of meter and rhyme, and each culture had its own rules. For example, Anglo-Saxon poets had their own rhyme schemes and meters, while Greek poets and Arabic poets had others. Although these classical forms are still widely used today, modern poets frequently do away with rules altogether – their poems generally do not rhyme, and do not fit any particular meter. These poems, however, still have a rhythmic quality and seek to create beauty through their words.
The opposite of poetry is “prose” – that is, normal text that runs without line breaks or rhythm. This article, for example, is written in prose.
II. Examples and Explanation
Of all creatures that breathe and move upon the earth,
nothing is bred that is weaker than man.
(Homer, The Odyssey)
The Greek poet Homer wrote some of the ancient world’s most famous literature. He wrote in a style called epic poetry, which deals with gods, heroes, monsters, and other large-scale “epic” themes. Homer’s long poems tell stories of Greek heroes like Achilles and Odysseus, and have inspired countless generations of poets, novelists, and philosophers alike.
Poetry gives powerful insight into the cultures that create it. Because of this, fantasy and science fiction authors often create poetry for their invented cultures. J.R.R. Tolkien famously wrote different kinds of poetry for elves, dwarves, hobbits, and humans, and the rhythms and subject matter of their poetry was supposed to show how these races differed from one another. In a more humorous vein, many Star Trek fans have taken to writing love poetry in the invented Klingon language.
III. The Importance of Poetry
Poetry is probably the oldest form of literature, and probably predates the origin of writing itself. The oldest written manuscripts we have are poems, mostly epic poems telling the stories of ancient mythology. Examples include the Epic of Gilgamesh and the Vedas (sacred texts of Hinduism). This style of writing may have developed to help people memorize long chains of information in the days before writing. Rhythm and rhyme can make the text more memorable, and thus easier to preserve for cultures that do not have a written language.
Poetry can be written with all the same purposes as any other kind of literature – beauty, humor, storytelling, political messages, etc.
IV. Examples in of Poetry Literature
I think that I shall never see --> A
a poem lovely as a tree…--> A
poems are made by fools like me,--> B
but only God can make a tree.--> B
(Joyce Kilmer, Trees)
This is an excerpt from Joyce Kilmer’s famous short poem. The poem employs a fairly standard rhyme scheme (AABB, lines 1 and 2 rhymes together and lines 3 and 4 rhymes together), and a meter called “iambic tetrameter,” which is commonly employed in children’s rhymes.
I saw the best minds of my generation destroyed by madness,
starving hysterical naked,
dragging themselves through the negro streets at dawn looking
for an angry fix,
angelheaded hipsters burning for the ancient heavenly
connection to the starry dynamo in the machinery of night,
who poverty and tatters and hollow-eyed and high sat up smoking…
(Alan Ginsberg, Howl)
These are the first few lines of Howl, one of the most famous examples of modern “free verse” poetry. It has no rhyme, and no particular meter. But its words still have a distinct, rhythmic quality, and the line breaks encapsulate the meaning of the poem. Notice how the last word of each line contributes to the imagery of a corrupt, ravaged city (“madness, naked, smoking”), with one exception: “heavenly.” This powerful juxtaposition goes to the heart of Ginsburg’s intent in writing the poem – though what that intent is, you’ll have to decide for yourself.
In the twilight rain,
these brilliant-hued hibiscus –
A lovely sunset
This poem by the Japanese poet Basho is a haiku. This highly influential Japanese style has no rhymes, but it does have a very specific meter – five syllables in the first line, seven in the second line, and five in the third line.
V. Examples of Poetry in Popular Culture
Rapping originated as a kind of performance poetry. In the 1960s and 70s, spoken word artists like Gil Scott-Heron began performing their poems over live or synthesized drumbeats, a practice that sparked all of modern hip hop. Even earlier, the beat poets of the 1950s sometimes employed drums in their readings.
Some of the most famous historical poems have been turned into movies or inspired episodes of television shows. Beowulf, for example, is an Anglo-Saxon epic poem that has spawned at least 8 film adaptations, most recently a 2007 animated film starring Angelina Jolie and Anthony Hopkins. Edgar Allen Poe’s The Raven has also inspired many pop culture spinoffs with its famous line, “Nevermore.”
VI. Related Terms (with examples)
Nearly all poems are written in verse – that is, they have line breaks and meter (rhythm). But verse is also used in other areas of literature. For example, Shakespeare’s characters often speak in verse. Their dialogue is separated into rhythmic lines just like a song, but they are supposed to be speaking normally.
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15 Ways to Teach Students to Use Punctuation
Are you looking for ways to teach students to use punctuation? If so, keep reading.
1. Get the learner to practice using one form of punctuation at a time before going on to another (e.g., period, question mark, etc.).
2. Spotlight punctuation in passages from the learner’s reading task. Get the learner to explain why each form of punctuation is used.
3. Do not require the learner to learn more information than they are capable of learning at any time.
4. Utilize a newspaper to locate various types of punctuation. Get the learner to circle periods in red, commas in blue, etc.
5. Make the learner proofread all written work for correct punctuation. Praise the learner for each correction they make in punctuation.
6. Use appropriate punctuation through charts and overheads for learner reference during all creative writing learning activities .
7. Give practice with punctuation using a computer program or hand-held educational device that gives the learner instant feedback.
8. Give the learner the appropriate learning materials to finish the task (e.g., pencil with eraser, paper, dictionary, handwriting sample, etc.). Make sure that the learner has only the appropriate learning materials on the desk.
9. Create a notebook for punctuation rules to be used to help with proofreading work.
10. Acknowledge quality work (e.g., display learner’s work, congratulate the learner, etc.).
11. Minimize the emphasis on competition. Competitive learning activities may cause the learner to hurry and make errors in punctuation.
12. Give the learner a list of examples of the forms of punctuation they are expected to use (e.g., periods, commas, question marks, exclamation points, etc.). The learner keeps the examples at their desk and refers to them when writing.
13. Teach the learner punctuation at each level before introducing a new skill level.
14. Praise the learner for using correct punctuation when writing: (a) give the learner a concrete reward (e.g., classroom privileges, line leading, 10 minutes of free time, etc.) or (b) give the learner an informal reward (e.g., praise, handshake, smile, etc.).
21. Consider using one of the apps on one of our best writing apps lists:
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Inspiration from the ABC Stories of 4 Deaf Creators
by: Brooke LaTurno, EIPA 3.8 - Interpreter Coordinator
At a fundamental level, storytelling is ingrained in the human experience. Stories help us to make sense of our lives, create meaning, pass on lessons, remember notable experiences, and dream up new ways of understanding the world around us. Of course, this is not an exhaustive list – the many functions of storytelling probably equal the number of stories that have cumulatively been told since the dawn of time!
When interpreting, we take on greater responsibility in respect to the stories of others. It is our job is to do justice to our client’s story, and transmit the tone, intent, meaning, register, etc. of the messages that each client (or protagonist, if you will) expresses. This is true regardless of whether our work takes us inside a medical office, classroom, theater, courtroom, or stadium. Being entrusted with the responsibility to faithfully communicate the story our client chooses to tell, is one of the great honors in an interpreter’s job. The process is by no means easy and requires intense focus and complex mental processing. To help us accomplish this task, part of our professional development should include the study of storytelling.
In addition to the important role storytelling plays in the lives of human beings in general, and the specific relevance it has to our job as interpreters specifically, storytelling is also an integral part of Deaf culture and Deaf traditions. As described in A Journey into the Deaf-World: “In order to become a storyteller, it seems one must be able to control language and nonverbal communication…being a successful storyteller also requires one to be observant and feel the pulse of the Deaf-World, and what one learns is then reflected in the way one selects and relates the stories.” [emphasis added] (Lane, Hoffmeister, & Bahan, p. 153)
Our work requires competency in both English and ASL storytelling, so our studies should include exposure to and analysis of stories in both English and ASL. One of the great storytelling traditions in Deaf culture is the ABC Story. When attending a Deaf event, the chances are good that you will have the pleasure of watching an ABC story. Unfortunately, our opportunities to come together face-to-face have been limited during the pandemic due to safety concerns. However, thanks to the proliferation and advancement of technology, the internet, and social media, we can now enjoy the artful storytelling of Deaf creators from the comfort of our homes, via virtual means.
"Titanic" by Patrick Fischer
"Checkmate!" by Rob Nielson
"Black Cowgirl" by Arlene Ngalle-Paryani
"Haunted House" by Joseph Wheeler*
*This YouTube video does not indicate the performer’s name; however, the attribution is an educated guess based on the fact that Joseph Wheeler seems to create the majority of ASL THAT channel content. Please reach out to us if you have an edit to suggest regarding the name of the performer. Thank you very much!
As you watch each storyteller bring their tale to life, what do you notice about their creative use of language? Are there elements from these stories that inspire your own creativity?
Do you have a favorite Deaf storyteller or performer who was not included in this post? Or an ABC Story that really struck a chord with you or changed the way you thought about storytelling? Please let us know in the comments below!
Lane, H., Hoffmeister, R., & Bahan, B. (1996). A Journey into the Deaf-World. DawnSignPress.
Fischer, Patrick. (2017, July 20). Titanic – ABC Story [Video]. YouTube.
ASL with Rob. (2008, December 10). Checkmate! – An ASL ‘ABC’ Story [Videol].YouTube.
Ngalle-Paryani, Arlene. (2021, May 24). ASL ABC Story: “Black Cowgirl” [Video].YouTube.
ASL THAT. (2013, October 23). ASL ABC Story – Haunted House [Video].YouTube.
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As a therapist trained in play therapy, I know a lot about the power of play in a child’s development and well-being. It is proven, it is documented, it is research backed. Despite this fact, the idea that play holds the key to a child’s learning, development, and mental health is a concept most parents are skeptical of when they come into my office with their child.
I want to make you a believer.
Here are just some of the amazing skills research tells us, that children learn and acquire through play.
8. Good mental health. The more time children are engaged in play and interacting with the world around them, the more likely they are navigating their inner emotional life and learning life skills (and the less likely they are to be in front of a screen).
9. Language development. Parent-child play models the basic concepts of communication and conversation.
10. Reading. Wordplay and storytelling build the foundation for learning to read.
11. Self-control. Board games serve as an opportunity to practice turn taking and staying on task with rules.
12. Memory. When play involves movement it promotes learning and memory, as the body is a tool of learning. The more movement a child receives, the greater their attention span.
13. Motor development. Drawing, painting, dancing, singing, climbing… all establish both fine and large motor skills.
14. Cognitive development. Constructive and dramatic play give opportunities to work on many different cognitive skills such as perspective taking, abstract thought, and higher-level cognition.
15. Physical health. When kids play, they learn reflexes, motor control, develop fine and gross motor skills and increase flexibility and balance.
16. Growth mindset. When play is undertaken without consideration of the outcome a child is allowed to focus on the process and the concept that they can always build on current skills.
17. Self-understanding. When children have the freedom to direct their own play, they are able to put their own thoughts, feelings, and imaginations out into the world, gaining a greater perspective on their own inner lives.
18. Spatial skills. Building and construction play encourages a child to test spatial relationships and mentally rotate objects in the mind’s eye.
19. Attention. When your child plays, the limits of the world that constrain possibilities are removed. Play simply allows your child’s innate creativity to flourish as they explore limitless possibilities.
20. Curiosity. Curious children have been found to have better memories and better academic performance and play. Engaging in the exploration of natural surroundings including toys and games, makes space for curiosity to flourish.
Allowing the power of play to unfold.
As I sat biting my tongue in the front seat, I listened as my daughter spoke to her unicorn.
“It will be ok Sparkles. I know you are going to miss me at camp but I am going to have so much fun!”
It didn’t stop there.
“If you are feeling sad you can ask for a hug or have my mom write a note for you. I know you can be brave. Mom, sparkles is feeling nervous about camp.”
Cue the parental affirmations (finally!).
Once again, lesson learned. Sometimes parents need to sit back and let the power of play take over to heal and grow our child.
Once you master the sitting back part, you will be amazed at what you will see.
When have you noticed play having a positive effect on your child?
About the Author…
Clinical Psychology Associates Very Own, Angela Pruess, MA, LMFT:
I’m Angela and I have been supporting children and parents as a licensed family therapist for 12 years now. I have a background in Child Psychology and Family Studies. My more impressive credentials however, are that of parent of three and special needs parent to two of those. I’m wading through the waters of parenthood right along with you, some days trying desperately to hang on to a life preserver.
Parenting can get complicated. I want to de-mystify why kids do the crazy crap they do, and help you to react to it in a way that leaves you and your child better off as a result. I want to support you through the hardest times, because I know you are trying your darndest to raise a great person to send out into this world. I want to give you information on child development and behavioral science, so you can be informed enough to know that despite what it seems- your child truly isn’t on a lifelong mission to torture and confuse you.
I am honored you are here and hope both you and your unique child will be loved and supported through our community.
For more about Angela, please visit her on the web at: https://parentswithconfidence.com
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How to Write a Biography As a Short Story
Penning a biography that reads like a short story is a form of narrative writing, a style that tells a story. This method has a plot, defined characters and a theme that reaches beyond the story. Using a short story to convey a biography limits space and how much of the person's life can be included, but it is suitable for the memoir of a specific experience or time period of the main character's life.
Choose what aspect, event or time period of a person's life to write about. Determine the beginning, middle and end of the experience; its conflict or problem; and how it was resolved. Focus on the experience you're retelling and include pertinent information about the character, but avoid wandering too far into other areas of his life. Doing this will leave you with a disjointed story going nowhere or with one that needs to be expanded into a novel.
Determine what the message or point of the story is. If writing about someone who overcame a challenge, the theme might be perseverance against the odds. Relating someone's adventure could inspire with a message of pursuing dreams. Sharing your grandparents' struggle to save their farm during the Depression could inform of the era's hardships. Weave the theme throughout the story by way of the characters' actions, conversations, thoughts, observations and conditions.
Decide if you will write in a first person or third person voice. First person (I and me) should be used if the narrator is also the protagonist, or main character, telling his own story. She can also be a secondary character relating a story that centers around the protagonist. The third person voice (he, she, they) is applied when the writer is expressing the words, thoughts and actions for the characters. Doing this for only one character is called third person limited while doing so for multiple characters is third person omniscient.
Engage the reader by introducing dimensional characters who are valid to the story instead of cluttering the manuscript with tidbits about every single person the characters know. Every character should have her part in telling the story. Include dialogue to move the story along, add interest and reveal aspects of the characters' personality or emotions. Transition from one character or scene to another rather than making abrupt shifts, resulting in a choppy, confusing read. Describe sights, sounds and smells as well as the thoughts, feelings and sensations a scene or setting inspires in the character.
While most narratives unfold chronologically, the method is not a rule. Good stories often hook the reader by opening with a critical scene then backtracking to reveal the history that led to the event.
As with any non-fiction work, verify biographical information for accuracy.
- While most narratives unfold chronologically, the method is not a rule. Good stories often hook the reader by opening with a critical scene then backtracking to reveal the history that led to the event.
- As with any non-fiction work, verify biographical information for accuracy.
Donna G. Morton lives in Atlanta and has been writing for more than 27 years. She earned a Bachelor of Science in journalism from East Tennessee State University and spent 15 years in radio and corporate advertising, winning 10 Excellence in Advertising Awards for creative writing.
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A large part of building self-esteem for children is encouraging them to do daily self-esteem activities. These may consist of taking a quiet walk or going to the library and reading books. Such activities that reinforce children’s strengths and reminding them of their capabilities are critical to developing their self-esteem.
How Children Can Build Confidence And Enhance Their Abilities?
With the help of yoga poses, visualization exercises, and positive affirmation exercises, children are starting to realize that having confidence in their abilities and accomplishments are integral parts of living healthy and happy lives. By having daily self-esteem activities that foster growth and enhance their focus skills, children can learn and master new skills, gain new confidence, establish and uphold healthy relationships, and develop new skill sets. In this article, we’ll introduce some of these activities and how parents can use them to encourage their children in many different ways.
What Is Affirmation Board?
An affirmation board is a small board that you can place inside a child’s home where they can write down a wish or positive affirmation. They can then hang it on the wall or use it as a daily reminder to remember to be positive. Using an affirmation board is one of the self-esteem activities that kids enjoy doing. Parents can include a daily self-esteem activity in the home routine or turn it into a family project to build on this activity.
Building self-confidence also involves feeling empowered. When kids start feeling confident, they gain self-confidence. In addition to having an affirmation board to remind them of their strengths, kids need to take an honest self-assessment and talk to themselves about their weaknesses. They need to learn to be confident in their strengths and not their weaknesses. To feel empowered, kids need to do something to show that they can handle their weaknesses and improve on them. It could be a family project, or they might do volunteer work or join a special team to work on a particular challenge.
Why Is Problem-Solving Helpful?
A problem-solving activity that encourages problem-solving is very beneficial to children. Problem-solving helps develop and hone problem-solving skills, which are critical to children’s psychological and social development. Parents can take this activity and vary it in several different ways. For instance, they can begin with a simple problem and then lead to more complex situations as the child practice problem-solving skills while working on the problem.
Build Confidence With Self-Esteem Activities
Self-confidence can be built up through several different self-esteem activities. Kids learn self-confidence through visual stimulation and storytelling. Children who listen to stories and tell them to others learn to have confidence. There are several other ways that self-esteem is developed through different self-confidence-building activities.
As mentioned before, self-esteem and self-confidence are closely intertwined. Self-confidence is one of the most important aspects of self-esteem, and building activities that encourage it in kids are great ways to help your kids develop good self-confidence. The more they focus on the things they like about themselves, the more they will see their self-esteem grow. The more they focus on making good impressions, the better chance they are at developing high self-esteem.
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The Growth of Feminism in The United States
Pecha Kucha (peh-chuk-chuh) comes from the Japanese word for “chit chat.” The history behind the Pecha Kucha is to go beyond the typical PowerPoint presentation and to move to a more engaging storytelling method of presentation.
The format for a Pecha Kucha is 20X20—20 slides with 20 seconds of narration each. This mathematically computes to 6 minutes, 40 seconds of speaking time. Pecha Kucha presentations have no text on the slides. It is up to you to fluidly tell the story of the images you choose. Please practice your timing.
Your Pecha Kucha should be based on the story you want to tell about America. Please cover whatever you think is most critical to your American story and include images that represent as many of the time periods we’ve covered as possible (1600–present). Periods should receive equal representation. (Pecha Kuchas that only reference the 20th and 21st centuries, for example, will not receive a passing grade.)
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The point of a Pecha Kucha is to create a cohesive narrative that the student is able to speak freely about because he or she is well acquainted with the subject matter. Please create your Pecha Kucha in Kaltura Media Gallery and submit a Word document with your name and the link to your Pecha Kucha in Kaltura.
*Instructions on how to set a Power Point presentation so that the slides advance every 20 seconds.
Open PowerPoint. In slide view, right-click on the first slide on the left and select Layout and Blank. This creates a blank canvas.
Right-click again on the slide and select Duplicate. This creates another slide just like it.
Because the Duplicate command is already in PowerPoint’s memory, use the shortcut Ctrl-Y to repeat the duplicate (or just right-click duplicate again) 18 more times, for a total of 20 blank slides.
Use Ctrl-A to Select all slides in the left, and then go to Animation, advance slide, and set it to 20 seconds.
You can also select transition styles and speed here. Just don’t choose Dissolve—the simplest is the best. Maybe nothing more than a simple fade.
For more information, check out https://www.wabisabilearning.com/blog/how-to-make-great-presentations-with-pecha-kucha.
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Sandman, The — Paul Berry, 1991
A little boy is sent upstairs to bed with just a candle to see away the shadows. Negotiating the dark, creaky staircase, his trepidation grows, and when he finally reaches his room he races to the relative sanctuary of his bed. Sleep does not come easily and he hears scary sounds all round him. Finally dozing off, the boy does not see the arrival of the Sandman...
This Oscar-nominated film (for Best Animated Short in 1992) may deal with a children's legend - but this is not one for the little kids!
You will find a complete BGE Fourth Level Literacy unit for 'The Sandman' here.
Classroom ActivitiesPrint All
- Clip Details
- Play the film up to the point the Sandman appears in the boy’s room. Pause the film and ask for predictions of what might happen next.
- Show the sequence of the boy going up to bed (from 01:58 to 03:05). Freeze frame on each significant shot and ask pupils to note/draw on a storyboard what they see. Discuss the different camera angles used and how they make the viewer feel. How are we made to feel the boy’s vulnerability and fear? Note any use of colour, lighting or sound that adds to the effect.
- Show the film up to 03:40 (when the camera pans from the boy’s bed across to the moon through the window). Why is this camera move used at this point? Are we meant to experience anyone’s point of view?
- Screen the film, asking pupils to focus on sound. Ask them to list all the diegetic and non-diegetic sounds they can hear. You may want to focus this discussion on specific sections of the film (such as the point when the Sandman appears in the boy’s room – is the sound of the Sandman moving diegetic or non-diegetic?).
- 'The Sandman' is a horror film. Discuss the role of colour and lighting as a tool to generate suspense.
- Show the sequence of the boy going up to bed (from 01:58 to 03:05). On the class board, invite suggestions of words or phrases that might describe how the boy is feeling going up the stairs and walking along the corridors (look for descriptive nouns, adverbs and adjectives).
- Breakdown the story into its narrative structure: beginning, middle and end. Discuss this common structure with reference to other stories – how it creates momentum through the narrative towards a climax.
- Discuss feelings of fear and nervous anticipation. Share experiences of times when pupils have felt nervous, afraid or anxious. What did it feel like and how did you make yourself feel better?
- Create a list of other films or stories that this reminds pupils of.
- Try to re-tell the story in prose form, attempting to capture – in words – the sense of tension and suspense in the film.
- Using stills from the film, create a comic-strip version of the film with thought bubbles and speech (where appropriate) for the characters.
- Research the tale of the Sandman (e.g folklore, E.T.A. Hoffmann’s ‘Der Sandmann’, popular song). Create a moving image essay or PowerPoint presentation on the different interpretations of this myth.
- Download 'The Sandman' from the Screening Shorts website and edit together a one-minute trailer for the film.
- Research other fairy tales, myths and legends and then storyboard and film new version of one.
- Explore moving like the Sandman.
|Resource Rights Holder||Batty Berry MacKinnon|
|Year of Production||1991|
|Curriculum Areas||Expressive Arts, Health and Wellbeing, Modern Languages, Literacy and English, Religious and Moral Education, Social Studies|
|Country of Origin||UK|
|Medium / Content||3D Animation, Fiction, Colour, Sound|
|Themes||Feelings, Danger / Fear, Culture / Society|
|Age Group||S1-S3, S4-S6|
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Copperheads live near creeks and rivers, under shrubs and vegetation, in wood piles, in gardens, sheds and under porches and decks. As copperheads are pit vipers, they will have a heat-sensing “pit” located between the nostril and the eye on both sides of the head. Their \"dorsal pattern is a series of dark, chestnut-brown or reddish-brown crossbands, each shaped like an hourglass, dum… Empower Her. Copperheads have elliptical eyes, facial pits and a single row of subcaudal scales, but observing these traits requires you to have close interaction with a potentially dangerous animal. Baby copperheads are not more dangerous or venomous than adults, but their small size makes them hard to see and can attract children and pets, states The Missouri Department of Conservation. This color is similar to the color of a penny and is distinct to the copperhead. PART OF WILD SKY MEDIA | FAMILY & PARENTING, How to Identify Black-and-Red-Banded Snakes. The Difference Between Gopher Snakes & Rattlesnakes, The Difference Between a Cottonmouth & a Water Moccasin, How to Determine the Age of a Rattlesnake, Different Kinds of Venomous Snakes in Mississippi.
Joshua Wade has been a freelance writer since 2006. As copperheads are pit vipers, they will have a heat-sensing “pit” located between the nostril and the eye on both sides of the head. Inspect the tail of the snake. Adults will have a light tan or pinkish color with dark markings. © 2020 WILD SKY MEDIA.
A member of the genus Agkistrodon, copperheads are often confused with water moccasins, another species of snake that belongs to the same genus. Further, any venomous snake bite should requires immediate medical attention.
A copperhead at 24 inches may be as thick as the circle formed when touching your pointer finger and thumb together. Once the prey is near enough, the baby attacks it.
While both are found throughout the southern and eastern United States and share similar colorings, copperheads have a few defining characteristics, including the triangular shape and copper color of their heads. A bite could lead to permanent tissue and nerve damage or even worse. What Is a Non Venomous Snake That Looks Like a Cottonmouth? Instead, use the color pattern, tail tip and body shape of a snake to identify baby copperheads from a safe distance. While the copperhead will vary in color depending on the region, its markings are similar to hourglass-shaped bands that span the entire length of the snake, typically darker in color on the outside and brighter in color on the inside.
Inspect the head of the snake for a triangular shape, copper-red in color. However, after a steady food source is found, they quickly grow to and have a thick body. Inspect the tail of the snake. Copperheads are venomous: This means that a copperhead bite (whether from an adult or baby) is likely to be harmful. Learning to identify a baby copperhead is essential for outdoor enthusiasts, as their bites have been known cause long-lasting injuries to adults and are often lethal in small children.
The baby wiggles its yellow tail to make small creatures think it is a worm. Be Her Village. These markings will have a Hershey kiss shape … Copperheads get their name, unsurprisingly, from their bronze-hued heads. Copperheads are medium-size snakes, averaging between 2 and 3 feet (0.6 to 0.9 meters) in length. Baby copperheads are typically 7 – 10 inches long and adults reach 24 – 36 inches. Copperheads.
7. Inspect the sides of the snake’s head.
North Carolina Snakes That Live Near Water. Baby copperheads do have one feature that makes them stand out from adult copperheads. Inspect the body of the snake. Shape The World. Treat them with the same amount of respect you would an adult snake. Baby copperheads are just smaller versions of the adult snake and yes, a copperhead bite does have the potential to be dangerous. A baby copperhead has a distinctive bright-yellow tip at the end of its tail, up to 1 inch long. Babies are thin for the first three months. He has also written for various online publications. Wade's poetry and short fiction have appeared in "The Frequent and Vigorous Quarterly" and "The Litter Box Magazine."
A baby copperhead has a distinctive bright-yellow tip at the end of its tail, up to 1 inch long. Baby copperheads have yellow tails. According to the Smithsonian National Zoological Park, female copperheads are longer than males; however, males possess proportionally longer tails.According to Beane, copperheads' bodies are distinctly patterned. ALL RIGHTS RESERVED. They have a bright yellow tail that they can use to help trick prey into coming near. Wade attended West Virginia University where he studied English and creative writing.
Copperhead bites have the potential to be very painful, but thankfully, they aren't usually deadly.
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By William Reed
Did you know that the official African-American holidays are: Kwanzaa, Martin Luther King Jr. Day and Juneteenth? What do you, and your family, do to celebrate Juneteenth? Also known as Freedom Day or Emancipation Day, the Juneteenth holiday is an abbreviated form of “June Nineteenth.” It marks the day Blacks in Texas belatedly received word that President Abraham Lincoln’s Emancipation Proclamation had freed the nation’s slaves.
Black Americans should commemorate Juneteenth as the date in 1865 when Union Gen. Gordon Granger arrived with his troops at Galveston Island and read President Lincoln’s proclamation freeing the state’s 200,000 slaves. The proclamation had originally taken effect on Jan. 1, 1863, but word didn’t reach Texas until two months after Confederate Gen. Robert E. Lee surrendered to Gen. Ulysses S. Grant, and more than two years after the proclamation was issued. Explanations for the holdup vary. Depending on who’s doing the explaining, the delay could have been attributed to anything from bureaucratic delays to a slow mule. Once freed, several self-sustaining Black farming communities grew up in Texas, and across the land, as freed men tilled their own soil.
Descendants of slaves should institute some modern-day ritual as we continue the country’s oldest celebration commemorating the end of slavery. An African-American tradition since the late 19th century, Juneteenth is recognized as a state holiday or day of observance in 42 states. On June 19th, 2013, the Dr. Ronald V. Myers, Sr., chairman of the National Juneteenth Observance Foundation, will join with Speaker of the House John Boehner (R-Ohio) to host a ceremony to unveil a statue of Frederick Douglass at the U.S. Capitol with Myers reading Douglass’ historic speech: “The Meaning of July Fourth for the Negro.” The speech is a classic: July 5, 1852, Douglass gave a speech at an event commemorating the signing of the Declaration of Independence, held at Rochester’s Corinthian Hall and told his audience, “This Fourth of July is yours, not mine. You may rejoice, I must mourn.’”
But some are asking: “Is Juneteenth still relevant?” These days, some consider Juneteenth as being “controversial.” In the early 20th century, economic and cultural forces caused a decline in Juneteenth celebrations. The Great Depression forced many Blacks off farms and into cities to find work. In those urban environments, employers did not grant leave for Juneteenth celebrations. July 4 was the established Independence Day holiday and a rise in patriotism among Black Americans steered more toward what they considered “Independence Day” celebrations. At the height of the 1960s Civil Rights Movement, Juneteenth lost more gravitas, particularly among militant Blacks who perceived it as obsolete in terms of their goals. Some argued that Juneteenth wasn’t a cause for celebration inasmuch as it symbolized that Texas Blacks had remained enslaved after the rest of the South had been freed.
Washington’s Smithsonian Institution’s Anacostia Museum has emerged from the controversy to an annual Juneteenth celebration whose focus remains on the recounting of Afro-American culture and includes such traditional activities as a community barbecue, music, poetry readings, games and fireworks. It also features storytelling and re-enactments of battles fought by the all-Black 54th Regiment Union forces of the Civil War. Malcolm Beech, head of the Cultural Heritage Museum and a group of African-American Civil War Re-enactors says, “Juneteenth is a very important day for us to keep alive in our history as we continue to tell stories of Blacks that were soldiers, slaves and freed men.”
As it moves forward, Juneteenth has become an occasion for reflection and time to recognize our achievements in life and economic development. Some have even equated the holiday with having the same importance among Afro-Americans as does Cinco de Mayo among Latinos.
Making it a point to trade, or buy something, from another Black, would be a worthwhile practice for African Americans to engage in during Juneteenth. This should also be a time for Blacks to focus on education and self-improvement, and to retrace our outstanding ancestry.
William Reed is head of the Business Exchange Network and available for speaking/seminar projects through the Bailey Group.org.
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Learning English K2 promotes meaningful learning of the English language through vocabulary building, acquisition of basic grammar knowledge, reading and writing.
Why is this book useful to preschool children?
Building Vocabulary Through Pictures, Sentences and Word Games
Vivid and interesting pictures accompanying the text allow children to learn and recognise words effectively. Simple sentences are introduced with ample practice exercises to enforce correct usage in complete sentences. Word games are also included to challenge a child in the creative application of the language.
Enhancing Writing Skills Through Sentence and Paragraph Writing Activities
The guided sentence formation exercises help to develop creative writing skills.
Acquiring Basic Grammar Concepts Through Drills
Drills on essential English grammar reinforce correct language structure and use systematically and effectively.
The key objectives and focus of the activities are provided at the bottom of the pages as a guide for parents and teachers.
Paperback / For Ages: 5-6 / 94 pages
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What sets Montessori apart in the Elementary years—ages 6 – 12—is the individually paced curriculum that challenges children academically and safeguards their well-being and sense of self. Engaging as contributing members of a respectful community, they learn to question, think critically, and take responsibility for their own learning—skills that will support them in later education and in life.
“To kindle the reasoning mind of elementary children, providing ample opportunities to these voracious intellectual gatherers, helping them arrive at defining their societal role while understanding interdependence in the world.”
In a Montessori Elementary classroom, students work individually or in small groups, at tables or on mats on the floor.Natural lighting, soft colors, and uncluttered spaces set the stage for activity that is focused and calm. Learning materials are arranged on accessible shelves according to curricular area, fostering independence as students go about their work. Everything is where it is supposed to be, conveying a sense of harmony and order that both comforts and inspires.
Elementary age students are naturally curious and have a strong internal drive to discover how our world works. They may ask, “How does a fish breathe under water?” “What number comes after a trillion?” “What causes a volcano to erupt?” Instead of simply giving them the correct answers, Montessori elementary teachers ask the right questions; they tell stories to inspire the children’s imagination and tantalize them to explore on their own to find out more: about volcanoes and dinosaurs and Monet and gladiators and poppies and skateboards and butter churning and cheetahs and – there is no limit!Driven by their passions, the children are open to the input from the teacher that refines their reading, writing, reasoning, and research skills. Designing our elementary program around the children’s natural cognitive abilities means that our focus is less on the facts and concepts we teach and more on what the children learn and how they learn it.
Multi-age groupings of children aged 6 – 9 and 9 –12 provide a heterogeneous mix in which children can collaborate and socialize. These inter-age relationships strengthen the entire community.Older children are seen as role models within the community. They support the growth and development of younger children through socialization, assisting with new work, or teaching skills they have mastered themselves. They can also work with younger students in areas of the curriculum in which they themselves may need more practice, without stigma.Younger children follow the example set by the older students, and have peers to work with in areas of the curriculum in which they may be more advanced. This multi-age community provides opportunities for all individuals to learn from each other, at times leading, sharing, or serving as role models. It also develops an appreciation of differences.
Set in the Montessori way of scope and sequence, we provide abundant literature and cultural learning opportunities that inspire love for each of these languages and the context to appreciate the need of learning it more for higher order thinking and creative expression rather than mere functionality.
The ideas of number concepts, place value, numerals, and related quantities are reinforced and expanded upon within the Elementary program. Newfound purposes for familiar math materials provide children with the means to consider number concepts, mathematical operations, and more complex functions, helping to expand advanced mathematical knowledge and understanding.
Reading and writing are integral to all subjects in Montessori Elementary, as children express their interests and satisfy their curiosity. Students master conventions with thorough studies of grammar, spelling, and mechanics. They produce final copies with careful penmanship. They read, analyse, think critically, and compare and contrast literature to support personal opinion and perspective. Using these reading and writing skills, they present ideas through formal and informal presentations.
Cultural studies are interdisciplinary and integrate zoology, botany, anthropology, geography, geology, physical and life sciences, and anthropology. Through these lessons, children explore the interconnectedness of all living things. Additionally, in-depth studies of history, physical and political world geography, civics, economics, peace and justice, the arts, world language, and physical education are introduced.
Science and Social Studies
Interdisciplinary and integrated studies of geology, geography, physical and life sciences, anthropology, and history are built around “Great Lessons,” a series of dramatic stories that explore the origins of the universe, our planet, and the continuous development of human advancement. The laws of physics and chemistry reveal the interdependency of all living things. Beginning with a study of civilization, students explore the contributions of history and what it means to be a responsible citizen and to seek ways to make the world a better, more peaceful place. Besides Academics, children have regular classes as and when arranged, based on age appropriateness in Team Sports, Carpentry, Natural dye Printing, Weaving, Art and Craft, Culinary and baking, Pottery, Tailoring and Embroidery, Storytelling and theatre.All subjects will be intertwined in art, music, theatre and drama, going outs and scientifically traced to its development in history. Children regularly go out on educational trips, and have exposure sessions on life skills, wildlife, farm living, music, dance and drama.To further accentuate the home learning, interesting follow up work and home projects where family groups can be involved are given to the children. Farm visits and work on the farm is possible due to our parent organisation - Relief Foundation’s rural Montessori Resource centre in Narasingapuram and Jamunamarathur.
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In Ian McEwan’s novel Atonement, McEwan almost writes, with his developed characters, through third person point of view and since the characters do not tell their stories, McEwan writes a considerable and compound descriptions to embellish their personalities. McEwan describes the atmosphere that goes from light to dark, signaling that some of the events that will occur in the novel will become unsatisfying in which that description can set the tone for these events, while employing the element of contrast to develop his characters.
With point of view, foreshadowing and contrast in the novel, the author employs the tone of reminiscent.
The novel Atonement focuses on the point of view of three main characters: Briony Tallis, Cecilia Tallis, and Robbie Turner in which their lives turned upside down from a life-changing event that occured. McEwan use point of view with the characters to allow the reader to better understand the viewpoints of these people in which McEwan shifts from one viewpoint to another along the same paragraph.
For example, “Now there was nothing left…beyond what survived in the memory, in three separate and overlapping memories” (39) in which Briony describes how everybody has their own version of real or fake in their own world in which reminds the characters that they become living in reality in which Briony has her own views of what kind of reality she lives in. Society reminds characters that they live in a real world where everything can change everybody for better or worse. McEwan’s character development that he inputs in the novel does not only add more to the plot of the story, it gives readers an image to understand in which it helps the audience to underline the characters as they go through struggles in their daily lives.
McEwan’s descriptions supply more depth and reliability to the characters and as a result, they play a huge role in putting up events through complicated physical description. For example, “In the early evening, high-altitude clouds in the western sky formed a thin yellow wash, which became richer over the hour…sky and ground took on a reddish bloom and the swollen trucks of elderly oaks became so black they began to look blue…now the air was still and heavy (73) in which it represents the idea of an old photography in which it holds memories of how their past became to become which illustrates the tone of reminiscent because it, perhaps, makes the characters feel nostalgic of what had happened before.
McEwan continues to have character development by including the element of contrast in which it adds depth to the characters in a way by focusing on the difficulties that every character has gone through. The element of contrast relates to the tone of reminiscent by stating “what she saw must have been shaped in part by what she already knew, or believed she knew” which illustrates how the author shows audiences of how Briony becomes intervened between both worlds of real or fake. She, one way or another, must face the consequences from her actions, however it appears that Briony has her own beliefs in which she believes on her own assumptions rather than common senseness. The tone of reminiscent play with the idea of believing in a fake world can apply to society becoming the only matter that brings characters back into their world of chaos in which McEwan uses the element of contrast to come in terms between reality and with what McEwan’s characters wanted to believe in which they can believe what they want, but they always come back to the real world.
With point of view, foreshadowing and the element of contrast, Atonement tone can become reminiscent in which the characters have their own matters that reminds them of the wonderful days that occured but become stuck with the world that became filled with chaotic and destruction. In the novel, the atmosphere that the setting creates transitions to light from dark in which the tone of reminiscent can reveal what the characters reveal to the audience in which they become vulnerable to the events occuring to them.
“An Untidy Finish”
Samara Ann Cahill, the author of the essay, states that the novel Atonement talks about a person’s social relationship with history and fiction which builds up meaning. The author’s argument concerning about the novel becoming “accurately apprehended,,,by a gothic” can come from his points of Briony’s “guilty consciousness” and becoming “haunted by the ghosts of the pasts” can become agreeable as it reveals the novel as a gothic novel because how in a gothic world, innocence weakens and guilty awakens which can reveal how the idea of a gothic novel can represent the darkness that a character consumes when that can reveal how that character becomes throughout the novel.
In the novel, some of the elements of gothic become noticeable that audiences can identify such as storm, tempest, death, monstrous crimes, and even ghosts. The character of Briony becomes rather a complex person that deals with much matter. Cahill mentions that the novel “..is more centrally concerned with the ethical representation of reality through fiction” which relates to Briony becoming the affected one of them all which Briony frames Robbie by writing a story that she created which Robbie raped another person. Atonement, in definition, means reparation for a wrong or injury in which this can make Briony’s atonement of framing Robbie in which she “..always liked to make a tidy finish” and in that case the writing of the story of Cecilia and Robbie’s love. The title of the chapter titled “London, 1999” became narrated by Briony in which she discusses about Cecilia’s and Robbie’s love affair and her attempt to damage the love that they both have can reveal that both of these characters filtered through Briony’s guilt consciousness which can represent how Briony becomes the most weakest one and vulnerable one when destroying lives in which a war already takes Briony place of doing
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Directly target empathy
See our Top Games That Teach Empathy list for more empathy-focused tools.
Each Peekapak topic (including empathy) consists of an introductory storybook, eight activities to do in the classroom, and eight activities to send home for kids to do with their parents. Lessons for grades K–5 help kids explore SEL concepts from a variety of angles.
This incredibly relatable story about navigating adult love and life has some mature themes, but the controls in the game are mapped so well to emotions that kids learn how to traverse the nuances of fresh relationships in a compassionate way.
Build empathy in all subjects
For ELA classrooms
Have students use this storytelling app to upload pictures, videos, and their voices to illustrate an emotional experience in their lives or to describe likes and dislikes. Through sharing, students will begin to see what it’s like for their peers.
Facing History and Ourselves
Use Facing History’s resources to discuss and reflect on students’ experiences and beliefs about tough topics such as racism and prejudice. Students can also create and share bio-poems as part of a community unit.
For math classrooms
Ask students about personal situations and have them use the app to construct a depiction of their feelings. Students can annotate the design, and after that a discussion can help students learn from each other while they study geometric shapes.
Illustrate the crippling financial quandaries of poverty. Have students discuss their play, using correct finance terms such as “minimum wage” and “inflation,” and host an honest talk about how Spent oversimplifies the issue of choice.
For science classrooms
Use this 3D-design tool to address people’s needs. Students can research societal problems (such as water quality or climate change). Once they build understanding and empathy, they can go through design processes to create a prototype solution.
WWF Free Rivers
This augmented-reality app immerses students in a river ecosystem. Students will gain perspective as they learn how rivers affect people and wildlife. Have students discuss the pros and cons of building dams for historical societies and for their own community.
For social studies classrooms
Videos and photo essays depict life experiences around the world. Use the Mix It Up activities to have students identify social boundaries at school, and then have them use primary-source documents to find similar boundaries in history.
Global Oneness Project
This site showcases global life stories. Let students view the videos on climate change or sustainability, and then have them go out and create their own videos capturing a cultural experience in school or their own community.
For all classrooms
Shadow Puppet EDU
Start a project where students search for images directly in the app (from art museums or NASA) to tell a story of the personal connection they have to the book they read, the organism they observed, or an event in history. Share as a class.
Skype is great for communicating with students from around the world. Hook up with another class and have students share their stories, solve an engineering solution together, or practice another language to gain perspective about other cultures.
- Explore our Movies That Inspire Empathy and TV That Inspires Empathy lists to share with parents.
- Parent questions? Point them to our Character Strengths and Life Skills page for answers.
[Editor’s note: This post originally appeared on Common Sense Education.]
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Biblical storytelling with children
By Carole Danby
Claiming the Space
Make the gathering space welcoming and bright with a visual emphasis on the Bible – Bible open and on a stand, story stole, cross, coloured cloth and Treasure chest or box wrapped in gold paper if you have one.
We stand on holy ground when we share our faith stories with others – children.
Drama Techniques for exploring Scripture
Divide the bible story into small phrases or single words, then put an action to each one and invite the assembled group to copy what you say and do what you do until you say ‘The End’! Example –
One day Hold up one finger
Jesus went to Jericho Point away from you
To see some friends Shade eyes, looking
Zacchaeus Draw a ‘Z’ in the air
Wanted to see Jesus Shade eyes, looking
But he could not Shake head
Because he was too short
Indicate a short person at your side with hand
Divide the Bible Story into 6 or so segments that can be easily said by young children. Assign one segment to each of 6 or so children and invite them to say the line 3 times and do an action to match what is being said. Then when they are finished, they freeze and the next person says their segment 3 times and freezes. A leader introduces the story and ends it. Here is an example from John’s Gospel –
Leader: The story of the first Easter.
The Stone is gone!
Jesus is gone!
Peter, Jesus is gone!
I don’t believe it!
It’s true! Jesus is gone!
Jesus is alive! Alleluia!
Leader: Jesus told Mary to tell everyone the Good News and she did!
Hold up fingers while telling. Example:
1 day Jesus was going
2wards Jericho with
5 of his disciples.
As all 6 of them were leaving,
1 man, Bartimaeus, son of Timaeus, a blind beggar, was sitting next
2 the roadside. When he heard that it was the
1derful Jesus going by,
he called out 2 him
in a gr8 big voice, ‘Jesus, Son of David,
ave pity 4 me!’
Sound Effects –
YEAH, WOW, UHOH, APPLAUSE, OOOHH, AAAHH, HISS –
Make signs with one word on each and invite 7 children to hold one sign each. Tell or read a story and encourage the holders of the signs to step forward whenever they think the rest of the group should call out the word on their sign.
Two-way stretch sacks made from stretch Lycra material. Children place these over their heads and step into the footholds sewn into the bottom of the bag. A Bible story is read or told and those in the bags respond to what they hear by moving inside the bag. Rules – do not move your feet and no talking while inside the bag.
Children can make puppets from paper bags, or adults in your church can make handle-bag puppets from fabric scraps, a handle, and a head. Heads can be made of many different found materials! And when the puppets are made, the children can act the story with the puppets. If an adult has a smartphone they can make a video of the story. Here is a video demonstration about handle-bag puppets and drama bags.
Give each participant a sheet of paper and instruct them to fold in half, then in half again, then in half again. This will divide the page into 8 sections. Tell a story and then invite children to draw the story as far as they can recall. Then tell it again and ask them to fill in any blanks. Then children can turn to someone next to them and use their story map to tell the story to someone else. OR, you can draw a storyboard in sand or dirt the same way.
Prayer with actions for younger children
Creator God, I give you today,
all that I think, and do, and say.
I give you the good times, as well as the bad,
the time when I'm happy,
the times when I am sad.
Fill me with grace and make me strong.
With you by my side, I can never go wrong. Amen
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Updated: Oct 15, 2021
Books, Stories And Colourful Semantics
Many of my students have difficulties telling stories. When looking at a book together, even books they love and have seen many times, they often struggle to understand what they are reading and cannot therefore retell the story in any sequence. A great method I often use with those students is called Colourful Semantics.
What is Colourful Semantics?
Colourful Semantics is an approach aimed at helping children develop grammar and meaning of phrases and sentences. We help children identify WHO is the subject in a story, what is he/she/it DOING to WHAT and WHERE. There are lots of colour coded stages but we tend to start with the basic 4:
WHO = ORANGE
DOING = YELLOW
WHAT = GREEN
WHERE = BLUE
Once a student is accomplished at this level, we move on to different colour codes for describing words (adjectives), connecting words (with/together/and/therefore) feeling words (PINK), timing words (BROWN) eg. when, tomorrow, last week etc.
Colourful Semantics is a really useful method and helps children to organise their sentences. It also helps me knowing how to guide a student in thinking about the story.
The approach can be used with children with a range of Speech and Language Needs, such as:
Developmental Delay / Disorder
Autistic Spectrum Condition
Any other syndromes and related speech and language delays
General Literacy difficulties
There are a wide range of benefits to using this approach and I use it in my therapeutic work with children of around 3 years plus. Below is a little video which shows how I use it with this student who has general language difficulties associated with Autism. One of the main benefits with this student is that seeing the Cue Cards helps her to use a much wider range of vocabulary than she would ordinarily generate. Her sentences are getting longer and she is more able to answer questions. In general, I find it useful to help with storytelling and to guide us through the story in a sequence.
There are many on-line games these days that have incorporated the Colourful Semantics Approach. Once a child is familiar with the basic colour scheme then gradually the visual prompts can be reduced to using verbal prompts.
Find a speech and language therapist for your child in London. Are you concerned about your child’s speech, feeding or communication skills and don’t know where to turn? Please contact us for a free, no-obligation chat about how we can help you or visit our services.
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Story Reading Through Analysis, Synthesis and Interpretation
In her excellent review of qualitative inquiry and analysis, Renata Tesch (1990) reviewed 26 different approaches to qualitative research she identified in the literature. She organized these approaches around four research interests: exploration of characteristics of language, the discovery of regularities, the comprehension of the meaning of text or action, and reflection. She noted that although there is overlap among these approaches in terms of how the inquirer interprets or makes sense of information gathered, there is not a consensus on how to analyze, synthesize, and interpret information. In fact, as new assumptions about what knowledge is and how we learn are employed, as different kinds of questions are asked, as different purposes for doing inquiry evolve, and as different people participate as inquirers, more and more kinds of interpretation are developing. This fact can be discouraging if you were hoping to find the one right way to make sense of information you are gathering. But it is also very liberating to know that inquirers can come up with their own interpretive procedures to fit their particular study needs.
Another way to think about these issues is in terms of stories. Storytelling and story hearing or story reading are some of the most ancient of human activities. When someone is telling a story, they are interpreting or making meaning of some event, activity, or experience. The telling of a story involves “making sense” of experience and making sense could involve analysis, synthesis, and/or interpretation. These story-telling interpretive activities can take infinite forms. For example, a child sitting on the back row of a classroom with filthy clothing, who is disruptive or seems depressed and is not involved in the class activities is telling her teacher a story about her background, needs, and challenges. Students tell stories about their interpretations of life, school, subject matter, etc. through their test performance, homework completion, social behavior, artistic expression, writing, the books they read, responses to questions, and on and on.
In Chapter One, Steve (the student who was expelled from the high school program) was telling his teachers and student teachers a story through his smoking behavior on the ski trip as well as through his comments to them in their office after the trip. Jimmy was telling Kyleen a story through all of his activities, which she documented in the study reported in Appendix C. The first graders who were held back were trying to tell their stories to the administrators and teachers described by Judy in her report in Appendix E. Marné was trying to read stories of several students and herself as a journal-writing teacher in Appendix B. Gary was doing the same thing as a school superintendent by reading stories being lived out by teachers and administrators from his district in his report in Appendix F.
Thinking even more broadly, we find that living and all experience generally can be usefully thought of as interpretation. If I respond to people brusquely or kindly, I am expressing an interpretation of them and my relationships with them. If I stay in bed all day or get up and work hard when I have a cold, I am interpreting that malady differently. Almost anything one does or says or is can be considered an expression of meaning or point of view by the actor. We are telling our stories by our presence, our aura, our clothing, our physical stance, how we locate ourselves in a group, by our faces, by all that we are. If this is so, everyone is constantly telling stories or expressing interpretations of all their experiences. And anyone who is interested in hearing those stories has more than enough to listen for. Educators face many storytellers daily.
In a slightly more restricted sense, there are many different ways we actively or deliberately interpret experience “reflectively” or “thoughtfully” (as opposed to simply living out our interpretations of life’s events). Some of these interpretations are done in relative solitude while others are interactive. Interactive interpretations can be with people we are close to or with relative strangers. Thinking about these deliberate interpretations as “readings” of the stories people are telling us through their lives or readings of our lived experience may open up some new ways of making sense of qualitative inquiry activities. Some examples of deliberate forms of interpretation, which allow the interpreter to get a new “reading” are:
- Letting an experience or idea “sink in” to our sub-conscious and seeing where it leads.
- Literally reading others’ writings and letting their interpretations spark new connections in the reader.
- Writing (journals, memos, letters, poetry, field notes, and others) helps the writer to clarify her or his thinking and perspective.
- Making summary statements about an experience, receiving critical feedback from others regarding those summaries, and defending the summaries with an open mind.
- Responding to a request to summarize the key learning or insights obtained during a study.
- Therapeutic talking with a counselor, a friend, or a support group about experiences.
- Meditating in various forms (while running, dreaming, engaging in martial arts, practicing Zen, praying, and so on) allows the participant to step back from the experience and get a different reading.
- Using any of the common art forms (such as painting, drawing, dance, music, and story telling itself) can help the artist to “read” an experience in a different way, to interpret it.
Educators who think of themselves primarily as learners are constantly seeking for better and better ways to read the stories others are telling through their lives. This is deliberate interpretation. Teachers face entire rooms full of students who are telling stories that may be very foreign to the teachers’ experiences. They face the challenge of helping the students integrate parts of those stories into a coherent classroom story that everyone can share, but which does not threaten or destroy the story elements unique to each member of the class. And of course, teachers have their own stories to merge with the students’ and class’s stories. Administrators face the same challenge at building and institution levels. Part of the challenge of qualitative inquiry and of education generally is to learn to read the stories others are telling, to understand them, to have compassion for them.
In a sense then, this whole book on qualitative inquiry is about helping educators invite the people they work with and themselves to tell their stories more powerfully. It is also about helping educators find better ways to hear or “read” those stories and to share what they learn through those readings with people they want to help. Chapter Nine focuses on the sharing of story-readings. This chapter provides an opportunity to look in more depth at a few of the many ways of reading or interpreting people’s stories to give you a sense of what is possible. You are invited to take this closer look by:
- exploring how you are already interpreting or telling stories of your experience through the way you are living,
- exploring how you are already reading or interpreting others’ interpretations or stories, and
- considering some additional ways you might read others’ stories through qualitative inquiry and various associated approaches to analysis, synthesis, and interpretation.
End-of-Chapter Survey: How would you rate the overall quality of this chapter?
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Explore to protect
More than 80% of the ocean has not been explored despite water covering over 70% of the planet’s surface. To protect more of this important habitat, technological advances are needed.
To protect something that hasn’t yet been explored is almost impossible. That’s why only 6.35% of the ocean is currently covered by Marine Protected Areas. While the figure was much smaller in 2000 when only 0.7% of the ocean were MPAs, further research and ocean exploration is crucial to protect more of the blue planet.
The main reason behind the lack of exploration is the sheer volume of the ocean. The deepest parts are dominated by zero visibility, cold temperatures and large amounts of pressure which make it, in parts, more difficult for people to reach it than space. As an example: If you would decide to dive to the bottom of Mariana Trench, your body would be subjected to 1,000 times more pressure than at the surface.
To explore more of the ocean, human-occupied, remotely-operated as well as autonomous submersibles, satellite technologies as well as state-of-the-art floats and drifter devices are used to collect vital data that can help shed a light on the many remaining questions surrounding the seascapes and help humans deal with the effects of climate change.
Alseamar, a French marine tech company and producer of glider unmanned underwater vehicles (UUV) which are underwater drones that operate below the surface without the need for human help, is currently working hard to make oceanographic data accessible to a wider audience. The company has recently been able to produce highly accurate data plots of current profiles from large swathes of the water column.
A combination of tailor-made algorithms, underwater gliders and a high-performing acoustic doppler current profiler (ADCP) from Nortek has helped break new ground for the oceanographic community. ACDPs are hydroacoustic current metres that resemble sonars to measure how fast water is moving across an entire water column.
ADCPs have revolutionised the ability to record ocean current movements. But they can only measure what they can ‘see’, and that is largely determined by what they are attached to, which may be a surface buoy or a frame on the seabed. While this is perfect for many uses, it isn’t great to find out about the movements of currents across a large swathe of ocean, as moving ADCPs on frames from location to location is a time-consuming business and doesn’t provide a complete picture of the currents in the whole area. Mounting ADCPs on a moving surface vessel is a good option for many, but some users are put off by the work and cost involved with hiring and crewing a vessel.
Rapid advances in underwater glider technology, however, have provided a new and efficient alternative to profile large volumes of water. Slimline battery-powered gliders are capable of cruising through the oceans for months at a time, carrying a multitude of instruments measuring many facets of the underwater world close up.
Typically, gliders move in a sawtooth, or wave-like movement between the top of the water column and depths of around 1,000m. So, if you can get accurate measurements from ADCPs fixed to gliders, you have an efficient and cost-effective way to profile a huge volume of water in a relatively short period of time. That possibility prompted researchers at Alseamar to investigate how ADCPs could be made to work with their SeaExplorer glider, an autonomous sensing platform designed to collect water column data profiles ranging thousands of kilometres.
Driven by buoyancy changes, the vehicle silently glides up and down the water column while collecting physical, chemical, biological and acoustic data depending on the fitted sensors. As no surface supervision of the glider is needed, it is a cost-effective solution for data collection. After the device collected data, it can easily be retrieved by small boats near shore.
The results of Alseamar’s innovative development are of benefit for the greater ocean science community. The detailed analysis of current movements, combined with data from the glider’s other instruments, gives users access to highly accurate data on how our oceans work. Orens de Fommervault, oceanographer at Alseamar, says: “Glider missions contribute to the international efforts of the Global Ocean Observing System (GOOS).”
The UNESCO-led GOOS programme coordinates observations in the ocean globally, focusing on three critical themes: climate, operational services and marine ecosystem health. It helps develop tools and observes the ocean to better understand how society and all life on earth is affected by climate change. The organisation gathers information to foster change, forecasts the weather to deliver early warnings of tsunamis or storms, and guides policymakers and nations towards a more sustainable future.
GOOS’ vision for 2030 is to implement a global ocean observing system to provide important information on sustainable development, wellbeing, prosperity and safety.“The Nortek ADCP design is really ideal for a profiling platform like ours. You could almost say it was dedicated to our application,” says de Fommervault. Some select academic institutions are also able to estimate water currents from a glider, but the real step forward is that this is now available as a service from a private company. Alseamar is currently the only known private company able to estimate water currents from a glider and to provide this service to other companies, organisations and researchers.
“Glider-mounted ADCPs offer the ability to collect high-resolution, dense-data water velocity measurements at an unprecedented spatio-temporal scale resolution without the constant use and expense of support vessels,” de Fommervault points out.
The ADCP-equipped glider has proved its accuracy in a number of different environments. Current profiles obtained by the ADCP on the SeaExplorer glider across 60 km in the Mediterranean Sea off southern France correlate with temperature, salinity and chlorophyll measurements taken by the glider at the same time. The ADCP was also able to measure tidal currents in considerable detail through the depth profile in the Atlantic off northwest France.
But configuring the ADCP-equipped underwater glider to gather vast amounts of usable oceanographic data is not the end of the story. “One big remaining challenge is to get access to as much of that data as possible in real time,” Orens de Fommervault says.
Photographs by Ocean Image Bank – Lewis Burnett, Ocean Image Bank – Shaun Wolfe, NOAA Okeanos Explorer Program/Galapagos Rift Expedition 2011, NOAA Okeanos Explorer Program/Mid-Cayman Rise Expedition 2011, Ocean Image Bank – Thomas Horig, Alseamar.
Explore the current issue
Beautiful photography. Captivating storytelling.
Take a look inside the latest issue of Oceanographic Magazine.
Subscribe to the digital edition for just £20 a year, or enjoy it for free courtesy of Oceanographic’s partnership with Marine Conservation Society. No cost, no catch.
Beautiful ocean stories straight to your inbox.
Join our community.
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Epstein, S. A., & Phillips, J. (2009). Storytelling skills of children with specific language impairment. Child Language Teaching and Therapy, 25(3), 285-300. https://doi.org/10.1177/0265659009339819
What was the aim?
Research suggests children with DLD have difficulties producing verbal narratives. Visual and verbal prompts can be used to support children’s narratives. However, there has been little agreement regarding which method is most effective. The study assessed 8 children with DLD’s verbal narratives, with visual and verbal prompts. The assessment looked at microstructural and macrostructural features. Visual prompts were wordless pictures. An example of a verbal prompt is “then what happened?”
Microstructure refers to the details of the specific language use in the narrative, such as the use of his/her and words like “and” and “or.”
Macrostructure refers to overall content and organisation of a narrative.
Core story components include elements such as the setting and the character’s actions and thoughts.
What was found?
Children produced an overall better organised narrative (better macrostructure) with picture prompts rather than verbal prompts.
There was no difference between picture and verbal prompts in the inclusion of different core story components.
The children produced significantly more his/her words (pronouns) in the verbal prompt condition compared to the picture prompt condition.
The number of “and”/“or” words (connective words) did not significantly differ between the verbal and picture conditions.
What does it mean?
The results show the visual condition produced greater narratives when looking at the macrostructure. Alternatively, for microstructure the verbal condition was more effective. However overall, the verbal condition produced better narratives, as they were more complex. For example, the verbal condition led to the children using a wider variety of pronouns. Although the verbal condition was harder, as the children had to produce the story components, rather than being shown aspects to discuss, the quality of the narratives were higher. These results show how the verbal prompts enabled the children to present a higher level of oral ability. Consequently, speech and language therapy and parents should use verbal prompts to aid in oral narratives of children with DLD.
Where can I read this paper?
This paper is not open access. If you wish to read the full paper, please email [email protected] and request a copy of the paper.
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4th -6th Grade 8:30 a.m. to 3:00 p.m.
Before children reach elementary school, their development has focused primarily on socialization, physical coordination and foundational cognition. Children in the elementary levels move from absorbing information to manipulating it in order to solve problems and make connections.
The Mountain West Montessori Upper Elementary program understands that elementary children are at the age where they are ready to experience the challenges of participating in a cooperative community and are continuing to find their place in society. To support their social and individual growth, most of the elementary activities are group-based so children can learn to share and to work in collaboration.
A unique part of the Upper Elementary program is the Self Government aspect of the community. Students elect leaders wo
Our Elementary classroom is divided into two groups. The Lower Elementary consists of the 1st through 3rd grades, and the Upper Elementary is 4th and 5th grade.
The Upper Elementary level groups begin class at 8:30 and end at 3 p.m.
Extended care for those who wish to either drop-off early at 7:30 a.m. and stay until 5:30 p.m. is available at an additional cost.
Areas of Study
Literacy is the biases of all other areas of study, so reading, writing and verbal communication hold an important place in all of our curriculums. Montessori students work with Montessori’s sensorial materials for grammar and phonics at early ages; thus, they are not only ready to begin learning to read and write and young ages, but are deeply interested in language. The Lower Elementary certified Guide (teacher) promotes creative writing, guides self-directed research, and fosters productive pre-reading and reading habits.
Montessori students are introduced to math via concrete materials that facilitate students’ comprehension of computational concepts: addition, subtraction, division and multiplication. Because Montessori methods focus on the appropriate activities for children’s stages of development, students are curious about math, grasp foundational concepts quickly, and are eager to explore abstract concepts like based systems and square roots.
History entails more than the narrative of Homo sapiens. At Mountain West Montessori children learn about the creation of the universe: planets, stars, sun, and our Earth. Our curriculum takes students back to the beginning of life, introduces them to Earth’s different geological periods and explores the subsequent and vast variety of human history. Studying history gives children framework for their own lives as they figure out where they fit into family, local, and global contexts.
Vital to the development of all stages of maturation, Mountain West Montessori’s art programs are personal and imaginative. Children create images and sounds as forms of self-expression and a specialist in Music presents and teaches children a variety of instruments such as the harmonica and the flute. Children between ages 9-12 have opportunities to learn a string instrument like the cello or violin.
The Upper Elementary level children have an outdoor physical education session twice a week that includes team sports like soccer and basketball.
Montessori qualitative evaluations of children’s progress differs from traditional grading procedures. Guides (teachers) provide personal, holistic and specific evaluations that take into consider the child’s social, mental, physical, cognitive and psychological development. Children do take the IOWA test as an evaluation of their test-taking abilities. Students will take the IOWA test once a year from third to 8th grade.
Mountain West Montessori holds a two-night away trip where the children work together to prepare their own food. As a class, children play games, do crafts, and enjoy bonding with their peers. In the past, students have traveled to Alpine, Albuquerque and Tucson.
Throughout the year, students will take chaperoned field trips to museums and libraries, attend special presentations, and travel to local destinations the children choose.
Celebration and Performances
Peace Day is a long standing Mountain West Montessori tradition. To celebrate the world’s cultural differences and similarities, each student researches unique facts about a country of their choice and presents the information to the entire school. Presentations include wearing a special costume and sharing a sample of food native to their country of study.
As part of our Winter Program and Spring Show, the children prepare and present a dance performance or a play for the whole student body and our parents.
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There is one major difference between a story and the plot. A basic story tells events that happen, from beginning to end—a chronological sequence of events. The plot is more of a causal and logical structure—it is the main thing that happens and why it happens. It can be easy to confuse the story and plot or think they mean the same thing. Now, let us dig deeper to understand what is the difference between story and plot.
Plot vs story
Let us use an example to get started. Let’s go with a short story, the same story we are sure you have heard or read before.
The queen died during childbirth, leaving the king alone in a castle without anyone to share his wealth or power with. He loved the queen very much, and the loss of her and their child was too much for him. He was no longer interested in ruling, his subjects, or even in the most basic necessities for survival, like eating and drinking. As the weeks stretched out, the king became more withdrawn and desolate, until finally, the king died.
This is an old story, told in different formats throughout the ages. It is that classic love story where one partner dies, so the other loses the will to live and eventually dies. In this case, the queen died first, and the king died shortly afterward. How the characters die changes (Romeo and Juliette drank poison), but the story is essentially the same.
In the example, what is the story? And what is the plot? That is what we have to figure out.
The queen died, then the king died. Then they had to find someone else to rule the kingdom.
That is the entire story in a nutshell. It does not really answer the “why?” The story simply tells the events in chronological sequence and leaves it to the reader to figure out if a compelling plot exists in that story.
Real-life usually plays out more in story form. Things just happen in a chronological sequence, and we have to make sense of them the best we can. Since it is the writer’s job to create a story that seems at least somewhat realistic, they choose a plot, and they work it into the story, giving the main characters the chore of figuring out what it all means.
We enjoy reading stories, hearing stories, and watching stories played out in film to figure out, along with the main characters, what the point of it all is.
Great Story Connects Events
An author can be happy writing narrative stories, but without a plot in mind before the story takes place, the narrative wanders and usually gets lost or, at the very least, gets clunky. It is rare for any writer to simply discover the plot as they write the narrative. A story without a plot is simply a way to connect one event to another. It is the storytelling of a person’s day or life. Without a plot or meaning attached to the story, the readers will not care about the characters.
Plot is quite the most important element of a fiction story. It is the answer to the “why?” or “what would happen if?” question that a writer asks before they begin writing. In the example we used above, that classic tragic love story, the story was explained as, “The queen died. Then the king died. Then they had to find someone else to rule the kingdom.“
Those are simply the things that happened. The plot gives you the answer to why it happened. The plot in the example (although almost similar to the story) contains a significant difference. The plot is: The queen died during childbirth. The king died of grief. He had no will to live without her. It is the whole point of the story. Without a plot, you only have events to tell without connecting to other events and your audience. This is not only weak writing—it is a boring read too.
The Parts of Plot
In narrative fiction, a plot is necessary. Also, a certain sequence of events needs to be followed, like where each part of the plot should happen in the story. The different parts of the plot are known as conflict or inciting incident, rising action, climax, and resolution or falling action. This sequence connects each part of the plot, creating a domino effect to the story’s events, making the whole story logical and easy to understand.
1. Conflict/Inciting Incident
This is the first thing that happens to the protagonist that sets things in motion. Usually, this is something significant enough to get the main character’s attention but not yet big enough to elicit the main character to take action.
Let us abandon the sad and tragically dead royal family that we used as an example earlier and go with something a little easier to visualize. Imagine a fight that takes place. It may start with a person (our main character) noticing that someone is getting loud or aggressive somewhere. This is the first conflict or inciting incident. The person thinks, “This person is getting out of hand. Someone will surely get hurt if they don’t knock it off.” It is a conflict the main character has noticed, but it is not enough to motivate him to get involved. We need more to give this main character something more.
2. Rising Action
The event in our example is interesting and a little worrisome, but they do not need our guy to step into the situation. Yet. The author writing this story needs to push the main character. So the author has to dig deeper and work harder using other elements of the story, like setting and background.
Let us think that the setting is inside the bar. Our “hero” is a man who is sitting alone, wallowing in his own grief. His wife is leaving him. He is already emotionally charged, and now there is this other guy, the protagonist, who is being loud and causing a scene. Our sad guy notices but has not done anything. How do we use the plot of rising action to push him to act?
Now the loud guy is walking towards our guy. He stops a few feet away and says something like, “Hey! I know you! You’re that schmuck, Dan. Yeah, I work with your wife. I heard she left you the other night. Sucks for you. Think I got a shot with her?“
Now our guy is triggered to take action. Using words and speech that are derogatory, disparaging, and rude, we can push the character to stop observing and get involved. The sequence of events now directly involve him. Readers want to know what happens in a novel like this. They want the husband to stand up and say something or do something. This is the rising action. We have created a confrontation, and we have turned up the heat.
This is where the world of the character really gets messy. What happens next could affect his whole life. Novels that drop the ball on the climax part of their plots are the ones that have lackluster endings. The ones that readers finish and say to themselves, “It was a good story, but I didn’t like the ending.“
All of the plot elements have to work together to create the right amount of tension for the big event to occur. So now our guy stands up and tells the other guy to get lost, yet he keeps saying disparaging things to the main character. The climax is the fight that happens due to that rising action. A brawl has started, and our guy loses in this story.
The climax does not have to be huge. It does not have to involve death or the rise and fall of nations. It only needs to fit logically with the other elements and create tension.
4. Resolution/Falling Action
The two men fight, and our guy loses. He just does not have the heart for it, and his head is not in the right place. He is grief-stricken and depressed, and maybe a part of him wants to get hurt and lose the fight. The falling action or resolution in this simple story is that he gets a busted lip, and the bouncer kicks him out. He catches a cab home and goes to bed, thinking about how much he misses his wife.
The resolution has to tie up loose ends after the climax occurs. It is the winddown of the story. The reader wants to know how the characters deal with things after the climax.
The story and plot differ in a variety of ways. The story ultimately expresses the events and situations that have occurred and is key in connecting elements. Where as the plot is structured and consists of the four main elements: conflict, rising action, climax and resolution or falling action. These elements express and explain the ‘why’ behind the story. Both story and plot are both important when it comes to writing a gripping novel.
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Extracurricular involvement can help your child acquire skills necessary for development. Co-curricular activities promote growth outside of the classroom and can be a fun, enriching way for your child to become involved in school and within the community at large. Encourage your child to try new things, even if it might seem daunting at first or even if they aren’t sure they will like it. Involvement can help your child acclimate to school and social settings, while helping them develop passions, hobbies and skills that will carry them throughout life. Listed below are activity ideas for your child and skills they can help develop.
Skills: Team working, collaboration, dedication, perseverance and athletic ability
Activity ideas: Basketball, soccer, hockey, ice skating, competitive dance, tennis, volleyball, skiing, sailing, swimming, martial arts, spin classes, gymnastics, horse-back riding
Low-cost option: Be sure to check out the activities offered by your community recreation centre. Often they will have a list of free/low-cost drop-in classes offered weekly.
Skills: Whether your child is interested in dance, theatre or the visual arts, art classes teach an abundance of skills. Beyond technical ability, art fosters creativity, curiosity, healthy expression and an open mind.
Activity ideas: Dance, theatre, visual arts, pottery, sculpting, singing, playing an instrument, joining a music band, creative writing, cooking, photography
Low-cost option: Check out the offerings at your local museum – they might offer free art classes for children. Symphonic orchestras sometimes run free music workshops for kids, where they can try new instruments or even receive musical feedback from professionals. Consider buying an instrument second hand or perhaps borrowing/renting one from your child’s school, if they have a music program.
Skills: Selflessness, connection to the community, generosity, open mind
Activity ideas: Volunteering at a local food shelter, animal shelter, nursing home, local organization
Skills: Knowledge of science/math, ability to work in a team towards common goal, perseverance
Activity ideas: Robotics club, partaking in science fair, STEM clubs, Mathletes, computer classes
Skills: Knowledge of a new language and culture, curiosity
Activity ideas: Any language club (French club, Spanish club, Italian club, etc.), language classes
Low-cost option: Consider hiring a student who is fluent in or studying the particular language your child is interested in. Often students will offer private lessons at lower rates. Some schools might even offer free tutoring programs led by student volunteers. You could also see if a friend, neighbour or community member might be willing to tutor your child for free/at a low cost. Additionally, finding a couple of friends to join your child might also lower the cost of lessons.
Skills: Independence, problem solving, leadership, appreciation of nature, responsibility, discovery
Activity ideas: Scouts, Girl Guides, summer camps, nature expeditions, gardening, environment club
Low-cost option: Membership fees for civil groups like Girl Guides and the Scouts can be waived for families under a certain income, making it an affordable option.
Clubs that focus on a particular skill
Activity ideas: Chess club, Lego club, sewing club, trivia club, reading/writing club
Low-cost option: Check out the activities offered at your local library – During the summer, a lot of libraries will organize book clubs, writing clubs as well as free events.
- https://www.childmags.com.au/24-extracurricular-activities-for-kids-that-can-aid-them-with-skills-for-life/ (Ideas of extracurricular activities, parent testimonies)
- https://www.care.com/c/stories/3184/choosing-an-after-school-activity-for-your-child/ (More activity ideas, advice on how to pick the right activities for your child)
- https://www.verywellfamily.com/budget-friendly-extracurricular-activities-for-tweens-4107838 (Budget friendly activities)
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Over the past couple of years we have conducted numerous pilot lessons using picture books but this is the first time where we will be giving a questionnaire to the children. We are giving the questionnaire to find out the following:
- How many children were able to understand the story?
- How were the children able to understand the story?
- What did the children enjoy about the story?
- What kind of activities during the lesson did the children enjoy?
- What English words did the children feel they were able to learn?
- Did they learn anything new about the USA or Japan from listening to the story?
１） Did you understand the story? (Students write a circle next to the answer they agree with)
a. I understood it well ( )
b. I understood it a little ( )
c. I did not understand it well ( )
d. I did not understand it at all ( )
- What I want to find out: This is pretty straight forward, I want to find out how many children understood the story (or at least thought they understood it)
a. I tried very hard （ ）
b. I tried a little （ ）
c. I did not try so hard （ ）
d. I did not try at all （ ）
- What I want to find out: If children did not understand the story, I want to know if they made the effort to understand or if they just decided not to pay attention
a. The teacher’s facial expression when he/she was reading （ ）
b. The teacher’s voice would change from loud to soft （ ）
c. I heard words that I recognized （ ）
d. I would think about what would happen next while I was listening to the story（ ）
e. The picture （ ）
f. Asking the teachers questions （ ）
g. The teacher using Japanese （ ）
h. I did not understand the English but I could follow the story （ ）
i. The teacher’s talk before reading the book （ ）
j. Other： ＿＿＿＿＿＿＿＿＿＿
- What I want to find out: I want to know HOW the students were able to understand the story (What listening strategies they used).
a. It was very interesting （ ）
b. It was a little interesting （ ）
c. It was not very interesting （ ）
d. It was not interesting at all （ ）
Why do you think so? Please write a reason below.
- What I want to find out: This is pretty self-explanatory too. I want to know if the children found the story interesting. Four different types of books will be read and it will be interesting to find out which type of book captured the students' interest.
- What I want to find out:The particular part of the story that the children liked.
- What I want to find out: Did children like the pre or post-storytelling activities more than listening to the story or was it vice versa?
- What I want to find out: Were there any particular words that stuck in the children's heads?
- What I want to find out: Three of the four books are from a previous project, Cross-cultural Understanding Using Picture Books. In this project the English picture books were used to teach about aspects of the US culture, so I am interested in knowing if children thought they were able to learn anything about the USA.
- What I want to find out: Part of cross-cultural learning is making discoveries about your own culture. People say that it is impossible to understand other cultures without understanding your own. So, I want to know if children were realized anything new about their own culture in this lesson.
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Learn About the American Flag
Without an understanding of the country’s foundation, children are sometimes swept along in the emotion of patriotism without really understanding what a true love for country involves. The following activities help your students grasp the history, symbolism and significance of “Old Glory,” as they plan a community program to commemorate Flag Day on June 14.
Students will recognize the symbolism of the United States flag, including the stripes, the stars and the colors.
Students will explain the origin of the U.S. flag and identify the changes to the flag over time.
Students will explain the history of the Flag Day observance.
Students will practice research, writing, and speaking skills.
Divide students into three groups. Assign each group one of the following research topics upon which they are to become the class experts:
Origin of the U.S. flag and its symbolism
History of Flag Day observances
Flag etiquette for display, folding, disposing and other uses
As groups research the assigned topic, they will create fact sheets to share with the other students in the class. In addition, the groups should write three to five multiple-choice questions that you will use on a class quiz.
Regroup the students so that one member from each of the original groups is in each of the new ones.
Using their fact sheets, topic “experts” teach the remaining group members the important information about their individual topics.
Group members should check one another’s understanding of the concepts, using the questions written by the original groups. They should be sure that everyone not only knows the correct answer, but also why it is correct, since the order of the answers may not be the same at test time.
Plan a Celebration!
Reform the original “expert” groups. These groups will prepare the components of the community program, as well as the decorations for the ceremony.
Assign the groups the following tasks:
Write a three to five minute speech in which the group explains how a flag should be used and cared for.
Find or write a poem about respecting the flag.
Make a mural that shows proper flag care and etiquette. The mural should be at least 3 feet by 6 feet.
Flag History and Symbolism
Write a three to five minute skit that explains the origin of the U.S. flag and the symbols used on it.
Find or write a poem about the flag as a symbol of the United States.
Make an illustrated timeline to show the changes in the U.S. flag from its beginning to today. The timeline should be at least 3 feet by 6 feet.
Flag Day History
Write a three- to five-minute speech that explains how this day started, how it has been celebrated during its history, and why we continue to celebrate today.
Find or write a song about the flag that matches the reasons for celebrating this special day.
Make a mural about Flag Day celebrations and their history. The mural should be at least 3 feet by 6 feet.
Spreading the Word
Review the style of a journalism lede (5Ws and 1H) and the inverted pyramid used for news writing.
Ask students to write press releases for newspapers, as well as radio and television stations, to explain the significance of Flag Day and to announce the ceremony sponsored by the class. Encourage them to write in a manner that a journalist could use the release for publication.
Next, review the elements of a friendly letter. Ask students to draft compelling letters of invitation to send to special guests, such as community dignitaries or veterans’ groups.
Having Fun with Flag Day
Provide students with shrinkable plastic and markers or paint, along with key rings. Allow them to make their own flag key chains by drawing and coloring flags on the plastic. Punch a small hole in one corner and place the flags in a toaster oven to bake according to the manufacturer’s directions. Thread the cooled flags on key rings.
Expand the craft project by letting students make key chains, safety pin and bead flag pins or unity pins for the invited guests.
Reinforce the lessons you’ve taught on literary elements by having students write alliterative poems about flags and Flag Day. After the poems are illustrated, compile a class book and provide each student with a copy.
With these Flag Day activities, you and your students will gain new understanding of the significance of the national symbol and have fun in the process. Students can take pride in knowing that they have helped to educate the community, as well.
For more information on Flag Day or the U.S. flag, check these sites:
Flag Folding, https://www.usflag.org/fold.flag.html
Flag Facts for Flag Day, https://edsitement.neh.gov/lesson-plan/stars-and-stripes-forever-flag-facts-flag-day
National/Historic American Flags, https://www.law.ou.edu/hist/flags/fedflag.shtml
The following sites provide a collection of poems and short stories appropriate to Flag Day studies:
Printable Flag Day Short Stories for Children, https://www.apples4theteacher.com/holidays/flag-day/short-stories/
Flag Day Poems and Rhymes Patriotic Poetry, https://www.apples4theteacher.com/holidays/flag-day/poems-rhymes/
The ideas for these lessons come from the author’s 20 years' experience in education.
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Basic Tenets & Classroom Practices: What Are They?
The Great Expectations® (GE) teaching/training model is guided by six basic tenets and seventeen classroom practices. The tenets and practices provide guidelines for program training and implementation and serve as standards for evaluating GE schools/districts.
- High Expectations
- Teacher Attitude and Responsibility
- Building Self-Esteem
- All Children Can Learn
- Climate of Mutual Respect
- Teacher Knowledge and Skill
The tenets are further defined by seventeen classroom practices that occur in GE classrooms. The daily use of these practices within the classroom setting assists students in becoming self-directed learners, productive citizens, effective communicators, critical thinkers, and cooperative contributors to the classroom as well as society.
- The teacher models desired behaviors and attitudes such as those set forth in the Life Principles and the Eight Expectations for Living.
- Students and teachers speak in complete sentences and address one another by name, demonstrating mutual respect and common courtesy.
- Students are taught as a whole group, thoroughly and to mastery, with intensive and specific modifications ensuring success for all.
- Lessons are integrated, related to the real world, reviewed consistently, and connected to subsequent curricula.
- Critical thinking skills are taught.
- A non-threatening environment, conducive to risk-taking, is evident. Mistakes are okay. Students are taught to learn from their mistakes and to correct them.
- Memory work, recitations, and/or writing occur daily. These enhance character development and effective communication skills while extending curricula. Recitations are exuberant and full of expression.
- Enriched vocabulary is evident and is drawn directly from challenging writings and/or wisdom literature. Sources should include classic literature, myths, fables, poetry, proverbs, quotes, and other genres.
- The Magic Triad, a positive and caring environment, and discipline with dignity and logic are evident.
- Every student’s work is displayed in some form. Teachers provide positive commentary through oral and/or written feedback.
- Word identification skills are used as a foundation for expanding the use of the English language.
- Students assume responsibility for their own behavior. Their choices determine consequences.
- A school, class, or personal creed is recited or reflected upon daily to reaffirm commitment to excellence.
- All students experience success. The teacher guarantees it by comparing
students to their own past performance, not the performance of others. Students are showcased, and past failures are disregarded.
- The teacher teaches on his/her feet, engages students personally, holds high expectations of students, and does not limit them to grade level or perceived ability.
- Each classroom has a student who greets visitors and makes them feel welcome and comfortable.
- Teachers and students celebrate the successes of others.
The implementation of GE classroom practices is a process. The practices are interwoven and difficult to fragment after one attains full implementation, but it may be helpful to “scaffold” or build a framework of implementation by becoming skilled at a few classroom practices and adding a few more until all practices are implemented.
In an effort to provide an incremental plan for implementing the classroom practices, the following step-by-step approach is recommended.
It is very important that all seventeen classroom practices be fully implemented, on a daily basis, no later than the beginning of the second semester of the school year.
In addition to fully implementing all seventeen classroom practices during the second semester of the school year, specific focus should be given to a particular classroom practice each week.
(1st & 2nd Weeks of Sch. Yr.)
(3rd & 4th Weeks of Sch. Yr.)
(2nd Month of Sch. Yr.)
(3rd Month of Sch. Yr.)
1, 6, 9, 13, 14, 15
2, 3, 10, 11, 16, 17
5, 7, 12
Southwest Educational Development Laboratory in Austin, Texas, investigated the extent that GE practices were implemented in classrooms. The following section describes the four groups of teachers that were identified.
The classification of “Model” Implementers describes those teachers who integrate unique elements of GE throughout all aspects of their teaching. Model Implementers are able to both integrate GE classroom practices at a high level and to incorporate active engaging instructional practices. The unique GE practices, such as conducting lexicon lessons, having students speak in complete sentences, using discipline with dignity techniques, and incorporating the life principles are seamlessly interwoven into classroom events. In addition to direct teaching practices, Model Implementers’ classrooms are often arranged in ways that facilitate group work and provide an area that is “home-like” – usually having a couch and/or a rug area for students to sit and
Teachers who are classified as “Progressive” GE Implementers are able to integrate GE practices at a fairly high level. These teachers incorporate active, engaging instructional practices. The notable difference between Model and Progressive Implementers is that Progressive Implementers are somewhat fragmentary in their approach to GE practices. Progressive Implementers’ practices are not as seamlessly interwoven compared to the flow of Model Implementers’ classroom events. Progressive Implementers are not as skilled as their Model colleagues in bringing together the broad array of GE practices. Progressive Implementers incorporate many GE elements, but not all GE elements.
Teachers who are classified as “Transitional” GE Implementers integrate only a few GE practices. They are called “transitional” because many of these teachers are either new to GE or are slower to incorporate GE practices. These teachers tend to look primarily like “traditional” teachers, although they do use a few GE practices. Teachers at this level of implementation usually do not incorporate learning games or use thematic, interrelated subjects and activities. Transitional Implementers generally conduct almost all their instruction through whole-class activities. The typical lesson is teacher-directed, most often through the use of teacher questioning and student answering. Group work is seldom observed in these classrooms. The primary difference between Progressive Implementers and Transitional Implementers is the depth, breadth, and consistency of use of the GE practices.
Teachers who are classified as “Resistant” GE Implementers tend to incorporate only minor, superficial aspects of GE. They do not appear to be particularly supportive of GE implementation. Most of their implementation involves simple compliance with school-level implementation requirements. Although their classrooms may display quotes, life principles, or classroom expectations, Resistant GE Implementers do not refer to them. These teachers tend to look primarily like “traditional” teachers devoid of GE elements. When they attempt to use door greeters, celebrations, or complete sentences, it is apparent that the students are not accustomed to doing these activities. Teachers at this level of implementation do not incorporate learning games or use thematic, interrelated subjects and activities. The typical lesson is teacher-directed, and most often uses a teacher-questioning and student-answering format. Group work is usually not observed. Resistant Implementers seem reluctant to exert effort toward implementing GE practices.
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The APA citation style is widely used to write term papers, essays, research reports, and dissertations etc which are related to social sciences. Introduced back in the year 1929, it was an entire seven-page guideline that appeared in the Psychological Bulletin back then. Since then it has evolved into a complete format, even though writers generally do not find it too easy.
The APA format benefits both writers and readers. How so? Simply because of the fact that it enables writers to organize their papers in a specialized manner. This is done with the help of in-text citations as well as a separate bibliography page which presents complete information about all the sources used. On the other hand, readers can easily use this information to look up the original sources in case they want to conduct extra research.
Components of Academic Papers Written in APA Format
All papers that are written using the APA citation style have the following components:
- Title Page
- Abstract (this is optional and depends on your mentor’s choice)
- Body of the paper
- Bibliography or Reference List
Basically, the abstract presents a summary of your academic paper. It is meant to provide your readers with a general idea of what your paper is all about. It is the abstract which can compel the reader to continue reading your entire essay. It generally does not exceed 120 words, so you need to make it so interesting in these 120 words that the reader cannot stop just there.
Then comes the introduction of your paper, which aims to introduce the topic to the reader and exactly what your paper will deal with. This has to be written with the notion that the subject is new to the reader.
The first page of all academic papers written using the APA citation style must consist of the paper’s title, the name of the author as well as the institution. These need to be centered on the upper half of the page. The title page must also have a header and a running head. Make sure that the header is no longer than two or three words as it is a mere short form of your title. Also, remember that you running head must be less than 50 characters.
If you have used someone else’s ideas or quotes in your term paper, then you need to provide an in-text citation to give credit to the original source. Basically, your parenthetical documentation or in-text citation must consist the last name of the original author and the year of publication. If the name of the author has been mentioned as part of your essay, then you only need to put in the publication year in parenthesis.
You further need to provide a separate bibliography which cites complete information about the sources that you have used in alphabetical order. The references should be listed in double space format with no space between them.
Thank you for visiting Essaydemon.com and viewing our articles and sample papers. Kindly be informed that all these articles and sample papers are for marketing purposes only. The sole purpose of these articles and sample papers is just to provide our customers with an idea about our services before they place an order.
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What we are Learning Autumn 2 Nov-Dec
In computing, the children will make their own 'blockbuster'. They will learn all about filming techniques and storytelling skills.
Our music is focused around exploring and developing playing skills through the glockenspiel, building on work we completed last year. This will include the opportunity to use and begin to read notated music.
Autumn 1 Sept-Oct
What we are learning in Autumn 1: September-October
In this chapter, the children will learn to count in multiples of 25, 100 and 1000 in order to count larger numbers. They will learn about the relative size of numbers and complete number sequences within 10 000. We will be learning about place value to 4 digits and will link numbers in numerals and in words. We will be able to compare numbers using language such as 'greater', 'smaller', 'less' and 'more', using the mathematical symbols <, > and =. Towards the end of the half term, we will use the learnt knowledge of number and place value to help complete number patterns. Additionally, we will learn about rounding numbers to the nearest 1000, 100 and 10.
Within our first RE unit of the year, we will be learning about the Story of David. We will be understanding the story and the strengths and qualities shown. We will be given the opportunity to read the Psalms and use them to discover more about the nature of God. This unit will enable us to learn how to discuss important values and read the stories of David, considering the qualities of kingship and friendship. Additionally, we will be exploring the nature of God and creating images to illustrate the Psalms.
What values do you consider to be important?
Who inspires you?
What are the qualities of a good King?
What is God like?
Samuel, David, Jonathan, Saul, Goliath, inspiration and Psalm
We will be learning how to identify common appliances that run on electricity. Using the correct equipment, we will be able to construct a simple series electrical circuit, identifying and naming its basic parts, including cells, wires, bulbs, switches and buzzers. Identify whether or not a lamp will light in a simple series circuit, based on whether or not the lamp is part of a complete loop with a battery. We will learn how to recognise some common conductors and insulators and understand that metals are good conductors. Towards the end of the unit, our focus will be on switches and the impact they have on a circuit. By the end of the unit we will know that a switch opens and closes a circuit. We will associate this with whether or not a lamp lights in a simple series circuit.
Within our DT lessons we will be learning about electrical products. We will be learning how to design, make and evaluate a working torch, using the correct components.
insulators, wood, rubber, plastic, glass, conductors, metal, water, switch, open, closed, appliances, electricity, electrical circuit, cell, wire, bulb, buzzer, danger, electrical safety
Extreme Earth A: What makes the earth angry?
To begin our Geography unit this half term we will be learning about the layers of the Earth. We will know how to describe and understand key aspects of physical geography under the Earth's surface. We will then be using this knowledge to help us to explain how volcanoes are formed.
To summarise our learning we will be learning how to explain how volcanoes affect people's lives.
mantle, magma, active, dormant, pumice, lava, eruption, extinct, crust, core, ash
This half term we will be learning about our online life in computing with Mrs Warrington.
We will explore and assess the risks associated with being online and develop skills to help us use online services safely.
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Powerful Verbs Worksheets For Grade 5
A large proportion of people use worksheets to teach or impart certain lessons to their children.
Powerful verbs worksheets for grade 5. Some of the worksheets displayed are powerful verbs, powerful verbs for essays, ate or, put muscle into your writing by using strong verbs, top 100 power verbs, lesson skill developing an essay using specific nouns, grammar work using strong verbs, using strong verbs suggested answers and teaching tips. Prime numbers printable worksheets june 12, 2020 grade 1 english grammar worksheets june 8, 2020 grade 1 grammar: Verbs ending in ed and ing grade 2.
For example, there is nothing wrong with the first sentence below, but the second one creates a more vivid impression by using the verb hurtled. Verbs that form the past participle by the addition of n, en or ne. Exercises in both worksheets give students the opportunity of writing complete sentences by using strong verbs rather than weak ones.
Includes a verb worksheet and an active 'verb' game! Some of the worksheets for this concept are action verbs, grade 3 grammar work, put muscle into your writing by using strong verbs, adverb or adjective, top 100 power verbs, grammar and punctuation work, grade 4 national vocabulary list, verb tenses tutorial exercise 1 simple present present. Instead, linking verbs link the subject to information about the subject (the car is red).
Some of the worksheets for this concept are healthy muscles matter, skeletal system work, class grade cherry hill nj unit, teachers guide bones muscles and joints grades 3 to 5, skeletal system, nervous system work, the skeletal system, grades 3 to 5 skin. These printable worksheets help students learn to recognize and use verbs. List of exciting and interesting action verbs for creative writing and storytelling.
These worksheets focus on learning that adverbs that describe verbs. The words we use in descriptive writing can have a powerful effect on our readers. Students have to locate the adverb in each sentence and then find the verb that it describes.
With so many verbs to choose from, it can be hard to narrow down your focus. Some of the worksheets displayed are work 4 powerful verbs, action verbs, powerful verbs, powerful verbs, name past present and future tense verbs, put muscle into your writing by using strong verbs, ate or, grade 4 national vocabulary list. These powerful verb worksheets feature paragraphs from popular children's stories.
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How to help your Pre-Schooler to Read
As parents, we want to give our children the best start in life. One of the things we can do to help them succeed in school is to equip them with superior literacy skills when they are at the most critical learning stage of their lives – between 3 to 5 years of age.
At 3 years of age, your child is starting to recognise letters and numbers. They can point to alphabets on the street, in-store signs or in printed materials like books, menus, and brochures. This is the age that children learn to draw intentionally, to recite the alphabets and to count.
At pre-school age, your child is eager to learn and can absorb a great deal of new knowledge. This is the best time to teach your child how to read.
Learning abilities of pre-schoolers
Pre-schoolers can recognise the names of their favourite books. They may not be able to read the titles but if you ask them to pick out a book they like, they will be able to do so. At this age, your child can also hold a book properly, turn the pages correctly and can recognise familiar words and sounds. They can recall familiar phrases and will mimic your reading when you read to them. This is also the age when your child will start experimenting with drawing and writing.
Some pre-schoolers can also write alphabets and numbers. They may be able to recognise the letters that start certain words (for example, the letter ‘A’ for apple’) and can make up rhymes and silly phrases.
More advanced pre-schoolers may also be able to predict what happened next in a story and some can even make up their own stories.
How to teach your pre-schooler to read
This is a critical learning stage for your child. Here are some strategies you can adopt to help your pre-schooler read.
Introduction to text
Immersing your pre-schooler in a text-rich environment is the best way to start teaching literacy. Having books around the house is a great start. Aim to go beyond just an awareness of books to a genuine love of reading. You can do this by regularly reading to them and by creating opportunities for them to accept that text is a big component of their daily lives.
Ordinary activities can be turned into learning experiences if you know how to create the right learning opportunities. For example, point out the alphabets in their cereal box to them when you are preparing breakfast in the morning. Get them to look for letters they recognise in a menu when you take them out for a meal. Or play ‘I spy with my naked eye’ alphabet and letter games with them when you take them out. The more learning opportunities you create for your pre-schooler, the faster he or she will be able to recognise letters and words.
Developmental milestones for 3-5-year old’s
As your child starts to grow, their skills will improve. We have listed the developmental milestones for pre-schoolers below to help you gauge your child’s growth progress. Every child learns differently. So, avoid making comparisons with other children. Also, some children can easily forget a skill they learned earlier when they acquire a new set of skills. If your child has forgotten something, they learned earlier, reinforce the learning again and give them time to readjust.
If you have any concerns about your child’s progress, you must speak to your doctor as early intervention is usually the best way to address developmental problems in young children.
Gross motor skills (Large muscles like the trunk, legs, arms, and neck)
● Pedal a tricycle
● Climb stairs
● Kick a ball
● Catch a ball
● Balance on one foot
● Balance and walk on a beam
Basic life skills
● Hold a spoon and fork to feed self
● Put on and remove shoes (without ties)
● Dress and undress without help
● Manipulate buttons and straps
● Pour liquid into a container
● Climb in and out of a car, bathtub, or onto the bed without help
● Unscrew bottle cap
Fine motor skills (Small muscles like hands and fingers)
● Copy and trace shapes
● Draw a face
● Use a pair of scissors to cut along a line
● Hold and draw with a piece of chalk
● Stack cubes
● Start writing
Cognitive and speech skills
● Complete 3-10-piece interlocking puzzle
● Count 1 to 10
● Sort shapes and colours
● Match pictures
● Basic safety awareness – sharp objects, stairs and so forth
● Understand the concept of two
● Understand pronouns and prepositions
● Recognise sounds
● Recite the alphabets
Suggested reading activities for 3 to 5-year old
Here are seven playful activities to teach your 3 to 5-year old to read:
- Play letter games
Pre-schoolers love copying out words. Write your child’s name on a piece of paper and have him or her copy it with alphabet stamps, stickers, magnets, or an alphabet stencil. Your child may write it backwards, spell randomly or hold the marker pen awkwardly but that’s okay. The idea is to get them familiar with the alphabet. A blackboard is a great way to encourage your pre-schooler to practise the alphabets without having to use too many pieces of paper. Use colourful chalks and draw pretty pictures on the board to illustrate letters and words.
- Play an alphabet guessing game
A letter-sound connection is one of the earliest steps to reading. Play a guessing game with your child’s favourite words. Ask your child to name something beginning with ‘A’. Playing the alphabet guessing game improves your child’s vocabulary, trains memory and phonetics.
- Turn reading into storytelling and play-acting
Take your reading activities up a notch by combining storytelling with reading. Read a favourite storybook to your pre-schooler and encourage him or her to complete the story. Dialogic reading is a great way to develop imagination and creativity, public speaking, and performance skills.
- Get busy on writing craft
Take advantage of your child’s curiosity in books by writing a book together. Staple a few pieces of paper together. Start a story that your child can relate to. For example, a mealtime adventure, a day at playschool or a day in the park. Use crayons, colourful markers, and stickers to illustrate the story. You can adjust this activity and make greeting cards and little cute messages for their grandparents, favourite teacher, or a friend they like playing with.
- Spot the letter
Take reading activities outdoor by playing spot the letter games with your pre-schooler. Point out signs to your child and get him or her to spot alphabets or numbers they recognise.
- Teach poems and rhymes
Poems and rhymes are a great way to teach your pre-schooler to read. Read a poem or rhyme to your kid. Get your child to act out favourite phrases or turn the reading session into a song and dance activity.
- Cultivate a love for books
Find opportunities to take your pre-schooler to a public library or a bookshop. Encourage them to choose books they want to read in the library. Join a kids’ reading club. The more you expose them to books, the more they will love it.
Top Kids Reading and Writing Classes for Toddlers and Pre-schoolers are now open for enrolment. Our fun and immersive classes are designed to help young children become strong, confident readers. Classes are available for children aged 2 years to 5 years old.
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Part of the process of building credibility and interest in your publication is considering how your program may use talents and skills to build connections between the members of your community.
In this lesson, we will look at three different types of media (from professional and scholastic domains) that have undertaken storytelling projects in order to humanize faces in a crowd and issues in the world.
As you learn about three professional and scholastic programs who have undertaken a public “gallery” of stories, consider the following:
What unites our school?
What unites us as humans?
What questions are meaningful for people to consider telling a story about?
How will these stories be best published?
In this lesson, we will consider how to broaden our journalism for multiple purposes:
- Students will build interviewing skills
- Students will build reporting skills
- Students will build portrait photography skills
- Students will build credibility as a program
- Students will build connections in and among our community
Common Core State Standards
|CCSS.ELA-Literacy.SL.11-12.1.b||Work with peers to promote civil, democratic discussions and decision-making, set clear goals and deadlines, and establish individual roles as needed.|
|CCSS.ELA-Literacy.SL.11-12.5||Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.|
|CCSS.ELA-Literacy.RI.11-12.7||Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.|
25 minutes plus time for discussion
Project planning and execution will vary depending on size, scope, and publication goals. This project may be an excellent way to begin or end the year for an entire staff, or it might be a project for a smaller group to work on for an extended time.
Slideshow: We built this community
All materials and directives for the students to learn and execute their plan are given in the slideshow, with specific directives for action on slide 16.
Rubric: We built this community
Teacher and students can work through the lesson and examples and then develop their own parallel action plan.
Students can be broken into project management roles or jobs based on the 10 steps on slide 16, depending on their strengths.
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Spice Up Your Speech
- To target emotions when telling a speech.
- To gain experience telling stories.
- To use language, vocal changes, and body language to elicit emotion.
Nancy Duarte suggests that emotions are the condiments of speech. Students will tell a true story and try to elicit one of the emotions from the list to “spice up” their speech. They can elicit emotion by their story choice, language choice, vocal changes, and body language.
- Write or project the emotions on the board: passion, vulnerability, awe, regret, excitement, fear, and power.
- Give students five minutes to prepare a story that uses that emotion.
- Have students sit in small groups and tell their stories. Have the audience guess the emotion.
- Have the audience coach the storyteller on how they could do it better.
- At another session, have the student stand up and tell the story to the whole class.
Note: I have some practice speeches where students stand in front of the class and speak and others where they sit at their desks in a circle and share. When I’m working on the skill–I have them present in small groups first and then the next class, I have them stand up for the full presentation experience. If you have time for only one activity, I suggest letting them sit down in a circle with a small group or use break-out groups online.
Will Smith on Skydiving
Adventureusla. (2017). Will Smith on skydiving. https://www.youtube.com/watch?v=gG-F_rRVdLc Standard YouTube License.
Why Storytelling is More Trustworthy Than Presenting Data
Eber, K. (2020). Why storytelling is more trustworthy than presenting data. https://youtu.be/Ez5yS4Q5ASA Standard Youtube License.
Waiting for Water
Fepulea’i-Tapua’i, A. (2019). Waiting for Water. https://www.youtube.com/watch?v=5SJVPFV5iWc
Why Storytelling Matters
Reynolds, G. (2014). Why storytelling matters. https://www.youtube.com/watch?v=YbV3b-l1sZs Standard YouTube License.
Achieving Your Childhood Dreams
Pausch, R. (2007). Really achieving your childhood dreams. https://www.ted.com/talks/randy_pausch_really_achieving_your_childhood_dreams. Standard YouTube License.
Storytelling in Teaching
Kienzle, R. (2020). Storytelling in teaching. https://www.youtube.com/watch?v=U9SFLsg3bnM Standard YouTube License.
This is Your Brain on Communication
Hasson, U. (2016). This is your brain on communication. https://www.ted.com/talks/uri_hasson_this_is_your_brain_on_communication?language=en Standard YouTube License.
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Standards Based Grading
Standards Based Grading
Frequently Asked Questions
What is standards-based grading?
In a standards-based system, teachers report what students know and are able to do relative to academic standards. The system includes:
- The improvement of student achievement in all content areas,
- The mastery of defined learning targets instead of the accumulation of points,
- The reporting of student achievement toward meeting learning targets at a given time by reflecting on mounting evidence based on various forms of assessments,
- A record keeping system that provides teachers with information that allows them to adjust learning practices to meet the needs of students, and
- A system that encourages student reflection and responsibility.
What are the purposes of standards-based grading?
One purpose of standards-based grading is to align grading with the state academic standards as measured by consistent and accurate student achievement data and common criteria for grading. Another purpose is to accurately communicate achievement of learning targets to students, parents and educators. The influence of positive and consistent work habits on student learning is reported separately from the academics.
How does standards-based grading work?
Traditional grading averages work that a student has done over a semester with other student characteristics, such as work habits. Standards-based grading removes extraneous factors and focuses solely on a student’s academic achievement and continued mounting evidence that indicates a true assessment of the child’s present attainment of the learning targets.
How is standards-based grading different?
The student’s grade more accurately represents the progress toward mastery of standards than traditional grading does. Subject areas are sub-divided into big ideas related to standards and their respective learning targets that students need to learn or master. Each target is assessed. Scores from activities that are provided solely for practice will not be included in the final assessment of the learning target. The influence of positive and consistent work habits on student learning is reported separately from the academics.
What are the advantages of standards-based grading?
The learning targets are clearly articulated to the students throughout instruction. Parents can see which learning targets students have mastered and which ones need reteaching and relearning.
What are the disadvantages of standards-based grading?
- It?s a change, and change takes time to build understanding for everyone involved.
- Traditional grading practices are ingrained in the community and they, too, will have to go through the change process.
What is the role of homework in SBG?
The purposes for assigning homework include the following:
- To help students master learning targets.
- To prepare students to learn new material.
- To provide extension and application of skills taught in the class to new situations
- To integrate and apply many different skills to a larger task. Examples of this type can be projects, creative writing, and I-Search papers.
Homework scores are not usually included in the assessment of standards, unless the assignment is designed to show mastery. The student’s grade will indicate how well he/she has mastered the content, not whether he/she completes assignments. Work ethic related to homework will be reflected separately from the academic grade. How does a standards-based report card improve teaching and learning? Knowing where the students are in their progress toward meeting standards-based learning targets is crucial for planning and carrying out classroom instruction. Teachers teach to the needs of their students. The new grading system is designed to give teachers more information about the student’s progress in meeting the level of proficiency required by each standard. In addition, teachers share the standards with students and parents, helping them to better understand the learning that needs to take place.
Why does SBG use most recent assessments vs. averaging?
Every student starts a grading period with a certain amount of background knowledge, some accurate and some not, related to a topic/learning target. Through assessments during the grading period, teachers are able to determine students? levels of achievement of the learning targets. Since the goal is to document each student’s level of achievement based on learning targets, averaging all scores throughout the marking period dilutes the information, underestimates the students? ending performance, and corrupts the determination of whether or not the student has achieved the targets.
How do teachers give one standards-based grade when there are multiple standards per quarter?
A student’s performance will be reported for each learning target or big idea taught. Summative grades will be determined from evaluating a body of evidence based on the learning targets taught that quarter. At all levels, a need for additional support or intervention can be noted through comments on the report card or through direct contact with the parent.
How does SBG prepare students for college?
The components of standards-based grading have the capacity to enhance achievement of learning targets and increase students? understanding of the specific skills, strategies, knowledge and processes to succeed through the use of well-articulated targets and formative assessment. Students are better able to learn self-advocacy and do the necessary work to achieve the learning target prior to summative assessments. Students are able to take increased ownership of their learning.
Doesn?t SBG lead to grade inflation?
If a grade truly represents the level of mastery of standards, the grades students have earned represent the level of their understanding of the course material. It should provide an accurate picture of the student’s performance, neither inflated nor deflated.
Have schools that use standards-based grading experienced significant increases in achievement?
Research on standards-based grading shows overwhelmingly that students learn their subjects better and perform better in later education levels such as college when standards-based grading is implemented with fidelity both for instruction and assessment.
If students are allowed to retest, why will they try the first time?
- Prior to an additional chance for assessment, evidence of ?correctives? should be indicated. Significant remediation should occur between the first attempt and the re-assessment.
- The additional opportunities to show evidence of achievement of learning targets should be presented in an alternative form.
- The goal is to teach students how to best prepare for summative assessments.
Most students learn quickly that it takes less work to do it right the first time.
How will ?incompletes? be handled in the high school?
If we use standards-based grading to report a student’s progress toward the achievement of a standard, it is an on-going process. For management reasons, we need to establish deadlines by which that progress needs to be reported. However, if a student is still progressing toward the standard at such a time when a report is needed, such as report card time, an incomplete may be given. If, two weeks after that deadline has passed, the student hasn’t demonstrated his full potential on the standard (through reteaching and correctives), the grade should be recorded based on the preponderance of the evidence that the teacher has, or continue as an incomplete if the student’s performance is still progressing. The principal should be consulted and parents informed in extreme cases.
How will parents be educated to prepare for this change?
Parents are encouraged to ask individual teachers or building principals questions regarding grading practices at specific levels.
Is SBG more work for teachers?
In the first year of implementation, perhaps, but it is a system designed to be fair to students and increase achievement, so it’s worth the time. However, it will save time in the future. Rather than having to assign and grade a predetermined number of assignments, teachers will need to gather only the evidence required to demonstrate a student’s level of proficiency. Teachers and students use information specific to learning targets to plan instruction designed for individual student needs. Students clearly understand the target, their needs, and the course of action to achieve the target. Once students are familiar with the system, they work with the teacher to reach for the proficient and/or advanced scores. This partnership makes teaching and assessing more efficient.
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Last Updated on March 19, 2022 by QCity Editorial Stuff
Drama and fiction are both forms of literature. At their core, they have the same dramatic arc – a conflict that is introduced at the beginning, which escalates throughout the plot until it reaches an emotional climax. However, there are some key differences between drama and fiction: Drama requires more dialogue than other genres while fiction can be written entirely in prose; drama relies on action to advance its plot while fiction focuses on character development. As such, these two genres often differ in tone as well. While dramas may employ comedy or tragedy based on what suits the needs of their story, novels typically use humor or pathos-based stories to add depth to their characters’ motivations and emotions.
Drama is a type of art that tells the story of an event or series of events. Fiction, on the other hand, is a form of writing where the author invents characters and events to tell their story. Drama can be either fiction or non-fiction while fiction always has to be fictional. Drama’s goal is to create an emotional response in viewers through actions taken by actors which are meant to represent real-life events. This emotional response will often lead people who watch drama into discussing what they learned from watching it with others afterward.
Fiction novels are often classified as being literary because they explore ideas and emotions through language rather than action like drama does, but some genres such as mystery use both methods together equally well too.
Comparison between Drama and Fiction
|Parameters of Comparison||Drama||Fiction|
|Event||True event||Not true event|
|Protagonist||drama doesn’t||Fiction often has a protagonist|
What Is Drama?
Drama is a form of entertainment that typically features fictional stories and characters. It may be written, as in theater or television, or it may be presented in film or video. Drama can also refer to the actions that are used to create these dramatic situations. This post will explore what drama means in each of these contexts and provide some examples for you to consider. We’ll start by looking at how people describe their own lives as being dramatic when they’re trying to get out of doing something they don’t want to do but feel obligated to – like going on a date with someone they don’t want to see again. And then we’ll look at how people might use the word “dramatic” when describing certain events in their life – like the time they went on a date with someone they didn’t want to go out in the first place.
Drama is an emotional rollercoaster ride. It can be fun at times, but it’s more often than not a horror show. When you’re in the middle of it, you feel like your life is falling apart and there’s nothing you can do about it. But what if I told you that drama doesn’t have to rule your life? Many people don’t know how to get out of the cycle of chaos and destruction that comes with drama on their own, so they need help from someone else who has been through it before. This blog post will teach you how to stop being caught up in drama once and for all! Join me as we take this journey together.
What Is Fiction?
Fiction is a genre of literature that deals, in part or whole, with events that are not factual. However, the distinction between fiction and nonfiction can be blurry because it is difficult to determine where fact ends and fiction begins. This has important implications for writers who want to communicate effectively with their audience on the topic of fiction. For example, if you are writing about ‘The Catcher in the Rye’, what do you need to know? What questions should you ask yourself as you write your blog post intro paragraph? How does this affect how people read your work.
Writing an engaging blog post intro paragraph requires understanding both why people read fiction and how it differs from other genres like biography or autobiographies. Once these concepts have been understood, the writer can then develop a style that engages readers and leads them to take action on what they read.
Fiction is a genre that captures the imagination and transports readers into worlds they can’t experience in real life. Sometimes, these stories are about ordinary people leading extraordinary lives; other times they’re about things that could never happen in reality. What makes them so compelling.
The answer lies somewhere between our need for wonder and our quest for meaning. Stories help us to better understand ourselves and one another: we see what we want to be or what we fear becoming, and in this way, fiction helps us grow.
10 Differences Between Drama And Fiction
Fact: Drama is based on true events, while fiction is not.
Protagonist: Fiction often has a protagonist who undergoes an inner struggle and change, while drama doesn’t.
Shorter: Dramas are usually shorter than novels because they don’t have to go into as much detail about the setting or secondary characters.
Written: A novel can be written in the third person or first-person point of view, but dramas are always written in the third person point of view.
Descriptive: Fictional books are typically more descriptive than dramatic plays because there’s more time for details.
Story: Books can tell you what someone’s thoughts were at any given moment during the story, but this isn’t possible with a play.
Plot: Drama usually has a more linear plot, whereas fiction is open to interpretation.
Person: Fiction is often written in the first person, while drama can be either first or third person.
Realistic: The dialogue in drama may not sound realistic because it needs to move the story forward quickly and efficiently.
Character: In fiction, characters are generally well-rounded with many different traits that they have control over.
Interesting Statistics Or Facts Of Drama
1. Drama can be a positive thing in our lives.
2. There are many different types of drama, which include family, work, and school.
3. The average person spends about 14% of their time on drama.
4. A study found that 96% of people have been the victim or perpetrators of at least one type of drama in their lifetime.
5. Drama is often caused by fear and insecurity.
6. In the workplace, women are more likely to engage in interpersonal dramas than men.
Interesting Statistics Or Facts Of Fiction
1. The word “fiction” is derived from the Latin word fiction which means “to form, invent, or imagine.
2. JRR Tolkien coined the term ‘Middle-earth’ to mean the world of his stories.
3. George Orwell’s 1984 was originally titled 1948.
4. Alice in Wonderland is one of the most translated books ever written – it has been translated into more than 150 languages and dialects.
5. Huckleberry Finn was not always called that; its original title was The Adventures of Tom Sawyer’s Friend Huckleberry Finn.
6. There are about 8 million words in a standard edition of Shakespeare’s works excluding some poems.
Conclusion About The Differences Between Drama And Fiction
People often confuse drama with fiction, but they are two different things. Drama is a category of prose or poetry that imitates the actions and language of life to portray people’s emotions or experiences. It can be written in any genre, including comedy, tragedy, romance, crime novels etcetera – whereas Fiction is an imaginative story created by the author rather than based on reality. When you’re writing your novel about vampires who live forever because their skin never ages no matter how many years pass by outside- it’s not real! That means you should probably call it ‘fiction’ instead. If you want to write something more realistic like The Great Gatsby for example then use Dramatic Writing as opposed to fictional writing formats such as Fantasy or Science.
We hope that we have been able to provide some insights into the history and development of drama as a literary form, and how it has come to be distinguished from other genres such as fiction. Drama is often considered an entertaining art form because its focus on human emotion makes for compelling viewing. It can also function as a vehicle for social commentary or even political critique in certain cases; however, this is not always the case. The distinction between drama and fiction might seem arbitrary at first glance, but there are clear differences across all aspects of production which set them apart. If you would like more information about these distinctions -including their effects on marketing- please contact us today.
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by Dr. Maurice Elias
Watch the webinar presented by Dr. Elias on 10.30.2019.
The Power of Purpose
When students enter the schoolhouse door without a sense of positive purpose, it is difficult for them to connect their varied learning experiences and other opportunities into a coherent whole that shapes their lives. They lack a strong reason to learn, take on challenges, or behave well. An enduring sense of purpose typically emerges in adulthood, but having a primary goal, a moral compass, a focus on something other than, and larger than, oneself, and actions that align with these beliefs, start to become particularly important in middle school.
Stanford University psychologist William Damon views purpose as a “stable and generalized intention to accomplish something that is at once meaningful to the self and of positive consequence to the world beyond the self.”
Not surprisingly, positive purpose is connected to social-emotional learning skills. For example, here are links with social awareness:
- Finding your special task – what it is that allows you to excel?
- Recognizing your feelings and using them as a guide to your actions
- Recognizing and encouraging the achievements of yourself and also of others, for large and small accomplishments, as they contribute to purpose.
Getting Started with a Positive Purpose Essay
Writing an essay about positive purpose is an important way to build social awareness, as well as provide direction and energy for learning. But students usually can’t just start writing. Here are some steps to get them ready:
- Look at the positive purpose of well-known individuals, via non-fiction books, biographies, documentaries, social studies, current events.
- Learn about, reflect on, and write about the positive purpose of a personally-known individual – interview a local hero, community leader, member of the clergy, first responder, family member, educator or other staff member in the school.
- Write about one’s own positive purpose.
Use a Prompt to Guide Writing
You can use a standard essay writing prompt for your students’ grade level, adapted to positive purpose as the subject of the essay. Here is an example from middle school in Jersey City, NJ:
In your classes and in your life you may have learned about and encountered people with a strong sense of purpose. Similarly, you might feel your own sense of purpose. In a five-paragraph essay that includes an introduction, three body paragraphs, and conclusion, please respond to the following:
- What is your definition of purpose?
- What might be your purpose? Why?
- How would someone know that is your purpose in life?
From an essay written by an 8th grader from a high-poverty, low-achieving school based on the prompt above, here is the introduction and definition of purpose:
The purpose of human life is to serve, and to show compassion and the will to help others,” said Albert Schweitzer. I believe I was made to entertain, inspire creativity and guide others.
I think the definition of purpose means reason to do something, like when you say what’s your purpose for choosing a certain career, and you state your reasons. This is why I strongly am convinced that I was made to guide and entertain others because, having a strong passion for art and Broadway plays… A purpose of doing something can lead you into realizing what you want to grow up to be, as you recognize what you like to do.
Here is how she responded to the last prompt:
Others would realize what my purpose in life is by knowing what my career and life goals are or, who I admire to be one day. I admire to be like Steve Jobs because I believe without mistakes you can never grow to be an exemplary person and, even though Steve Jobs failed many times he became one of the most successful men in our generation.
Try It With Your Students
Her essay—and those of her peers in Grades 6-8—opened her teachers’ eyes about the depth of her thinking, aspirations, and abilities. By articulating their sense of purpose, students became more aware of their own potential, and their own assets.
Try it with your students. Have them share drafts of their essays with classmates, get several rounds of feedback, and then practice reading them with clarity and pride in class, at assemblies, or at parent or community meetings. Students can also communicate their positive purposes by creating artistic or musical renderings, along with brief write-ups. I am sure your students can find creative ways of communicating their sense of purpose, and in doing so, they will become more resilient.
Join me in the October 30th webinar to learn more about purpose, as well as Laws of Life, and Students Taking Action Together—activities you can use with students to engage them in ways that skills-focused training typically does not.
Maurice J. Elias, Ph.D., is a professor and former director of clinical training in the Department of Psychology, Rutgers University. He is also director of the Rutgers Social-Emotional and Character Development Lab (www.secdlab.org), academic director of the Collaborative Center for Community-Based Research and Service (engage.rutgers.edu) and founding member of the Leadership Team for the Collaborative for Academic, Social, and Emotional Learning (CASEL). Dr. Elias lectures nationally and internationally and devotes his research and writing to the area of social-emotional and character development in children, schools, and families. He is a licensed psychologist and writes a blog on social-emotional and character development for the George Lucas Educational Foundation at www.edutopia.org. He lives in New Jersey with his wife, Ellen, near their children and grandchildren. Maurice J. Elias, Ph.D Professor of Psychology at Rutgers., and Steven E. Tobias, Psy.D Director for Center of Child and Family development are the authors of several books including: Boost Emotional Intelligence in Students and Emotionally Intelligent Parenting.
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Digital storytelling enters the classroom.
When conveying any topic, it is always better understood when it is communicated through the use of multiple senses. Many students have expressed their discontent with education as “boring” because they sit and listen to a person lecture for six hours everyday; this is a legitimate concern that educators have been attempting to address through the implementation of multi-genre and multi-sensory activities and the inclusion of technology in their lessons. One of the most popular methods of incorporating these elements in to a lesson is through the use of digital storytelling in the classroom.
What is digital storytelling?
Digital storytelling is a computer-based model for presenting lessons that focuses on the use of text, graphics, videos, music, recorded narration, and such to present information. Just as a story provides mental pictures when it is being told, digital stories project those images outside of the mind and help learners grasp materials more effectively. When given a choice, students nine out of ten students preferred the digital storytelling lesson to a traditional lecture.
Easy steps for teachers to take.
For an educator, this is a scary concept to be introduced to, especially if you are not a product of the technology-savvy generation. Do not worry, there is help available and chances are, you already have the programs installed on your computer that will make for effective digital stories.
The first step you need to consider when using digital storytelling in the classroom, is whether it will be ideal for implementing a digital story in place of a tradition lecture? Consider the elements and themes that you want to communicate. If there are any interesting connections that you can make between an element of a lesson and a song or a movie clip, then it is probably a good one. For example, if you are trying to help students understand what good leadership in the midst of adversity looks like because one of the characters in the novel you are reading demonstrates it, then take a clip from a movie such as Remember the Titans. In this movie, you would be able to not only show leadership from one character but from several.
If movie clips are too much for you, photographs will have a similar equally powerful effect. If you are teaching about the history of the Iron Curtain, then do a quick Internet search for pictures from the Iron Curtain. You will get hundreds of results. Insert these pictures into a powerpoint presentation and record a narration over the pictures. This will also allow you to monitor student response and give them visuals to go with the information that they are receiving. You will be surprised by the difference that it makes.
Popular programs to create digital storytelling in the classroom.
Most classroom computers come equipped with basic Microsoft Programs such as PowerPoint. It is amazing the quality of digital storytelling you do with this program, but there are other options available to those who look to make technology based lessons a part of their every day curriculum. Do your own research, but here are the ones most popular among teachers because of their ease of use.
Windows Movie Maker- Movie Maker is an easy to you movie maker that has templates that anyone can learn how to use. It is known its simple drag-and-drop function that allows you to draw movies, pictures, music from your files into the video file with just a few clicks of the mouse. This is a great program to teach students how to use digital storytelling in the classroom.
If you have Mac, you already have everything that you need to create a great digital story. The iMovie program is second to known in its ease of use and quality. You computer comes equipped with tutorial videos that will give step by step instructions. Anyone can use this program.
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Learning and retaining vocabulary
Children’s storybooks contain diverse sources of linguistic information, potentially beneficial to literacy and the development of language in that age group. Vocabulary learning is a lengthy process that, according to the literature, benefits from repeated practice, recovery and reactivation while sleeping. The research on vocabulary learning has verified that children, after sleeping, tend to demonstrate improvements in their capacities to recognise recently learned words and even words without meanings (pseudowords).
According to diverse studies, the exposure of children to the reading of stories, whether through listening or reading accompanied by an adult, fosters the development of vocabulary, especially in school age children. According to Henderson and fellow authors of the aforementioned article, published in the Journal of Experimental Child Psychology in 2021, these results are consistent with the view that learning vocabulary in potentially stimulating contexts is extremely beneficial to children. In a study published back in 2013, a team led by the same researcher concluded that, following a week of explicit vocabulary teaching, the children would recall more words when the learning took place based on semantic information (through definitions or images) than based on phonologic or orthographic information.
Are the words learned retained in the memory over the long term?
Researchers have sought to respond to this question that has hitherto remained open. However, in the 2021 article we referred to above, the findings include two important points referenced in the literature: the prior knowledge of the children and the time lapsing between sleeping and the learning of new terms.
The prior knowledge of children about the meaning of words probably represents one of the key variables in the connection between vocabulary learning and long term memory retention. In 2013, Wilkinson and Houston-Price analysed the influence of prior knowledge of vocabulary on the understanding of the words learned from listening to stories. In practice, these authors report how prior knowledge wields a significant influence over the understanding of new words both twenty-four hours and a fortnight after listening to the stories. In 2017, James and other researchers also confirmed that prior lexical knowledge predicts the capacity to retain new words, which reinforces the idea that this plays an important role in the long term memory retention process and support the processes involved in the initial acquisition of vocabulary.
The time lapsing between the learning and falling asleep is also a core variable within the scope of vocabulary retention processes. According to the most recent research, there may be greater benefits for children learning new words close to the time of sleeping. In a study from 2020, Walker and others reported that children who learn vocabulary in the afternoon (between 2pm and 4pm) memorise more words than those learning vocabulary in the morning (between 8am and 10am). Knowledge on this facet still needs clarifying with further research necessary to this end.
The study by Henderson and collaborators: objectives and participants
The work of Henderson and the respective researchers, which provides the basis for this article, held the fundamental objective of grasping whether children learn and retain new words when having their parents read them a story and if this practice is particularly advantageous close to the time of sleeping. The research included 237 children aged between five and seven. Their first language was English and no participant registered visual, auditive, linguistic, psychiatric or sleep disorders. In accordance with the results following various experiments, the authors tested the following hypotheses:
- Children recognise and recall more words after sleeping than immediately after the reading of the story by parents.
- Children demonstrate higher levels of new word retention when learning them immediately before sleeping than they do when learning them four hours prior to sleeping.
- Children with less extensive lexicons benefit more from learning new words close to the time of sleep than those who already have extensive vocabularies.
The children were divided into two groups: the “delayed condition” and the “immediate condition”. The parents of children in the first group were requested to read a story to their children three to five hours before putting them to bed. Immediately after this reading, the researchers evaluated the children through a remote test with the objective of ascertaining the capacities to recall, recognise and understand the words they were exposed to during the storytelling. The parents of children in the second group were asked to read a story to their children just before putting them to bed. After the storytelling, these children took the same test as the first group. On the following day, approximately one hour after waking-up, all children took a remote test with the objective of evaluating the capacities to recall and recognise the words learned during the previous day and analyse their knowledge of the meaning of terms that did not appear in the story.
What were the results?
The findings confirmed the first hypothesis. The children reported more significant rises in their capacities to recognise and recall words on the following day (thus, after sleeping) than immediately after having heard their parents read them a story. According to the authors, these results are consistent with the compliance systems of learning model put forward by McClelland and fellow authors in 1995, and applied to word acquisition by Davis and Gaskell in 2009: the representation of a word in the memory strengthens over the course of time and particularly when sleeping. Furthermore, the results demonstrated that prior knowledge of the vocabulary favoured the performance of children in recognition and recall tasks. As referred to by the authors, these data support the idea that lexical knowledge associates both with the initial learning of vocabulary and with its long term retention.
Contrary to expectations, the results here identified the children who heard their parents read a story three to five hours before sleeping memorised more words than those having stories read to them immediately before going to sleep. Furthermore, the findings note that children with lower lexical levels do not display greater gains on listening to stories immediately prior to sleeping. Therefore, hypotheses 2 and 3 were rejected. According to the authors, these results are nevertheless consistent with the conclusions reported by other studies. Reading stories to children always contributes to their learning and the consolidation of vocabulary and doing so after school or at the end of the day may return better literacy results in young children.
Davis, M. H., & Gaskell, M. G. (2009). A complementary systems account of word learning: Neural and behavioural evidence. Philosophical Transactions of the Royal Society of London B: Biological Sciences, 364, 3773–3800. https://doi.org/10.1098/rstb.2009.0111
Henderson, L. M., van Rijn, E., James, E., Walker, S., Knowland, V. C., & Gaskell, M. G. (2021). Timing storytime to maximize children’s ability to retain new vocabulary. Journal of Experimental Child Psychology, 210, 1-23. https://doi.org/10.1016/j.jecp.2021.105207
Henderson, L., Weighall, A., & Gaskell, G. (2013). Learning new vocabulary during childhood: Effects of semantic training on lexical consolidation and integration. Journal of Experimental Child Psychology, 116(3), 572–59. https://doi.org/10.1016/j.jecp.2013.07.004
James, E., Gaskell, M. G., Weighall, A. R., & Henderson, L. M. (2017). Consolidation of vocabulary during sleep: The rich get richer? Neuroscience & Biobehavioral Reviews, 77, 1–13. https://doi.org/10.1016/j.neubiorev.2017.01.054
McClelland, J. L., McNaughton, B. L., & O’Reilly, R. C. (1995). Why there are complementary learning systems in the hippocampus and neocortex: Insights from the successes and failures of connectionist models of learning and memory. Psychological Review, 102(3), 419–457. https://doi.org/10.1037/0033-295X.102.3.419
Walker, S., Gaskell, M. G., Knowland, V. C. P., Fletcher, F. E., Cairney, S. A., & Henderson, L. M. (2020). Growing up with interfering neighbours: the influence of time of learning and vocabulary knowledge on written word learning in children. Royal Society Open Science, 7: 191597. http://dx.doi.org/10.1098/rsos.191597
Wilkinson, K., & Houston-Price, C. (2013). Once upon a time, there was a pulchritudinous princess: The role of word definitions and multiple story contexts in children’s learning of difficult vocabulary. Applied Psycholinguistics, 34(3), 591–613. https://doi.org/10.1017/S0142716411000889
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Dive deeper into punctuation protocols, antecedents and appositives, diagraming and dependent clauses with the exercises in Grammar and Composition II. Your child will combine his understanding of grammar and usage with researching and writing techniques to deliver quality compositions. A thorough review of parts of speech and sentence writing plus a consolidated handbook of grammar rules will give your child the tools to confidently complete these grammar exercises and promote his overall communication skills.
Bridge the gap between basic arithmetic and a more advance study of mathematics with Pre-Algebra. This work-text includes a cumulative study of previously learned concepts plus introductions to multiplying and dividing polynomials, complementary and supplementary angles, buying stocks and bonds, algebraic word problems, and more. With daily exercises, examples, review exercises, Problem Solving Strategies, charts and tables, and a glossary of terms, your child will be equipped with the tools to succeed in Pre-Algebra!
There will be no “I don’t like history” comments when your teen reads this text! He will love the narrative style of the text and the many illustrations, maps, and photographs that invite him to explore the past and learn about the personalities and events that shaped the American character. He will be inspired as he studies the faith, patriotism, and moral conviction of many great Americans. The highlighted key facts and review sections help make the learning stick. Gr.8.
From earthquakes and volcanoes to clouds and galaxies, show your child the features of God’s Creation here on earth as well as outerspace with Science: Earth and Space! This textbook guides your child through a study of geology, oceanography, meteorology, astronomy, and environmental science. A thorough study of rocks, soil, and fossils will give your child ample proofs that this earth was created by God and not evolutionary processes. With Section and Chapter Reviews plus articles to defend Creation and 650 picture and diagrams, your child will complete 8th grade science with a detailed understanding of earth and space science.
Master new vocabulary words and practice presenting poetry from Vocabulary, Spelling, Poetry II. This text includes 24 Word Lists and 4 Review Lists that each contain 20 spelling words and 10 vocabulary words with definitions that correspond with selections from the 8th grade literature text—Of Places. These lists include exercises that help your child understand and apply spelling rules, use words in the correct context, and recognize homonyms, synonyms, and antonyms. Nine well-known poems are also included for recitation and memorization to enhance the appreciation of poetry.
Taken from: https://www.abeka.com/Search.aspx#stq=&roles=MAGENTOATSCHOOL&grades=G8&prodtypes=TEXTBOOKS
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If a story is not about the hearer he [or she] will not listen . . . A great lasting story is about everyone or it will not last. The strange and foreign is not interesting-only the deeply personal and familiar."
"• John Steinbeck,
Storytelling has likely been around since the beginning of time. The first cave paintings from 27,000 thousand years ago are seen as an early form of storytelling. People have been fascinated by stories. While sitting around a fire, stories were the first and only way to share information, dreams, to entertain, inspire and connect with others long before humans had any other forms of communication. Effective communication has always been about storytelling and today, the best communicators are also good at it.
Not only is it commonly accepted that good storytelling beats other forms of communication hands down, there is scientific evidence that backs this up. When we receive information from a power point presentation, the language part of our brain that decodes words into meaning becomes activated.
However, when we listen to a story, a lot more happens. Not only does the language processing part of our brain become activated, but other parts of our brain begin to process the experience of the story for ourselves. For example, descriptions for foods would activate our sensory cortex. In other words, hearing a story puts much more of our brain to work than simply listening to a presentation. Not only can we stimulate various areas of the brain, but if the listener relates to a story, their brains can become synchronized with the storyteller's. Emotions that the storyteller is experiencing can be shared with the listener.
Knowing the influence that telling a good story can hold, we can use storytelling to not only share information, but connect with the people around us. Here are some things to keep in mind.
Keep it simple
Less is more; this is a basic rule of good storytelling. Avoid the complex, detailed, as well as the use of adjectives and complicated nouns. Using simple language is the best way to activate regions of the brain that help us relate to the events in a story. Remember that you are not trying to impress, but to share an experience.
Always keep the audience in mind
To be effective, the audience must be able to relate to the story. Talking about an experience on a yacht would not be a good way for the CE0 of an organization to connect with front line workers. This would likely have the opposite effect and distance his audience from him or her. Telling a heart-felt story about going fishing with a family member or a grandchild would be much more effective as this would be something many in the audience could identify with.
Use it as an opportunity to share something of yourself
Talking too much about ourselves directly can be viewed by others as being self-serving and turn them off. Skillful storytellers can weave information about themselves, they want the audience to know, without appearing to be pretentious. Past stories of struggles, failures and overcoming barriers the storyteller has experienced are excellent sources that help the teller connect with the audience as everyone has experienced these in life. This will compel the story teller to appear more human, more like one of the audience.
Don't take yourself too seriously
Audiences love speakers who are able to laugh at themselves. Let yourself be vulnerable. Everyone has done something downright embarrassing and silly. Sharing these moments will resonate strongly with the audience.
Share sincerely felt emotions
I have attended numerous seminars from an individual that I have grown to admire and respect. At some point in the workshop he always shares the story about how his brother and he almost lost their company. At a certain point he tears up as he shares this experience. You can feel the connection with the audience. Even though I have heard the story a number of times, I know he is sincere when he is sharing this and my respect for him increases. If you have strong emotions that come up when telling a story, don't try to suppress them. Of course you would need to manage your feelings as an uncontrolled display of crying or laughing would not create the desired result. However, showing some emotion increases trust and forms a bond between the speaker and the audience.
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TH:Re8.1.HSIII.b Use new understandings of cultures and contexts to shape personal responses to drama/theatre work.
by Karen Loftus
This unit will enable students to identify, compare, and contrast three different styles of Japanese Theatre: Noh, Bunraku, and Kabuki. There are three proposed projects in this unit: a research assignment where groups delve into further detail about one of the three styles; a performance project where students utilize what they’ve learned by enacting a scene from a Kyogen (comedic) play; and a Bunraku puppet play.
The unit comes with a Google Slide Deck to help students visualize the information. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.
by Lea Marshall
The purpose of this unit is to give students an introduction to independent learning as well as an overview of Ancient Greek theatre. Students will apply their knowledge throughout, and the unit culminates in a group activity.
This unit is delivered in hyperdoc format. What does that mean? A hyperdoc is an interactive tool that encourages digital learning. In this case, students are given a document on a subject, and there they can read articles, watch videos, do some independent research, and apply what they’ve learned. Because they’re working on their own, students are in charge of their own pacing.
Before you start the unit, ensure you read the Teacher Guide first. It will give you clear instructions on how to distribute the hyperdoc format and make it easy for you and your students.
by Allison Green
This Indigenous Storytelling unit is brought to you in a different format than a traditional lesson plan. It uses a learning circle format. It was developed by Allison Green, a member of the Algonquin Band of Mattawa Ontario, who is also the author and instructor of the DTA course Approaching Drama Class with an Indigenous Perspective.
Students will discuss origin stories, research the background and land connection of a variety of Indigenous creation stories, create a plot graph of their story, share with the class what they have learned, and then retell the story in their own words. Once students have practiced this process, they will repeat the steps with an Abenaki creation story: Research | Recreate | Understand.
by Allison Green
Students will develop characters based on the character traits of the Seven Grandfather Teachings. The unit begins with a focus on the traits (Love, Wisdom, Respect, Bravery, Honesty, Humility, and Truth) and the story of elders passing on teachings to the youth. Students will use tableau, viewpoints, and movement and explore how to develop a character with a clear backstory and identity. The unit uses open, neutral scenes as a partnered task that students can use to apply their learning followed by reflection and class discussion.
by Allison Green
The objective of this unit is for students to be able to engage with Indigenous symbolism in art, and then interpret it in a theatrical context. It begins with an introduction of symbolism through a retelling of an Indigenous story with wolves representing human traits. Students develop a scene that focuses on how to “show and tell” an Indigenous story, clearly showing the symbolic meaning from the oral story. Students will then explore symbols by looking at the characteristics of Canadian Indigenous Art, delving into the symbols and story. Students then share their interpretation of the art by creating and presenting a piece of theatre, followed by reflection and class discussion.
by Holly Beardsley
Do you know the difference between a bustle and a buckram frame? Or what works best as an emergency hem? Some directors are blessed with a big budget and a full support staff—a choreographer, a set designer, and a costumer. But the drama teacher often becomes director, choreographer, set designer, and costumer all in one.
And a budget? What’s a budget? The Do-It-All Director’s Introduction to Costuming will give you, the director, who must do it all, the confidence and skills to costume and direct, no matter your experience or budget. This course will teach you costuming basics, budget tricks, organization, and most importantly, the art of costuming as a director.
by Allison Green
This course is led by Allison Green, a member of the Algonquin Band of Mattawa, and a drama and social sciences teacher in Northern Ontario, Canada. She believes that drama teachers should look at their teaching through an Indigenous lens for a few reasons:
- It is time in North America to take a conscientious look at Indigenous people’s approach to learning and teaching.
- For our Indigenous students, it’s important to see themselves in materials, activities, and classroom routines.
- It is also valuable for our non-Indigenous students to see and better understand the diverse nature of the creative process and ways of seeing our world through this lens.
This course aims to help teachers see their drama class through an Indigenous lens - by exploring the learning circle, culturally responsive approaches, and Indigenous pedagogy.
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The art of storytelling is quite ancient and powerful. They are considered to be extremely beneficial for enhancing listening skills and sharpening kids’ imaginations. A research conducted in the UK showed that the brains of people who listened to character-driven stories released a chemical called oxytocin which is connected to feelings of love and empathy. Children tend to have an innate love and admiration for stories. We all have fond memories of our grandparents or parents narrating stories to us which were instrumental in teaching us about our culture. If you seem unable to find the time for storytelling, you can even choose to opt for online classes that will expose children to fantastical world of stories.
Read on to learn more about the importance of storytelling to kids.
Engaging with purposeful talking
Stories bring about a sense of wonder and engage listening skills. Storytelling for Kids is critical in the overall development, even if it is just narrating an incident that occurred in your daily routine. Even these small instances can play a fundamental role in inspiring children and developing their worldview. More importantly, it prompts them to actively listen and pay attention while generating curiosity and encouraging children to ask questions.
Attuning them to the world around us
Children tend to live in a little bubble of their own worlds. Narrating a story from your own culture or even from another culture will open up their worldview, causing them to empathise with people. This will eventually inculcate a visualization capacity and they can explore a diverse range of cultures, people and experiences. Children will be able to understand the minute differences that separate people but also bring together communities. It will offer an insight into the many universal life experiences.
Kids have a limited range of words and storytelling can greatly improve their vocabulary. When done in a manner that is expressive, with the use of voice modulation, expressions, changes in pitch, this will help children pay more attention and remember the vivid details and words used while narrating a story to them. There may be words or concepts or even characters that children are not familiar with and storytelling in an informal manner will introduce them to these things. It will broaden their vocabulary and they will easily pick up new words as they hear them. They will be able to understand the actions and reactions of characters, the motivations behind them and why certain decisions may have been made. Furthermore, storytelling will enhance their communication skills and understanding too.
Apart from just fostering kids’ imaginations, stories have a beautiful way of instilling virtues that they can carry with them forever. Stories , when told well and often, are memorable, especially those that have morals. Children can learn to emulate certain values from characters and understand meaningful messages that stories impart. Valuable and essential lessons in honesty, kindness, truthfulness and compassion are imparted through the act of storytelling.
A sensory experience
When stories are told using sensory details, they engage more parts of the brain than mere facts do. Imperceptible details help children to see and experience a narrative from the character’s point of view and this can engage their sensory, visual, auditory, motor and olfactory sections of the cortex in the brain. It's almost akin to relieving an experience that you were never a part of to begin with, which makes the act so magical. It stimulates parts of the brain that regular conversations cannot as stories are filled to the brim with information.
Lastly, the way that the story is told is also key to how much attention children pay. You can always tell the perfect story by acting it out. It was found that parents who tell stories have more of an emotional bond with their children. This pushes children to be creative and think outside the box. We hope that this brought to light the multifaceted nature of storytelling and its many benefits.
So put on your most entertaining voice and help kids express themselves to the fullest with storytelling!
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Students develop foundational skills in speaking, listening, and academic research while developing and honing reading comprehension and language usage skills.
English 10 students continue to develop literacy-related skills including: speaking and listening, academic research, higher-order reading comprehension, language usage, and written and rhetorical literary analysis. Students exercise critical thinking through the reading and analysis of various works of literature and multiple short- and extended-length writing assignments.
Students hone their emerging comprehension, analysis, and writing skills through a study of literature while incorporating a variety of writing styles including creative writing and personal essays.
English 12 students achieve mastery of the skills related to listening and speaking, academic research, higher-order reading comprehension, language usage and writing, literary analysis, and critical thinking. Students study classical literature and modern works. Students engage in the cycle of writing, workshopping, and revising required of writers in order to produce polished final works.
English 6 students develop skills in reading, literary analysis, vocabulary, spelling, grammar, and writing. While the focus of English 6 will be on expository texts, students will also read short stories, novels, mythology, drama, and poetry.
English 7 students focus on grammar, literature, and spelling. Vocabulary will be taught using an integrated approach. Literature includes short stories, nonfiction, the novel, mythology, folk tales, drama, and poetry. Grammar units will include parts of speech, parts of a sentence, kinds of sentences, fragments, run-ons, subject-verb agreement, verb usage, comparison of adjectives and adverbs, and essay writing in the four writing modes.
8th grade English primarily emphasizes the careful reading and analysis of literature from various literary genres. Students also gain further experience in narrative, descriptive, and essay writing. Students continue to develop their vocabulary and refine their understanding and use of formal English grammar and mechanics.
This course coincides with English 6. Students are introduced to a variety of writing styles and practice composing their own informative, narrative, and argumentative texts to demonstrate a strong understanding of English conventions and language devices. Poetry will also be a focus as students will engage in creative expression through a variety of poetic styles. Students’ writing will be further supported by grammar studies.
This course is a continuation of MS Language Arts 6 and coincides with English 7. The purpose of this course is to provide instruction and practice in grammar, spelling, and writing related to language arts, reading, and writing. In Language Arts, students continue to develop an appreciation of spoken and written language, expand their use of descriptive words and complex sentences, as well as their choices of modes of writing. Students use oral language, written language, and media and technology for expressive, informational, argumentative, critical, and literary purposes. Students use the stages of the writing process to write clear, coherent compositions that apply and further develop their knowledge of the grammatical rules and standards of the English language.
This course is a continuation of MS Language Arts 7 and coincides with English 8. Students will continue to explore various types of writing styles, including informative, narrative, and argumentative, in addition to creative writing through poetry. A focus will be on vocabulary development and the use of formal conventions of communicating. Grammar studies will support the development of students’ command of the English language.
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In POET AGAINST PREJUDICE BYkids filmmaker Faiza Almontaser asks us all to examine our own notions, attitudes, biases about other religions, ethnicities and nationalities in our nation of immigrants. When thinking about these issues, consider Articles 2, 18, and 26 in the United Nations Universal Declaration of Human Rights:
(18/1) Everyone has the right to freedom of thought, conscience, and religion; this right includes freedom to change his religion or belief, and freedom, either alone or in community with others and in public and private, to manifest his religion or belief in teaching, practice, worship and observance.
(26/2) Education shall be directed to the full development of the human personality and to the strengthening of respect for human rights and fundamental freedoms. It shall promote understanding, tolerance and friendship among all nations, racial or religious groups, and shall further the activities of the United Nations for the maintenance of peace.
For Teachers: Research
The impact of and questions raised by immigration are some of the biggest issues we currently face as a nation. Ask your students to research the current statistics surrounding immigration in the United States. How many families immigrate to the U.S. each year seeking better education and more opportunities? What percentage of current citizens are immigrants? What percentage of your community’s residents are immigrants? How have these percentages changed over the past 100 years? What effect does this immigration have on the countries these families are leaving? What might make it difficult or easy for them to come to the U.S.? What steps must the families go through if they want to come here legally? What kind of discrimination did families historically face after immigrating? After doing this research and seeing POET AGAINST PREJUDICE, how would you characterize what has or hasn’t changed about immigrants’ circumstances in America over the past several decades?
For Students: Reflect
Faiza uses poetry to channel and express her feelings of disenfranchisement, just as many historical victims of discrimination have done before her. Using your own form of artistic expression (poetry, spoken word, song, drawing, etc.), reflect on why discrimination against immigrant populations has persisted in the U.S. for so many generations and how you would feel if you picked up and moved to another country today. How would you cope with your new environment? Just as Faiza struggles with her shifting identity — as a Muslim and as an American — how would you balance your desire to hold on to your heritage with wanting to assimilate to your new environment? Call upon any discrimination or bullying you might have experienced in your own life as you explore the use of artistic expression as a mode of reflection.
For All Of Us: Respond
- Host a community or private screening of POET AGAINST PREJUDICE to raise awareness of the challenges facing immigrants in the U.S. and how storytelling through film can deepen our understanding of global issues. Email [email protected] for more information.
- Do you see intolerance happening in your community? Get your school designated as a “No Place for Hate” school and help promote a culture of respect and dignity for your classmates, just like Faiza does in the film. See: www.adl.org/npfh/
- Give to the ACLU’s Immigrants’ Rights Project, which is dedicated to expanding and enforcing the civil liberties and civil rights of immigrants and to combating public and private discrimination against them. See: www.aclu.org/immigrants-rights
- Sign a petition or start one of your own to raise awareness about:
Racial and Religious Discrimination:
Created and written by Big Picture Instructional Design for BYkids.
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The Language of Imagination #
People who use language to express feelings, and evoke emotions will use a subjective approach.
Text types or Genres that:
Narrate, Dramatise or Poeticise
Writers who feel the need to air and express their emotions will attempt to engage their audiences to share their experiences. They either write novels, plays or poems.
Characteristics of Imaginative language:
Emotive words: charged with associations, colouring, evaluation, bias
Emotion and purpose
The trouble with computers, apparently, is that they just don’t understand emotion and purpose - and that can hinder things when it comes to assessing writing. The Chartered Institute of Educational Assessment has been putting an American computer marking program to the test by feeding it some well-known classics. These include Winston Churchill’s ‘fight them on the beaches’ speech (too repetitive), an extract from William Golding’s Lord of the Flies (inaccurate and erratic sentence structure) and Ernest Hemingway’s The End of Something (lack of care and detail). Other programs have condemned Lincoln’s Gettysburg address for its style.
Graham Herbert, deputy head of the CIEA, explained: ‘The computer was limited in its scope. It couldn’t cope with metaphor and didn’t understand the purpose of the speech.'
He said that the program is already in use in America, where some students have now ‘cracked the code’ and learned to write in a style that the computer recognises: this is known as ‘schmoozing the computer’, he said. ‘At the moment we do not have a reliable and valid way of assessing English language using a software package, although this is something for which there is demand.’
Ambiguity: A definite no-no in informative writing - where clarity and precision are mandatory - in creative writing ambiguity adds a richness and dimension of infinite possibility to meaning. Ambiguity can be constructed by the contradictory meanings in oxymorons, paradoxes, complex sentences, contrary phrases. Creative construction of Grammar and words with multiple meanings help to create multi-faceted messages.
Figurative language: language which is not literal rather full of comparisons or contrast. ie.; “She had an acid tongue”, is figurative. Similes. Metaphors, Personifications, Allusions, analogies, repetitions, juxtapositions, oxymorons, paradoxes, jargon, idioms.
Personal Subjectivity: The writing is permeated with the personality of the author. The writing can be re-creative, intimate and inclusive with the reader identifying with the characters and feeling empathy and acceptance.
Action verbs. Participants revealed by thoughts, interactions and description.
When writing action prose it is important to pare your language to subjects, verbs and objects – little else.
Graham Greene writes;
“Excitement is simple: excitement is a situation, a single event. It mustn’t be wrapped up in thoughts, similes, metaphors. A simile is a form of reflection, but excitement is of the moment when there is no time to reflect……Even an adjective slows the pace or tranquillises the nerve.”
Emphasis on subtlety (implicit) of expression rather than explicitness. Varied sentences structures. Subject - verb - object, order of sentence construction can be inverted.
Sound patterns are used extensively: Rhythm, rhyme, alliteration, onomatopoeia, assonance, word harmony or dissonance.
Appeals to the Five senses; Visual, tactile, olfactory, gustatory, auditory
Link words relate to time, cause and effect; because, due to, us a result or Time link words; when, initially next, then, following….
Repetition used for emphasis or reinforcement.
Structures of Narratives: (Scaffolding)
Orientation - exposition, foreshadowing
Complication, tension, conflict, rising action to a climax
Evaluation — themes, concerns
Resolution— denouement, - perhaps a coda or an epilogue
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To inspire intrinsic motivation in students, schools should focus on nurturing their sense of autonomy, competence, relatedness, and relevance.
Providing students with freedom of choice is one strategy for promoting learner autonomy. Educators commonly view this idea of choice through the lens of organizational and procedural choice. Organizational choice, for example, might mean students having a voice in seating assignments or members of their small learning groups. Procedural choice could include a choice from a list of homework assignments and what form a final project might take—a book, poster, or skit.
Some researchers, however, believe that a third option, cognitive choice, is a more effective way to promote longer-lasting student autonomy. This kind of cognitive autonomy support, which is also related to the idea of ensuring relevance, could include:
- Problem-based learning, where small groups need to determine their own solutions to teacher-suggested and/or student-solicited issues—ways to organize school lunchtime more effectively, what it would take to have a human colony on Mars, strategies to get more healthy food choices available in the neighborhood, etc.
- Students developing their own ideas for homework assignments related to what is being studied in class
- Students publicly sharing their different thinking processes behind solving the same problem or a similar one
- Teachers using thinking routines like one developed by Project Zero at Harvard and consisting of a simple formula: the teacher regularly asking, “What is going on here?” and, after a student response, continuing with, “What do you see that makes you say so?”
Feedback, done well, is ranked by education researcher John Hattie as number 10 out of 150 influences on student achievement.
As Carol Dweck has found, praising intelligence makes people less willing to risk “their newly minted genius status,” while praising effort encourages the idea that we primarily learn through our hard work: “Ben, it’s impressive that you wrote two drafts of that essay instead of one, and had your friend review it, too. How do you feel it turned out, and what made you want to put the extra work into it?”
But how do you handle providing critical feedback to students when it’s necessary? Since extensive research shows that a ratio of positive-to-negative feedback of between 3-1 and 5-1 is necessary for healthy learning to occur, teachers might consider a strategy called “plussing” that is used by Pixar animation studios with great success. The New York Times interviewed author Peter Sims about the concept: “The point, he said, is to ‘build and improve on ideas without using judgmental language.’... An animator working on Toy Story 3 shares her rough sketches and ideas with the director. Instead of criticizing the sketch or saying no, the director will build on the starting point by saying something like, ‘I like Woody’s eyes, and what if his eyes rolled left?’ Using words like ‘and’ or ‘what if’ rather than ‘but’ is a way to offer suggestions and allow creative juices to flow without fear, Mr. Sims said.”
“And” and “what if” could easily become often-used words in an educator’s vocabulary!
A high-quality relationship with a teacher whom they respect is a key element of helping students develop intrinsic motivation. What are some actions that teachers can take to strengthen these relationships?
Here are four simple suggestions adapted from the ideas of Robert Marzano:
1. Take a genuine interest in your students: Learn their interests, hopes, and dreams. Ask them about what is happening in their lives. In other words, lead with your ears and not your mouth. Don’t make it a one-way street—share some of your own stories too.
2. Act friendly in other ways: Smile, joke, and sometimes make a light, supportive touch on a student’s shoulder.
3. Be flexible and keep your eyes on the learning goal prize: One of my students had never written an essay in his school career. He was intent on maintaining that record during an assignment to write a persuasive essay about what students thought was the worst natural disaster. Because I knew two of his passions were football and video games, I told him that as long as he used the writing techniques we’d studied, he could write an essay on why his favorite football team was better than its rival or on why he particularly liked one video game. He ended up writing an essay on both topics.
4. Don’t give up on students: Be positive (as much as humanly possible) and encourage a growth mindset.
Have students write about how they see what they are learning as relevant to their lives. Researchers had students write one paragraph after a lesson sharing how they thought what they had learned would be useful to their lives. Writing one to eight of these during a semester led to positive learning gains, especially for those students who had previously been “low performers.”
It is not uncommon for teachers to explicitly make those kinds of real-life connections. However, research has also found that this kind of teacher-centered approach can actually be demotivating to some students with low skills. A student who is having a very difficult time understanding math or does just not find it interesting, for example, can feel threatened by hearing regularly from a teacher how important math is to his or her future. Instead of becoming more engaged in class, he or she may experience more negative feelings.
These researchers write that a “more effective approach would be to encourage students to generate their own connections and discover for themselves the relevance of course material to their lives. This method gives students the opportunity to make connections to topics and areas of greatest interest to their lives.”
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The Main Differences Between Narrative And Expository Essay In Conclusion. While narrative paper allows the author to be creative and tell a story in a way he or she likes, expository essays follow some strict rules that one must abide. Narrative texts are versatile in structure and style, but they also require some thorough research of the subject. Difference Between Narrative and Expository Writing Start studying Difference Between Narrative and Expository Writing. Learn vocabulary, terms, and more with flashcards, games, and other study tools.
English 104: Expository vs. Argumentative 1. English 104 Expository vs. Argumentative 2. Purpose • Expository – Used to inform, describe, explain, compare, or summarize in a neutral and objective way • Argumentative – Used to persuade the reader that your opinion is correct – Opinion is clearly stated, rather than appearing neutral • Expository = Facts Argumentative = Opinion
Four Different Types of Writing Styles: Expository, Descriptive, Persuasive, and Narrative Updated on April 17, 2015 Definitions and explanations of the four types of writing: expository, persuasive, descriptive, and narrative. | Source Four Types of Writing A writer's style is a reflection of his or her personality, unique voice, and way of approaching the audience and readers. PDF Expository Writing Types - Intel writing. Now, learn how to distinguish different expository types. Learning the different expository types helps you become a better writer, reader, and learner! Look Ahead Task: Read and interpret expository writing on a subject that interests you. Goal: Show that you know how to recognize and read different types of expository writing. Narrative or Expository? - PowerPoint PPT Presentation
The Comprehensive Expository and Opinion Writing Guide
Although expository and informative writing may easily be mistaken for the same genre, as they both function to impart information to the reader, there are several differences between the two styles. These differences include structure, delivery and the application of opinions. Knowing how to differentiate between the ... Narrative vs. Expository - Texas Teaching Fanatic Texas requires all 4th graders to write a narrative AND an expository piece for their state assessment. Now, if your school is anything like mine, students very rarely (if ever) write any sort of expository piece before stepping into a 4th grade classroom. Four Different Types of Writing Styles: Expository ... Narrative writing's main purpose is to tell a story. The author will create different characters and tell you what happens to them (sometimes the author writes from the point of view of one of the characters—this is known as first person narration). What is Expository Writing? - mathgenie.com How Is Expository Writing Different Than Descriptive and Narrative Writing? Expository writing is different from descriptive and narrative writing in multiple ways. There is no story to be told, and you will not use any descriptive language unless it is necessary to make a step or reason more clear. An expository piece does not set a scene or convey a story or a lesson.
Narrative and Expository Text Instruction - SlideShare
As adjectives the difference between expository and narrative is that expository is serving to explain, explicate, or elucidate; expositive; of or relating to exposition while narrative is telling a story. As a noun narrative is the systematic recitation of an event or series of events. The 2 Voices in Writing and How to Teach Them In expository or informative writing, there exists a relationship between the author and the reader. Therefore, the reader is exposed to and responds to, literally, the “author’s voice”. Contrary to what many people have been taught, expository or informational writing need not be dry, dull, or boring. Four Different Types of Writing Styles: Expository ... Narrative writing often has situations like disputes, conflicts, actions, motivational events, problems and their solutions. POLL TIME! Which type of writing style do you prefer to use? Expository Writing Descriptive Writing Persuasive Writing Narrative Writing See results without voting Conclusion: These are the four different types of writing ... Expository Essay vs. Persuasive Essay
Difference between creative writing and expository writing
Types of essays include narrative, descriptive, expository, compare-&-contrast, and persuasive. While to tell a story is better to pick a narrative type, to cover a debatable topic, a student should work on a persuasive paper. To understand different types of essays and get the point, view this expert mini guide. Narrative And Expository Texts PPT | Xpowerpoint
What is Expository Writing? - Definition & Examples - Video ... Expository writing differs from other forms of writing, such as fiction and poetry. In fact, this lesson itself is an example of expository writing. The expository essay is a tool that is often ... Identifying Narrative and Expository Text Structures National Center on Intensive Intervention Identifying Narrative and Expository Text Structures—1 0447_02/17 . College- and Career-Ready Standards Addressed: RL.6.5, 8.5 . Analyze how a particular sentence, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of the theme, setting, or plot. How Do Argumentative And Expository Essays Differ? Facts: more facts are needed for the expository piece than the argumentative ones, which means the research rather than the writing should be your main area of focus. Style of writing: for the two pieces the style of writing differs, which means that you can select the project type which matches your preferences.
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What are the Five Commandments of Storytelling?
Every effective story has five structural components that work together to communicate a CONTROLLING IDEA in a way that bypasses readers’ critical minds to touch their hearts and change their worldviews. These components are the Five Commandments of Storytelling.
When most writers and editors talk about Story structure, they rely on a grab bag of different approaches that capture part of but not the whole of Story’s fundamental structure. In the same way, two wings, two jet engines, and a fuselage don’t make a functioning airplane.
In the Story Grid Universe, we understand that Story structure is about embedding GENRE-specific VALUE SHIFTS within every UNIT OF STORY — from the line-by-line BEATS to TROPES to SCENES to SEQUENCES to QUADRANTS to the full STORY — to communicate the ARTIST’s CONTROLLING IDEA.
The Five Commandments of Storytelling are:
1. Inciting Incident
The inciting incident destabilizes the protagonist by upsetting the balance of their life for good or for ill. Every inciting incident is either causal (the result of an active choice by an AVATAR) or coincidental (something unexpected or random or accidental). In response, the protagonist forms a goal, which they begin to pursue. Read more about Inciting Incidents.
2. Turning Point Progressive Complication
The protagonist goes through a series of actions to restore balance to the world after the inciting incident. As these actions fail, it progressively complicates the story until the protagonist faces a final turning point where everything they have tried fails. This can be brought on by AVATAR action (someone does something that renders the protagonists initial strategies useless) or by revelation (when new information is given to the protagonist that forces them to change). Read more about Turning Point Progressive Complications.
When the protagonist’s initial strategy to deal with the inciting incident has failed, they face a dilemma. This is the crisis. The crisis poses a real choice between incompatible options with meaningful stakes. It is always a binary “this or that” choice. Every crisis is either a Best Bad Choice (choosing between two horrible things) or an Irreconcilable Goods choice (choosing between two wonderful things). Read more about Crises.
The climax is the active answer to the question raised by the crisis. The climax always reveals the truth about who the AVATAR really is when they enact their choice under pressure. Read more about Climaxes.
The resolution is what happens as a result of the protagonist’s choice during the climax. Because the crisis had meaningful stakes, when the AVATAR makes a decision, something meaningful will always happen as a result. Read more about Resolutions.
Examples of the Five Commandments of Storytelling
- Pride and Prejudice by Jane Austen, Scene 19
- Inciting Incident: Causal. Mr. Collins proposes marriage to Elizabeth Bennet.
- Turning Point Progressive Complication: Active. Mr. Collins refuses to accept Elizabeth’s refusal because it doesn’t make sense to him.
- Crisis: Irreconcilable Goods. If Elizabeth accepts Mr. Collins, she’ll save her sisters after her father’s death, but she’ll sentence herself to a lifetime of misery.
- Climax: Elizabeth refuses again.
- Resolution: Mr. Collins calls her charming and Elizabeth realizes the only way Mr. Collins will go away is if her father agrees with her.
- The Wonderful Wizard of Oz by L. Frank Baum, full story
- Inciting Incident: Coincidental. The emergence of an extraordinary external environmental change agent, a Kansas Cyclone.
- Turning Point Progressive Complication: Revelatory. Dorothy discovers Oz is not a wizard and he is incapable of granting the group’s wishes.
- Crisis: Best Bad Choice. Should Dorothy quit her quest to return home, remain in the Emerald City, and make the best of things, or should she continue to seek a way home, which looks to be impossible?
- Climax: Dorothy chooses to continue seeking her own way home.
- Resolution: Dorothy finds her way back home.
- The Murder of Roger Ackroyd by Agatha Christie, Chapter 24
- Inciting Incident: Causal. Poirot calls Sheppard out for hiding a secret.
- Turning Point Progressive Complication: Revelatory. Sheppard confesses that he convinced Ralph, after the murder, to hide out.
- Crisis: Best bad choice. Will the killer confess to save Ralph, or will Poirot have to out him or her?
- Climax: No one speaks up. The smoking gun clue arrives.
- Resolution: Poirot dismisses the people in the room except Sheppard.
- Hamilton by Lin-Manuel Miranda, Scene 2 – “Aaron Burr, sir”
- Inciting Incident: Causal. Hamilton introduces himself to Burr and asks how he graduated from college early.
- Turning Point Progressive Complication: Active. Burr advises Hamilton to keep his opinions to himself if he wants to get ahead.
- Crisis: Best bad choice. Following Burr’s advice means Hamilton denies his own instincts and potentially fails in life, but disagreeing with Burr could risk his friendship with someone who could help him.
- Climax: In the last line of the song, Hamilton openly rejects Burr’s advice by saying, “If you stand for nothing, what will you fall for?”
- Resolution: The resolution comes at the beginning of the next song, “My Shot,” when Laurens, Lafayette, and Mulligan ask Hamilton who he is and what his plans are. This gives Hamilton a chance to prove his intelligence to them.
Common Mistakes with the Five Commandments
Writers can avoid errors in applying the Five Commandments by focusing on how the commandments function together. Here are several common mistakes drawn from Danielle Kiowski’s The Five Commandments of Storytelling.
- The inciting incident does not tie to the climax. The inciting incident must promise the climactic action. In turn, the climax must mirror the inciting incident to show how the protagonist has changed.
- The inciting incident is unresolved at the end of the story. Stories are about processing unexpected change, so if the inciting incident is unresolved, the protagonist has failed to metabolize the invisible phere gorilla.
- The turning point does not complicate from the inciting incident. The turning point illustrates the failure of the protagonist’s initial strategy, so it should arise naturally from a series of complications caused by the gradual breakdown of the procedures the protagonist relies on. A drop-in of an unexpected event undermines this dynamic, even if it prevents the protagonist from following the initial strategy.
- The link between the turning point and the ensuing crisis decision is weak. The crisis must come directly from the turning point. Ensure the turning point is strong enough to force the protagonist to decide, and the options available in the crisis come from the turning point.
- The turning point, crisis, and climax do not follow a consistent protagonist. Switching protagonists breaks the arc and interrupts the construction of the controlling idea. Ensure the same character facing the turning point and grappling with the crisis is the one enacting the climax.
- The resolution does not tie back to the stakes established in the crisis. The crisis makes it clear that the protagonist must suffer some consequence. If they enact the climax and everything goes well, with no cost, this breaks the connection between the resolution and the crisis, undermining the controlling idea by invalidating the stakes.
- The Five Commandments of Storytelling by Danielle Kiowski
- In-depth Course: The Five Commandments of Storytelling
- The Five Commandments and Bruce Springsteen
- Dig into all Five Commandments of Storytelling:
Listen to Shawn Coyne explain the Five Commandments of Storytelling
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An investigation into the odd orbits of the galaxy’s oldest stars may prompt astronomers to rethink how the Milky Way evolved.
Australian telescopes teamed up with the European Space Agency’s Gaia satellite to discover that some of the galaxy’s most metal-poor stellar giants travel in surprising patterns.
“Metal-poor stars – containing less than one-thousandth the amount of iron found in the Sun – are some of the rarest objects in the galaxy,” says astronomer Gary Da Costa from the Australian National University.
“We’ve studied 475 of them and found that about 11% orbit in the almost flat plane that is the Milky Way’s disc.
“They follow an almost circular path – very much like the Sun. That was unexpected, so astronomers are going to have to rethink some of our basic ideas.”
Da Costa was part of an international collaboration of researchers from Australia, Europe and the US. An advanced version of their study is published in the journal Monthly Notices of the Royal Astronomical Society.
The stars’ orbits fell into several different patterns, most of which matched what had already been studied or predicted. Previous research, for example, had observed these rare stars almost exclusively in the Milky Way’s halo and bulge, and this study confirmed that most of the stars had large spherical orbits around the halo.
Some, however, were orbiting retrograde – the “wrong way” – around the galaxy. Around 5% were in the process of escaping the galaxy altogether; and 50 stars were orbiting the disc of the galaxy itself.
According to lead author Giacomo Cordoni, from Italy’s University of Padova, finding metal-poor stars orbiting the disc is particularly intriguing.
“Future scenarios for the formation of our galaxy will have to account for this finding – which will change our ideas quite dramatically,” he says.
“This discovery is not consistent with the previous galaxy formation scenario and adds a new piece to the puzzle that is the Milky Way.
“Their orbits are very much like that of the Sun, even though they contain just a tiny fraction of its iron. Understanding why they move in the way that they do will likely prompt a significant reassessment of how the Milky Way developed over many billions of years.”
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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Stories are the universal way to communicate ideas and messages. Even the most obstinate of non-readers enjoy hearing good stories. In India specifically, children are brought up on stories and folklore. Our grandparents and parents narrate endless stories to us, which we in turn relate to our children, especially during the festive season. The current situation may have made it difficult for us to spend time with our family members who live away from us, but innovative digital concepts such as the MaPa story app help us stay connected.
The MaPa Story App is unlike any other book-related app for children. At just INR 365 for a year (or INR 100 for a month), it goes a step further by allowing them to record their own stories and share these stories with their family members and close ones via Whatsapp, ensuring they receive the recognition they deserve for their imaginative skills as well as the drive to continue being creative.
THE IMPORTANCE OF STORYTELLING:
Storytelling is an essential life skill that usually begins in the laps of our ‘ma and pa’ at home. By listening to stories, our children develop the skills required to make their own stories. There are many ways in which storytelling skills enhance the overall growth of children:
- Stories encourage our children to develop critical thinking skills
- Stories allow our children to explore concepts and topics that are inaccessible to them in real life
- Stories allow our children to travel without leaving the comfort of our homes
- Stories encourage the values of tolerance and acceptance
- Stories impart important life lessons in an easy to understand manner, ensuring they are firmly ingrained
- Storytelling skills aid our children later in life, as every career option has an aspect of storytelling involved in it
- Stories offer a comfort zone from the harsh realities of life
- Stories forge a strong bond between the storyteller and the listener
The MaPa story app addresses each of these aspects of storytelling, with particular emphasis on the last point. This Diwali season, many of us are lamenting the forced distance between us and our family members in other cities because of the pandemic, but it is our children who are missing out the most, as they forgo the time spent with grandparents, uncles, aunts and cousins of all ages. By encouraging our little ones to create their own stories and sharing these with family members, we are boosting their creativity and imagination, and also keeping the larger family aware of our child’s progress.
HOW MAPA ENCOURAGES STORYTELLING:
The MaPa story app can be used in a variety of ways, the simplest of which is an online library of age-appropriate stories.
- Each story is categorized clearly so parents and children can decide what appeals to them
- There is a fun element as well as a learning element, to cater to various needs and times of the day
- The stories are available in English and Hindi to reach a wider audience
- The stories can be read out loud, heard through a video recording, or recorded in the child’s voice to help boost their expression and creativity
- The recorded stories can be saved to the in-app library and re-visited at any time
- The stories can be shared with others through Whatsapp
- Your family members can read and share stories from their devices which your children will enjoy listening to
My son and I enjoy exploring the various stories on Mapa Story app. Though he is just starting his reading journey, I encourage him to record his own stories looking at the pictures provided. It allows him to express his own creativity and he enjoys the freedom of making his own stories. However, the person that is enjoying it the most is perhaps my mother, who misses time spent with her grandson and enjoys his imaginative and often riotously funny stories, inspired by the images on the app.
The MaPa story app connects each one of us in a special way and will help bridge the distance this Diwali. After all the shortest distance between two people is a smile, and we all know that a wonderful story gives rise to a wonderful smile.
I recommend you download the app and watch your children explore their creativity, while sharing these precious moments of childhood with your family members.
HOW TO DOWNLOAD THE MAPA STORY APP:
The MaPa story can be downloaded on android devices here (Coming to iOS soon): https://mapa.onelink.me/VtTL/b0d96d60
Though the app can be explored for free, in order to enjoy all its benefits, one must subscribe to it at the nominal rate of INR 365 per year or INR 100 per month
*This is a sponsored post but thoughts and reviews are honest and completely my own. I’m taking my blog to the next level with Blogchatter’s My Friend Alexa
**Copyright in pictures and content belongs to nooranandchawla.com and cannot be republished or repurposed without express permission of the author. As I am a copyright lawyer by profession, infringement of any kind will invite strict legal action.
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A curriculum is a policy on the basis of which all teaching work is implemented. What, when, and how to teach is decided by the curriculum itself.
Curriculum which means “race field”. The race ground means that the students participate in this race, meaning the students do all the work in the school according to their curriculum.
Whether it is teaching-learning work or co-curriculum activities, on the basis of the curriculum, a teacher also completes his teaching work. When what work is to be done in the school, it is decided according to the syllabus.
The curriculum is the basis of education, following which the objectives of education are fulfilled.
Students do their learning work according to the syllabus. The subjects are done in a systematic manner by the curriculum itself.
Keeping in view the need of society, it is necessary to prepare for any course. We see all the programs organized in the school in the form of a Curriculum.
At first, the meaning of curriculum was seen and understood only on the basis of subjects, but now its scope has become much wider than this, now Curriculum is seen and understood as the whole functioning of the school. It would not be wrong to say that all the work of the school is a kind of curriculum.
Read these also:
Definition of Curriculum
1. According to Mr. Cunningham – “It is a means in the hands of the artist (teacher) to mold the material (learner) according to his ideal purpose in his studio (school).”
2. According to Horn Sir – “It is what is taught to children, it is more than peaceful reading or learning. It includes industry, business, learning, practice, and activities.
3. According to the Secondary Education Commission – “It does not mean the intellectual subjects taught in a conservative manner, but includes all those activities which children get outside or inside the class.”
4. According to Mr. Paul Heist – “The form of all those activities by which educational goals and objectives are achieved are those courses.”
Characteristics of Curriculum
- Courses are variable. Keeping in view the needs of society, continuous changes are made in the curriculum.
- It is made on the basis of the aims of education.
- The personality of the students is developed through the curriculum itself.
- It is implemented by the school and the teachers.
- The desired changes are brought in the behavior of the students by the curriculum.
- Through the curriculum, the problem-solving tendency of the students is increased.
- The cognitive, emotional, and functional skills are developed in the students through the curriculum.
Process for Curriculum Development
- It is designed on the basis of the development of the cognitive, affective, and application sides of the students.
- It is designed keeping in mind the conditions of society.
- Before the formulation of the curriculum, its outline is prepared.
- It involves the continuous development of a teaching method according to the curriculum.
- After the formulation of the curriculum, its evaluation is also done.
- Courses are made by subject experts and intellectuals.
- While designing the curriculum, keeping in mind the psychological, social, and philosophical bases, the curriculum is designed.
- To choose the right course objectives and objectives which are beneficial for the intellectual development of the students.
Objectives of Curriculum
- The objective of the course is to develop the cognitive, emotional, and functional sides of the students.
- It focuses on the moral and character development of the students.
- The aim of the course is to develop the personality of the students by developing social responsibility and social feelings in the students.
- To make the students earn a living through the curriculum.
- To make the understanding level of the students easy.
- To bring excellence in the behavior of the students.
Question 1- What is the Hindi meaning of the Word Curriculum?
Answer – The word course means “race ground” (Race Course).
Question 2- By definition of Cunningham what are the meanings of artist and instrument?
Answer – According to the definition of Cunningham, artist means “teacher” and means means “course”.
Question 3 – What is the nature of the course?
Answer – The nature of the syllabus is variable.
Question 4 – What are the main objectives of the course?
Answer – The main objective of the course is to make all-round development of the students.
Question 5 – On what basis the work of curriculum development is done?
Answer – The work of curriculum building is done on philosophical, social, and psychological grounds.
We call all the work done in the school as curriculum. The success or failure of any course rests on the school, teachers, and curriculum makers.
It should be child-centered and be designed keeping in mind the needs of society. The syllabus should always be flexible so that it can be amended easily.
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In this article, you knew about Curriculum, Its Meaning, Definition, and Characteristics. If you like this information, please share it with your friends too and also keep visiting our website ncert.infrexa.com.
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4th Grade ELA-Writing Curriculum . Course Description: The fourth-grade curriculum familiarizes students with the genres they will regularly encounter throughout school—essays and research reports. Students learn that the lenses they bring to reading Steps to Writing an Expository Essay for the Fourth Grade ... Although the expository essay can be written in a number of formats, the five-paragraph format is one frequently utilized for fourth-grade students. Brainstorming and Prewriting This is an important first step in writing any essay, especially the expository type. Writing Worksheets | Essay Writing Worksheets Here is a graphic preview for all the 4th grade, 5th grade, 6th grade, 7th grade 8th grade, 9th grade, 10th grade, 11th grade and 12th grade Essay Writing Worksheets. Click on the image to display our Essay Writing Worksheets. Sample informative essay for 4th grade - dentalworkny.com
Writing about Reading Unit: Literary Essay 4th grade Page 3 of 8 Last Updated: 6/2012 appropriate to task, purpose, and audience. (CCSS: W.4.4) b. With guidance and support from peers and adults, develop and strengthen writing as
Outlining Essays (Grades 3-6) | Scholastic.com Be sure to describe your examples clearly so that your reader will understand your position, or point of view. Conclusion: The conclusion of your essay should summarize your main idea. Restate your feelings and beliefs to make sure your main idea is understood. 2. Distribute copies of Outlining Essays (Grades 3-6) Student Reproducible (PDF ... SAT Essay: high-scoring student example #1 (article) | Khan ... SAT Essay score 4/4/4: Learn why this student received a perfect score! If you're seeing this message, it means we're having trouble loading external resources on our website. If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked. Your 4th grader's writing under Common Core Standards ...
Persuasive Writing Fourth Grade Writing Lessons and Prompts Persuasive Writing Prompts with Fiction Pine Cones for the Birds (Grades 1-3) The Gingerbread Man (Grades ...
Inquiry • Heart • Discovery. Submitting this form will email your Webmaster with a request to unlock this account.
5th Grade Essay Writing Worksheets & Free Printables ... Fifth grade students are expected to master and utilize many skills when developing and writing essays. Our fifth grade essay writing worksheets will give them the encouragement they need to remain composed while composing. From understanding various text types and their purposes in the organization ... Essay Outline How-to for Students & Teachers - TeacherVision Why Write an Essay Outline? An essay outline will help you organize your main ideas and determine the order in which you are going to write about them. Writing an outline is a very effective way to think through how you will organize and present the information in your essay. Sample Outline - Persuasive Essay
What are the basics of critical thinking . Creative writing forum ubc 6th grade research paper template problem solving strategies worksheets essay on pollution in punjabi language pdf critical thinking skills questionnaires write an opinion essay 4th grade mastering astronomy answers for homework kids.
4th Grade Writing Prompts Why not get your 4th graders thinking more about the world around us and challenge them to write essays using these 4th grade writing prompts on the Environment…. See Prompts. 6. Expository Writing Prompts on Family. Your students have plenty of personal experiences to write about when it comes to family. Essay Outline How-to for Students & Teachers - TeacherVision These clear, simple, and useful outlines provide easy-to-follow instructions on how to organize and outline your ideas before writing an essay. Each sample outline includes explanations of paragraph and sentence elements like thesis statements, topic and detail sentences, and a conclusion. Essay Examples
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Two years ago, G1 took a cognitive skills test at myBrainLab where some of his cognitive weaknesses were identified. He went through the BrainRx program and his trainer helped him to work on his weaknesses. The results of the training were far better than I could ever have hoped for.
At that time, G2 was too young for the program so he had to wait…
Lately, we have had concerns that G2 might have trouble with attention and focus. It is sometimes difficult to identify these issues when the only other comparison we have is a sibling. If that sibling happens to be on the extreme end of normal – how do you decide where normal ends and a problem exists?
Identifying and Understanding Weaknesses
The GIBSON Cognitive Skills Test measures the following cognitive skills:
- Processing Speed – weaknesses in this area often result in difficulty with basic reading skills, written expression, math calculations, and handling complex problems. These children often have slower performance and frequently require instructions to be repeated.
- Working Memory – weaknesses in this area often result in difficulty remembering names and completing problem-solving operations. These children often require instructions to be repeated.
- Long-Term Memory – weaknesses in this result in difficulty recalling information for tests, such as math facts, word definitions, names and facts. These children often require more practice and repetition than others.
- Visual Processing – weaknesses in this area result in difficulty with rapid sound/symbol processing and copying tasks. These children struggle to recognise whole words, they read slowly, they are less creative, and they have problems understanding information from graphics.
- Auditory Processing – weaknesses in this area often result in difficulty with phonetic reading activities and beginning spelling skills development. These children have poor listening and reading comprehension/language and vocabulary acquisition.
- Logic & Reasoning – weaknesses in this area may result in difficulty with math (including algebra, statistics, and geometry), and transfer and generalisation of learning. These children have trouble following rule-bound reading systems, they are slower on their feet when required to cope with a new situation, and they have poor creative writing.
- Visual/Auditory Memory Balance – identifies the child as a “visual” or “auditory” or “balanced” learner. Children with an imbalance tend to rely on their strength, which further compounds the problem of the weaker side.
- Work Attack – weaknesses in this area often result in not knowing the sound-letter relationships required to read and spell, resulting in less fluid (choppy) reading and poorer comprehension.
G2’s Cognitive Profile
To understand G2’s cognitive profile, we sent him for the Gibson test of brain skills. The results revealed that he had weaknesses in Long-Term Memory, Logic and Reasoning, and Auditory Memory. The latter was the most significant problem he had and it brought our attention to his real problem. When given visual instructions, G2 would be able to complete the task quite quickly. If the instructions were verbal, he would take a while to process the instructions before he could complete the activity. Because most of the instructions he is given (by us and by his teacher at school) are often verbal, we assume that his inability to immediately comply is because he lacked focus. Once we understood that he had a weak auditory memory, it made so much more sense.
BrainRx at myBrainLab
The BrainRx program is tailored to each individual based on their cognitive profile. For G2, that meant more focus on developing his weaknesses – Long-Term Memory, Logic and Reasoning, and Auditory Memory. When I recalled how painful it was getting through G1’s training program, I confess I did not look forward to it. Nevertheless, I had to be fair to both boys. Surprisingly, G2 took to his training with a great deal more enthusiasm. He truly is my “glass half full” boy. Even when the training became challenging, G2 was far more compliant in persevering and continuing with the program.
At the end of his 75 hours of training, we saw improvements across most of his cognitive skills, including all three areas of weaknesses identified at the beginning:
- Long-term memory increased from the 63rd percentile to 71st percentile
- Logic & Reasoning increased from the 74th percentile to 97th percentile
- Visual/Auditory Memory became more balanced (in the pre-test, he favoured his visual memory)
Unfortunately, his results were not quite as impressive as G1’s, but therein lies the difference between my two boys. G1 is the calm, collected mind that considers the options before acting. G2 is as impulsive and excitable as he is spirited and rambunctious. His clarity of mind is often affected by his emotions. His errors are not always because of inability but sometimes the result of carelessness.
G2 will likely require more brain training in future. For now, we are content with the results he has achieved with the BrainRx program at myBrainLab. Moving forward, I believe he will benefit from mindfulness training and activities that help develop self-regulation so that he might curb some of that impulsiveness.
Disclosure: we were invited by myBrainLab to take the test and try their brain course but rest assured that this has not influenced our review in any way.
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Student voice and choice is a term that emphasizes the value of personalized learning. According to Herold (2019), when it comes to personalized learning, “the idea is to customize the learning experience for each student according to his or her unique skills, abilities, preferences, background, and experiences.” Anstee’s 2011 book Differentiation Pocketbook focuses on choice enhancing the trust and respect between student and teacher while creating student ownership and engagement, which leads to increased motivation and success when clear parameters are established.
Choice boards are one of the simplest ways to implement voice and choice in the classroom by exposing students to a range of topics that extend their learning or provide various performance task options for the same concept or standard. In my sixth-grade science classroom, I provide all students with the common knowledge of a unit; then students have three options of how they’d like to apply and extend their learning. Over the year, some options connect to nonfiction reading, informative writing, creative writing, application to science-themed fiction books, data analysis, connection to a historical event, engineering, and art (see Figure 1; see also Intro to Newton’s Science Laws and The Ecology Choice Board in Supplemental Materials). For example, to start the year, we learned about the metric system. Students then apply their knowledge by either learning about echolocation or about the metric system in various Olympic sports, or collecting data on the distance that paper airplanes fly. Students have two weeks to complete the assignment and are required to complete at least one option. Many students choose more than one to complete.
Some of the options also do pre-teaching for upcoming units, such as the topic of echolocation, which comes up in our plate tectonics unit when they learn about Marie Tharp and Bruce Heezen’s mapping of the Atlantic Ocean’s seafloor. This approach of connecting current units to future units has the added benefit of providing students with opportunities to be leaders. For example, one of the choice board options in the geology unit was to learn about glaciers. Later on, in a plate tectonics unit, those students provided the class with an overview of glaciers, which helped when we discussed how glacial striations across continents serve as evidence for the theory of continental drift.
At the start of any given unit, I show the choice board as a long-term assignment (which we call the unit’s “Challenge by Choice”), and I share the link to each assignment option in Google Classroom. I then explain which choices students could begin now and which ones they need to wait for as they acquire more background knowledge. Having the extension work during the unit, rather than at the end, has enhanced students’ engagement, our discussions, and student understanding of the unit. Students also enjoy sharing their learning experiences with others who choose the same topic. For example, for those who chose to learn about Mt. Vesuvius and Pompeii in the plate tectonics unit by watching a documentary and exploring an interactive website, I heard chatter at the start of class between students about one of the dramatic parts of the documentary. There’s always a buzz about the choices, which is enhanced by beginning class with a quick check-in about progress on their work. This also becomes a time for students to offer suggestions for others who chose the same topic.
In the 2020–2021 school year, when I taught much of the year as a mix of in-person and virtual learning, choice boards were particularly effective. Choice boards allowed students much-needed flexibility, individuality, and an opportunity to extend their learning in various directions. Choice boards could be an in-class activity, homework assignment, or long-term assignment throughout a unit. I used one choice board, the environmental issue action project, as a combination of all three. Students researched an environmental problem of choice, then chose to show what they learned through an informative art project that would be displayed, to write about the problem and their action ideas to stakeholders, or to do direct action about the issue. Choice was already built into which environmental topic they chose, but the choice board reflected various approaches to the final product of the unit. See the universal rubric for the choice board, which emphasizes the depth of knowledge and connecting concepts to our unit of study, in Supplemental Materials.
Anstee (2011) emphasized avoiding extensions that are more of the same, or MOTS as he calls them, and instead focuses on HOTS, or higher order thinking skills. To improve engagement and ownership, it’s vital that students feel these assignments are a valuable use of their time. Research by Thibodeaux, Harapnuik, and Cummings (2019) found that perceived ownership from choice, especially when seen as authentic learning, is an indicator of students’ engagement with their learning environment. In a survey of my 92 sixth-grade students about the use of choice boards in science class, 96% reported positive experiences with choice boards. Overall, the options create excitement about learning, and students voiced that they felt empowered by having a choice. These quotes from my student survey reflect the majority of students’ answers:
Although students were only required to do one of the options, many students did more than one assignment. Out of the three choices for our Earth’s history unit, 55% of the students completed one option, 32% completed two options, and 13% completed all three options. Although most students liked the independent pacing of two weeks to complete the choice-board assignment, a few students struggled with time management. For students who struggled, I chunked the assignment into smaller due dates. I also helped struggling students reflect on their interests and strengths before choosing a topic.
When designing the choice board for each unit, I worked with the other sixth-grade science teacher to develop ideas, which led to a variety of approaches to assignments. Because we collaborated on the choice boards, all students in the grade were working on the same assignments, which added to the conversations students were having gradewide about what they were learning in science. Using the same choice boards also created continuity across our classrooms in terms of learning experiences and unit organization.
Out of all the benefits, the most significant is that voice and choice sets a positive tone in the classroom that embraces the endless application of learning and students feeling valued as individuals. For example, one of the Earth’s history unit options was making a visual timeline of Earth’s past. Figure 2 shows how an art-loving student visualized the sequence of events. Figure 3 depicts Earth’s history as a road trip that begins at Santa Monica Pier in California (when Earth formed) and ends at our middle school in Maine (current day). Each student conceptualized the events but did it in their own way after reflecting on their strengths. There is no presentation for most choice boards, but when students create something like a model, story, or song, I like to give them the option to show the class. When the student presented her map, she talked about how much math this took to complete and pointed out how crowded her road trip became around New York. When presenting, students become the teachers, and you can see their pride in how their work reflects their strengths, individuality, and knowledge of the topic. •
Katie Coppens ([email protected]) is a science teacher at Falmouth Middle School in Falmouth, Maine. She is the author of NSTA’s Creative Writing in Science: Activities that Inspire and various science-themed books for children including The Acadia Files chapter book series, Geology Is a Piece of Cake, and Earth Will Survive, but We May Not.
Anstee, P. 2011. Differentiation pocketbook. Hampshire, England: Teachers’ Pocketbooks.
Herold, B. 2019, November 5. What is personalized learning? (Special Report). Education Week. www.edweek.org/technology/what-is-personalized-learning/2019/11
Thibodeaux, T., D. Harapnuik, and C. Cummings. 2019. Student perceptions of the influence of choice, ownership, and voice in learning and the learning environment. International Journal of Teaching and Learning in Higher Education 31 (1): 50–62.
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Play these engaging active listening activities for kids with your small groups!
Active listening activities promote mindful thinking. They encourage thoughtful, attentive communication and connect students to the speaker through both verbal and non-verbal cues. But it’s a skill that needs to be practiced and honed, especially for younger students. Use these fun speaking and listening activities as a center during your next small group period to introduce or revisit this crucial skill.
Listening Activities for Elementary Students
1. Draw this
For younger students, or for students first being introduced to active listening, start with something hands-on and familiar, like drawing. For this active listening activity, either you or a student lead will list step-by-step instructions for an image.
For example, if you wanted your students to draw a house, the instructions could sound like this:
“Draw a large square in the center of your page”
“Then draw a small rectangle vertically on the bottom of the square.”
“Draw two small squares on either side of the rectangle.”
“Now draw a large triangle on top of the largest square.”
These instructions should guide students toward a completed image that isn’t recognizable until the final instructions. To help student leads, you can provide pre-written instructions for several images and allow them to choose from your selection. Students will then reveal their artwork to see if their drawings followed the given instructions.
Have students play this listening game first to practice.
2. Don't speak twice
This activity is an exercise in restraint for some students because until everyone has spoken once, no one is allowed to speak a second time.
For this speaking and listening activity, you or a student will select a broad topic of choice, such as movies or animals. Then, students will take turns commenting on or asking a question about the topic. If a question is asked, no one is allowed to speak unless responding to the question until an answer has been given. This is repeated until every student has spoken at least twice for one to two minutes.
3. Simon says
This classic childhood game is perfect for practicing listening skills in small groups. To make this game into a center, you or a student lead will say a command then wait to see if the players responded correctly. To make this game slightly more challenging for older grades, have students take turns giving commands.
Typically, students who perform a command that didn’t begin with the phrase “Simon says” lose the game and must sit out; however, to keep all students engaged during the entire center, an alternative rule can be having that student miss their next turn to say a command.
Another classic listening activity for kids is telephone. In this center, students will form a circle, then take turns creating a message that will be whispered to each student until it reaches the student who created the message. If the message at the end matches the message from the beginning, the group wins! The next student in the circle creates the next message and the game repeats.
This game works best with at least five students in the small group so there are enough students to pass the message to before it reaches the end. With smaller groups, it’s also best to require longer messages that are about eight to 10 words.
5. Popcorn storytelling
This game can be played one of two ways. The first way begins with a student reading a passage from a book or printed story. At the end of any sentence, the student may call on another student to pick up where they left off. Students will do this until the story is finished or until it’s time to move to the next center. This version works best for upper elementary students who are capable of reading long passages. Here’s a story you can use for this listening activity.
The second method offers students a bit more room for creativity because here they will construct their own story. One student begins the story in any setting with any character and provides as much or as little detail as desired. They will then select another student at random to continue the story. Students will continue to add to the story until it’s time to move to the next center. To give your students inspiration, have them read this story beforehand.
In both games, each student is required to speak at least twice.
6. My favorite toss
Not only does this game help students practice active listening – it also exercises their memory. In this center, everyone stands in a circle and one student is given a ball. The student holding the ball begins by choosing a topic, such as books or food, then shares their favorite item from that topic. That student then passes the ball to any other student who must first tell the favorite of everyone before them then add their own favorite.
For example, if the beginning student said their favorite sport was swimming, the next student would say, “Andrew’s favorite sport is swimming, and my favorite sport is basketball.” The following student would say, “Andrew’s favorite sport is swimming, Maria’s favorite sport is basketball, and my favorite sport is hockey.”
The game continues until every student tells a favorite and correctly lists the favorites before their own. If a student lists the previous favorites incorrectly, the other students must help them repeat the list correctly. Once the game is finished, the next student creates a new topic.
7. Audio stories
If story time is a favorite activity in your class, your students will love this last center idea. Here, all you need to do is pick a read aloud story to play for your small group. Be careful not to let your students see the words. Once the story is finished playing aloud, have your students summarize what they heard in as much detail as possible. If time allows, replay the story so students can see if they were correct.
eSpark has several read aloud stories that are perfect for this active listening activity. Here are a few to start:
My Pet Llamacorn Grade level: PK-K
Can We Make Smores Now Grade level: PK-1
Anisha Is Bored Grade level: PK-1
Squidges Day at the Doctor Grade level: 1
Azure Leads The Way Grade level: 2
Summer Drumming Grade level: 3
Game Night Grade level: 3
Swallowed Grade level: 5
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A Tasty Lesson
Students enjoy eating, especially when the food is something yummy. Almost everyone likes chocolate; therefore, it is an excellent topic choice for an English as a second language lesson plan. Combining activities such as research, creative writing and taste testing, creates a lesson that provides students with ample opportunities to practice their language skills, especially when it ends in a Chocolate Festival.
This lesson should take two to three weeks to complete. The recommended level of competency is for intermediate to advanced English language learners.
Note: Official celebrations occur as Chocolate Day on July 7 and National Chocolate Day on October 28. There is also World Chocolate Day on September 4.
The objectives of this ESL lesson include students:
- researching the origin and history of chocolate.
- assimilating knowledge for later discussion.
- creating poetry using information on chocolate.
- discovering the various types of chocolate.
- discussing their like or dislike for chocolate.
To begin an ESL adventure into chocolate, have students do a WebQuest on the subject.
Divide students into small groups, assigning each person a task, such as historian, reporter, chef and botanist. Each person researches chocolate from his or her perspective:
- The historian creates a timeline of important dates and facts.
- The reporter writes an article on an aspect of chocolate. (Have them present their topic before proceeding to research.)
- The chef creates a meal incorporating chocolate in every course. The recipes might be from his or her own culture.
- The botanist develops a flyer explaining the cocoa plant: how to produce chocolate, where to find cocoa plants and how to care for them.
Tell the students that at the end of the lessons, they will present their findings at the Chocolate Festival. Encourage them to use technology such as PowerPoint or videos. Remind them that they will need to show references for the information they use. (This would be a good time to discuss citations and writing styles, especially if students are college bound.)
Have students practice their vocabulary by creating an acrostic of chocolate. An acrostic is a form of poetry that uses the individual letters of a word to begin each line. To start, write the word chocolate down the side of the page. For each letter, the students write a word or phrase related to the topic.
Help students by providing a vocabulary list from which they can take words for their poem.
Everyone likes movies. ESL students enjoy them, too, especially if given information and vocabulary before the viewing.
Willy Wonka and the Chocolate Factory is an excellent film to show during lessons on the delicious confection. Explain the plot to the students without giving away the ending. Provide them with a word list of vocabulary heard in the movie. Discuss the list before showing the movie. Run the movie from beginning to end. Do not stop and start. This makes it difficult for the students to keep up with the plot.
Make the movie day enjoyable. Provide popcorn or allow students to eat snacks they bring from home.
At the end of the movie, ask if the students have questions about the movie. After discussing all the questions, ask students what the themes of this movie are. Explain that themes are the main points of the story. For instance, family relations are a theme, as is competition.
Note: If the movie is not available, obtain copies of the book, Charlie and the Chocolate Factory, to read in class as well as at home. Discuss each chapter. Have students keep reading journals to track themes, vocabulary and questions they may have.
After students have completed their WebQuests, hold a Chocolate Festival. Invite other classes, parents, family and friends to attend the final day’s Chocolate Festival. Students may create invitations to send out to everyone.
On the day of the festival, begin with each group of students presenting their research. Provide time for guests to ask questions.
After the presentations, have different types of chocolate on hand for people to take a Taste Test. For the Taste Test, provide bite-size piece of dark chocolate, semi-sweet chocolate, milk chocolate and white chocolate. Ask each person that participates to vote on his or her favorite. Have students track the results on the board. Add up totals and announce the top favorite to everyone at the end of the festival.
Assess students with a rubric that covers all the language skills — reading, writing, listening and speaking. The rubric gauges student proficiency in pronunciation, grammar, reading comprehension and the ability to answer questions competently.
Informally assess student participation in the WebQuest and Chocolate Festival.
The main goal of this free ESL lesson plan on chocolate is to engage students in authentic academic activities in order for them to practice their skills in an enjoyable atmosphere, thereby gaining confidence in their language skills.
ESL Holiday Lessons: English Lesson Plan on World Chocolate Day, S. Banville, 2009, http://www.eslholidaylessons.com/07/world_chocolate_day.html
Rocket Mom’s: Chocolate Day, http://www.squidoo.com/chocolateday
Content from author’s experience.
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Open and Closed Form Writing | Sarah Cash Open Form Writing. 1. Story narrative vs. an and then chronology-Storytelling depicts events through time.-Storytelling should be connected. "Novelist E.M. Forester offered the simplest definition of a story when he rejected "The king dies and then the queen died," but accepted "The king died and then the queen died…of grief." School Bullying: Free Expository Essay Sample The Problem of School Bullying One of the most important periods in an individual's life is, without doubt, their school years. School is a place where children and teenagers socialize, obtain different social skills, and prepare themselves for their future life and career. Exploratory Research Paper - s3.amazonaws.com After that you have to convey it into an your essay should be free of plagiarisms, grammar and formatting mistakes. If you are ready to face all these challenges, we can wish a good luck in getting the highest grade for your paper! problems while writing their essays can always find some help from outside! Our Essay Writing Company
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Note: this page links to assignments and assessment tools. For information about how to use specific software applications, check Technology Integration .
5 Ways To Enhance Instruction with Digital Narratives
Tips for success as teachers integrate digital storytelling in the classroom.
10 Tips for Dramatically Improving Your Videojournalism Stories
Many of these tips also apply to digital storytelling.
Students are required to read a novel of their choice. Students will then demonstrate an understanding of that novel by creating a book talk. In the book talk, students will be required to give an overview of the book, read two passages, and give an overall critique of the book. Students will create a Photostory for the presentation.
An outstanding example of digital storytelling.
The Clues to a Great Story
One-page handout with 5 essential elements for good storytelling. Uses "The Ugly Duckling" and more contemporary stories for examples.
Everything you need to help students craft a digital story is here: models, procedures, rubrics.
This collection of links includes classroom applications and an FAQ list.
This site offers practical tips with wit and insight.
Digital Storytelling Finds its Place in the Classroom
A teacher talks about digital storytelling in his classroom and offers step-by-step advice for those who'd like to try it in theirs.
Digital Storytelling with the iPad
Follow the links on the left for a list of resources.
Educational Uses of Digital Storytelling
It's all here: introduction, getting started, examples, resources, and more.
Get Started with Digital Storytelling
An overview of the process.
How to Find Free Music for Videos
This page explains types of licenses for music use, include Creative Commons, and links to sites that offer music for use, explaining the type of license for each.
This 5-page handout includes tips for a good interview and includes a model. It is designed for grades 6-12 and requires Adobe Reader for access.
Personal Narrative and Digital Storytelling
A teacher details her planning for a classroom multimedia unit on personal narrative. Adobe Reader required for access.
Use the art on the site to illustrate or inspire student storytelling. Good for elementary students or those writing for them.
That's the Story of My Life: Creating Storyboards for Graphic Novels About Adolescence
Students consider stories about adolescence and adolescents, and then fictionalize a scene from their lives in storyboards for graphic novels.
YouTube Audio Library
A variety of royalty-free music tracks for background music. Requires Google account for access.
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Educators today hear a lot about gaps in education – achievement gaps, funding gaps, school-readiness gaps. Still, there's another gap that often goes unexamined: the cultural gap between students and teachers.
A bunch of teachers here, they think they know what's wrong with us. But they don't know. If people want to help us, they have to see what we've been through, not from what their own experiences tell them.— Billie, a Lakota teen speaking of the teachers at her high school
Most of us in the education profession are white, middle-class, monolingual-English speakers. Increasingly, the same profile does not hold true for our students. Often, when we stand before our classrooms, the faces looking back at us do not look like our own. Many of us try to bridge this difference with an embrace of color-blindness or the Golden Rule, treating others the way we would want to be treated.
But the truth is: culture matters.
Culture isn't just a list of holidays or shared recipes, religious traditions, or language; it is a lived experience unique to each individual. As educators, it's our job to stimulate the intellectual development of children, and, in this era, it's simply not enough to operate on the axis of color-blindness.
To truly engage students, we must reach out to them in ways that are culturally and linguistically responsive and appropriate, and we must examine the cultural assumptions and stereotypes we bring into the classroom that may hinder interconnectedness.
To engage students effectively in the learning process, teachers must know their students and their academic abilities individually, rather than relying on racial or ethnic stereotypes or prior experience with other students of similar backgrounds.
Many teachers, for example, admire the perceived academic prowess and motivation of Asian American students and fail to recognize how even a "positive" stereotype isn't positive if it presses students into molds not built for them individually.
Hear elementary school teacher, Diane Holtam, speak about how she works with other teachers to disabuse stereotypic notions of Asian American students' abilities.
- What are some of the myths about Asian American students in the classroom that Diane speaks about?
- How does Diane suggest teachers reach out to Asian students?
You're Asian, How Could You Fail at Math?
In this essay from Rethinking Schools, Benji Chang and Wayne Au unmask the myth of the "model minority."
- How are Asian students and their non-Asian counterparts affected by inappropriate teacher expectations and stereotypes?
- Which of the strategies that the authors offer to overcome this "model minority" myth can you use in your classroom? Can you think of other ways to build cohesion and understanding in your classroom?
Culturally Relevant Curriculum
Curriculum, in its most simple, essential, commonly understood form, is the "what" of education. It is crucial to academic performance and essential to culturally responsive pedagogy. Even the most "standard" curriculum decides whose history is worthy of study, whose books are worthy of reading, which curriculum and text selections that include myriad voices and multiple ways of knowing, experiencing, and understanding life can help students to find and value their own voices, histories, and cultures.
Hear high school creative writing teacher, Foster Dickson, talk about text selection and the importance of a diverse selection of authors.
- What does Foster say about including authors of different backgrounds and the message it sends to his students?
- How does he think reading authors from different backgrounds will impact his students?
For a high school on South Dakota's Rosebud Reservation, culturally responsive curriculum is proving a hefty antidote to the violence, poverty and growing cultural disconnect hindering student success.
- How do the teachers at Todd County High School use culturally relevant teaching methods to connect with their Lakota students? How do the students interviewed say this makes them feel about themselves and their studies?
- Does the disconnect between student cultural background and teacher cultural background that exists in the story, exist in your school? How can you bridge this disconnect?
Honoring Home Languages
Teachers are often a young immigrant's first regular, ongoing contact with someone outside their home community and culture. It's a relationship that can provide the emotional scaffolding necessary to cross the linguistic and cultural divide between country of origin and country of residency.
With a hearty mix of creativity, cultural acumen, and professional expertise, teachers can help English language learners acquire language skills more rapidly — and foster inclusion in the school community.
Listen to elementary teacher, Diane Holtam, talk about bridging the gap between her newly arrived immigrant students' home language and English.
- What techniques did Diane use to help her ELL students learn English more quickly?
- How might you replicate some of her strategies in your classroom? Even if you are a monolingual English speaker, what outreach or other work might you do?
Crossing Borders/Borders Crossing
The depth and clarity of a teacher's multicultural lens can make — or break — immigrant students' ability to learn.
- What does the author mean by "multicultural lens" and what is its importance in working with students from backgrounds different from your own?
- What role does teacher attitude play in the development of linguistically inclusive classrooms? How is that attitude conveyed through teacher behavior in the article? In your school?
- Breaking the Prejudice Habit by Patricia G. Devine
- Preparing for Culturally Relevant Teaching by Geneva Gay
- Multicultural Education: Strategies for Linguistically Diverse Schools and Classrooms by Deborah Menkart
- Effective Literacy and English Language Instruction for English Learners in the Early Grades
- Nene and the Horrible Math Monster ($16.95), by Marie Villanueva and Ria Unson, is about Nene, a Filipino girl who confronts the minority myth that all Asians excel at mathematics. Nene faces her fears about doing math and overcomes them. Polychrome Publishing Corporation. ISBN-13 9781879965027
- Culturally responsive teaching: Theory, research and practice. ($24.95) by Geneva Gay. New York: Teachers College Press, 2000. ISBN-10: 0807739545 ISBN-13: 978-0807739549
- Teaching to change the world, 3rd Edition. ($66.25) by Jeannie Oakes and Martin Lipton. Boston: McGraw-Hill, 2006. ISBN-10: 0072982004 ISBN-13: 978-0072982008
- Unraveling the Model Minority Stereotype: Listening to Asian-American Youth. ($19.95) by Stacey J. Lee. New York: Teachers College Press, 1996. ISBN-10: 0807735094 ISBN-13: 978-0807735091
- We can't teach what we don't know: White teachers, multiracial schools, 2nd Edition. ($13.95) by Gary Howard. New York: Teachers College Press, 2006. ISBN-10: 0807746657 ISBN-13: 978-0807746653
- The Crosscultural Language and Academic Development Handbook: A Complete K-12 Reference Guide. ($69.60) by Lynne T. Diaz-Rico and Kathryn Z. Weed. Boston: Pearson, 2006. ISBN-10: 0205443257, ISBN-13: 978-0205443253
Willis Hawley, Jacqueline Jordan Irvine and Melissa Landa designed the instruments and framework for this activity.
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Our collection of picture books featuring Black and Indigenous people and People of Color (BIPOC) is available to the public. *Inclusion of a title in the collection DOES NOT EQUAL a recommendation.* Click here for more on book evaluation.
COVID-19 Info: Currently, our collection is only available via Interlibrary Loan (ILL). However, we appreciate your patience as these services are still limited and you may find inactive links to the Bates Library Catalog and MARC record on certain book pages.
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"How an unruly and angry young prince transformed into a beacon of benevolence and peace. As the son of an emperor, Ashoka was destined for a life of greatness. But as a boy, Ashoka felt like he was living in the shadow of his brother, growing to become arrogant, impatient, and above all, angry. Wanting nothing more than to be king, Ashoka learned to be cunning, and when he finally managed to ascend to the throne, he was eager for war. After a brutal battle for the kingdom of Kalinga, Ashoka went to survey his new lands. On his ride through the battlefield, Ashoka was haunted by the great destruction that he had caused. This moment marked a change of heart for Ashoka. Upon returning home, his closest friend and wife, Asandamitra, encouraged him to study the wisdom of the Buddha, the dharma, and to learn meditation as a way forward from his destructive past. When Ashoka finally met the wise Buddhist monk Upagupta, it transformed the way he saw the role of a king. He became compassionate toward animals, people, and the environment that encompassed his kingdom as the first emperor of India. Ashoka's life is a real, foundational story in Indian history, and the pillars erected during his reign over two thousand years ago have become the emblem of the national flag. Ashoka's journey is a story of profound transformation, demonstrating the power of reflection, compassion, and wisdom. This is a modern telling of how Ashoka the Fierce became known as Ashoka the Great."-- publisher
"“In the full bloom of spring, in a beautiful garden, in a place called Lumbini, a prince was born.” So begins the extraordinary story of the life of Siddhartha Gautama, the prince who would become the enlightened Buddha, the Awakened One. This classic tale follows Prince Siddhartha’s journey of truth-seeking and discovery, including his life-altering encounters with human suffering and his realization of the Four Noble Truths. Today, millions of people all over the world follow the Buddha’s teachings on meditation, selflessness, and compassion. Rendered here in exquisite original watercolor illustrations, this inspiring story is brought to life for young readers curious about one of history’s most monumental and influential figures." -- publisher
"A colorfully illustrated, pocket-size picture book biography of the Buddha Gautama Buddha lived and taught in ancient India between the sixth and fourth centuries B.C.E. It is said that he was a prince before he renounced his former life in order to search for the cycle of rebirth and an end to suffering. He founded the religion of Buddhism, which has hundreds of millions of followers to this day and is the world's fourth-largest religion. Pocket Bios are full of personality, introducing readers to fascinating figures from history with simple storytelling and cheerful illustrations. Titles include men and women from history, exploration, the sciences, the arts, the ancient world, and more." -- publisher
"A nonfiction picture book with full-color illustrations about the life of the Buddha, from award-winning author and illustrator Demi Many centuries ago, in a kingdom in the foothills of the Himalayan mountains, a miraculous child was born to the king and queen. The young prince, Siddhartha, was raised in the greatest luxury, sheltered from all pain and ugliness. But one day Siddhartha left the palace and saw, for the first time, human suffering and death. He knew then that he must relinquish everything—his family, his wealth, his position—to discover the Truth of life and death. After a journey of enlightenment, he became the Buddha, and today millions of people around the world live by his teachings. Demi's exquisite illustrations, inspired by the paintings and sculptures of several Asian cultures, are layered with meaning; each brush stroke has a special significance. Demi, herself a Buddhist, brings her devotion to the teachings of the Buddha and her vast knowledge of his life to this comprehensive picture-book biography of an extraordinary spiritual leader." -- publisher
"Who was the Buddha? Once upon a time in ancient India, a prince was born. His name was Siddhartha, and one day he would inherit a powerful kingdom. His father tried to protect him from the suffering and hardship beyond the palace walls, but just like children everywhere, the prince longed to see the world. Under the Bodhi Tree is the story of a boy and his journey for understanding that eventually led him to the path of peace. Told in lyrical language, this excellent introduction to the story of the Buddha is beautifully illustrated and perfect for children who are curious about the real people who made history." -- publisher
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Table of Contents
- What is creative learning?
- What makes an intriguing story?
- Now, what exactly is an emotion?
- Creative learning is fueled by emotions.
- Why is creative learning important?
- Simple creative learning solutions you can embrace
- Key takeaways
Using creative ways, students may gain knowledge and build abilities. Creative learning uses creative approaches to lead learners through the educational process, rather than defining how knowledge is acquired.
Rather than dictating how knowledge is received, creative learning uses innovative approaches to lead students through the learning process. Therefore, encouraging creative thinking is an important part of positive education. The purpose of this blog is to introduce and discuss the factors involved in creative learning.
But first, let’s define our central concept.
What is creative learning?
Creative learning calls into question what is clear, usual, and accepted. It’s about breaking free in certain ways. We aren’t, however, pushing boundaries for the sake of breaking them.
No! We are breaking new ground for good reasons, like efficiently constructing a comprehension framework.
The following is a list of some of the most well-known creative learning techniques-
- Hypothetical situations
- Experimentation (exercises or games)
- Analogies and metaphors
- Discussions and brainstorming sessions
- Story narrations
Let’s look at an example of story narration, one of the most used creative learning methods.
Storytelling is a form of creative learning that makes it more appealing and engaging. This way, the stress from the learning process is relieved thereby enhancing the learners’ attentiveness.
It is the art and science of strategically mapping out the information and emotional touchpoints in your learning experience. It helps you to maximize retention, creates unwavering attention, and quite literally creates learning experiences that mimic the flow of human development.
Before we get into how, it is important to understand why.
What makes an intriguing story?
Consider something, an object or souvenir, that holds sentimental significance for you.
Do you recall the exact moment you purchased it and how you felt, with all of the sensory details?
Do you have any idea why?
Because long-term memory is aided by emotions linked with knowledge. Learners’ attention is enhanced when they have long-term memory!
Emotions drive us to pay attention, and attentiveness compels us to learn.
Now, what exactly is an emotion?
Emotions vs Feelings
These two nouns are not the same. Emotions are physical responses to stimuli that awaken our senses. Feelings, on the other hand, are both physical and mental. Because of our feelings, we pay attention to and interact with the environment around us.
Emotions can be used to our advantage. We all know that particular emotions elicit specific responses. And we all know that emotions give rise to feelings, which make us pay attention.
So, you may ask what is the relation between emotions and what do you need to keep your audience/learners interested?
Creative learning is fueled by emotions.
All you have to do is elicit emotions to get your learners’ attention. You can do it with stories as well! Emotions govern us, and stories elicit emotions.
Appeal to the six primary emotions—anger, disgust, fear, pleasure, sadness, and surprise—to make a learning experience engaging and keep learners focused.
Keep them in that attitude by encouraging feelings like curiosity, joy, or amusement once you’ve gotten their attention and they’re receptive to learning.
Therefore, narrating a compelling story is a way of incorporating emotions into a creative learning experience.
Let’s look at why creative learning is important now that you have a general knowledge of it.
Why is creative learning important?
Creative learning experiences elicit strong responses from students. Learners retain knowledge and develop their comprehension for longer when they participate actively in the process. That, however, is only the start. Learning in a creative method accomplishes a lot more, such as-
Problem-solving is stimulated
As a result of creative learning opportunities, learners’ perceptions of problems evolve. They become more inventive and imaginative.
The very first step is visualizing alternatives or possibilities from many viewpoints. They can foresee and overcome challenges because of this adjustment in viewpoint.
Encourages critical thinking
Learners provide novel answers and ideas. Then they assess how far they’ve progressed in putting them into practice and make changes to enhance the process.
Motivates to take risks
Students experience failures when they participate in creative learning. They can make decisions, and some of them will fail to provide results.
Creative learning, on the other hand, provides a secure setting in which students may take risks and experiment with a variety of outcomes. Accepting “failure” helps kids take greater risks while reducing their anxiety.
Encourages an inquisitive mindset
Creative learning solutions are unconventional. The unconventional learning approaches piqued learners’ interest in the process and material, which also encourages quick learning. Curiosity and discussion are stimulated by new ways of learning, which leads to fascinating discoveries.
Boost your confidence through creative learning strategies. Learners are more inclined to put what they’ve learned into practice without hesitation.
Simple creative learning solutions you can embrace
- Think how you might be able to intensify your current problem: Just imagining the worst-case scenario might help you come up with new resolutions
- Consider how to make your situation more manageable: This is the inverse of pondering how you may intensify your ongoing predicament, yet it operates in the same manner. You eliminate limits from your problem-solving approach and evaluate options thoughtfully. Finally, you make a decision and carry it out.
- Continue to ask more questions: Brainstorming is the process of developing new ideas. Creating questions, on the other hand, is more effective. You will be able to dig deeper into your problem and challenge your assumptions as a result of doing so. This might help you come up with a lot of different options.
- Creative learning has changed the perceptions of educational institutes about education and learning.
- It holds true in every situation where people are learning.
- It also encourages learners to learn for the rest of their lives by encouraging them to think creatively.
- Those who indulge in creative learning are more likely to-
- Accept the perspectives of others with an open mind.
- Inquire thoughtfully.
- To overcome difficulties and innovate, use creativity and perseverance.
- Adapt to adversity.
- Accept uncertainty with courage
Liked this blog? Read: Time-saving tips for everyone who feels time flies by quickly
What is the definition of creative learning in the classroom?
It is when students can use their imaginations and critical thinking skills to generate new and significant forms of ideas; they can take chances, be self-reliant, and be flexible.
What are the benefits of innovative learning for students?
Creativity belongs in many areas of life, not just in children’s games and extracurricular activities. It engages all of your senses and generates previously undiscovered information. Students of all ages should learn by creating since it aids in integrating information and adds joy and significance to their educational experience.
What are some ways to inspire students to be more creative?
Some ways to be more creative are-
- Practice mindfulness
- Brainstorming sessions
- Encourage risk-taking
- Spend time outside the classroom
- Encourage students to lead
- Make use of visual aids as necessary
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There is often a fine line between a child's history lesson and his or her creative writing class, says Louise Fahey
'Empathy' is now a key part of national curriculum history teaching. The idea is that, by asking children to project themselves into a situation or the mind of somebody from the past, we can help pupils to relate to a history that would otherwise be alien to them.
But in struggling to make history more 'accessible' to our pupils, are we helping to develop their historical imagination? Or are we depriving them of the knowledge this imagination requires?
The motivation for empathy in history teaching seems to be a fear that pupils find the subject boring or old-fashioned. Subjects such as the English Civil War, the French Revolution and the British Empire can now be skipped over because they are considered too difficult or Eurocentric for the children of today. Pupils are more likely to be asked to investigate the life of a slave on a nineteenth-century plantation or the role of women in the Civil War. This is seen as making history more accessible and interesting, and teaching children to be tolerant of different belief systems. But if children's knowledge depends on those aspects of the past that are easy to teach and learn, they will end up with a patchy view of the history.
Historical imagination requires a good knowledge of the subject. Without this children can only make up stories from the past. A colleague recently described an essay by a GCSE candidate who was studying the Chinese communist revolution of 1949. Pupils were asked to imagine they were participating in Chairman Mao's long march and to write an account of their experiences. This candidate wrote an exchange between a mother and daughter about the mother's discomfort, because her foot bindings were too tight and there were still several thousand miles to go.
The use of empathy in the classroom tends to concentrate on the hidden voices from the past: the peasant or the mill- worker. This can lead to banal, unchallenging lessons. Pupils may have a limited knowledge of the feudal system, but know that peasants had no rights and were tied to the land; they may also have been shown a picture of a peasant's cottage. The resulting written work is very often a narrative description of a dull and miserable life, which changes little from period to period. Pupils may have little sense of time or historical context, but will get a mark as long as their answers are plausible if not historically accurate in any specific sense.
Roleplay and empathy work are not necessarily bad classroom techniques, but they can become a substitute for teaching historical content. History teachers should be asking whether what we teach should be based on what children want to learn, and questioning the consequences of this. If history were completely designed to relate to children's lives today, we might deny them access to knowledge and subjects which could arouse their curiosity in a world bigger than the small one they inhabit.
Reproduced from LM issue 117, February 1999
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Edomoji is a generic term for lettering styles often used during the Edo period (1603-1868). It included those used in sumo wrestling, kabuki, on lanterns, and senjafuda (paper slips posted on shrine pillars by pilgrims); all of which embody the Edo spirit. Originally, each style was used for a different purpose and had a different name. For example, “sumoji” was for sumo wrestling, “kanteiryu” for kabuki, “yosemoji” for entertainment halls, and “kagomoji” for senjafuda. These attractive calligraphic styles that emerged during that period are still used today.
The bold, thick calligraphic style used on paper lanterns and senjafuda, or paper slips posted on shrine pillars by pilgrims, are called "kagomoji" which literally means “basket letters.”
Characterized by soft forms inspired by kabuki dance, the kanteiryu calligraphic style was used in kabuki for scripts, dressing room posters, and other items for internal use (as opposed to promotional items), as well as signboards and programs in kabuki theaters. The size and legibility of the characters were adapted to how and where they were used.
Used in entertainment halls for storytelling, comedy, magic, and music, yosemoji conveys the thrilling and fun atmosphere unique to such halls. In yosemoji lettering, the characters written in black ink represent members of the audience, and the white space around the characters represent the tatami mats they sit on. Yosemoji characters are written so close to each other to symbolize the hope for “so many people sitting shoulder to shoulder that there are no spaces in between them.” Moreover, yosemoji also connotes good fortune, written in an upward sloping way that embodies the hope for an upsurge in spectators.
Sumo wrestling has a long history that dates to the Heian period (794-1185). However, it was during the Edo period (1603-1867) that sumo wrestling began to be practiced in earnest, and professions related to it were established. Exhibition matches were held throughout Japan, and sumo wrestling flourished.
Sumoji is characterized by straight lines and a few gaps in between characters. Unlike other edomoji, its rough brushstrokes are not disliked, rather, they are valued for their distinct character.
The design of this jacket features the kanji character for "wabi" in the front and the kanji character for "sabi" in the back. Both are in edomoji, a Japanese lettering style with a long history.
Haori Jacket Edomoji | Noragi | Indigo available at MASTER CRAFTSMANSHIP - Made in Japan
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Useful websites for learning
These websites have been found to be very useful.
Information for parents to explain some of the changes that will come in with the new National Curriculum in September 2014.
online maths homework
Currently being trialled.
Free computer-coding lessons
Art appreciation for children
Introduce your children to Degas, Warhol, Turner and other artists through fun games and activities. They can also draw, upload their own art to a gallery and watch films about art concepts. The games are suitable for three age groups ranging from 5 year olds to the over-10s. Plus there are lots of ideas on how to “be crafty offline” in the “Tate Create” sub-section.
Answers for inquisitive children
What’s inside a computer? What happens if the Earth stops spinning? This site from the Discovery network has all the answers that inquisitive children (and parents) want to know, plus blogs, quizzes and games. Another similar resource, wonderopolis.org, has a “wonder of the day” to encourage learning throughout the week.
Competitive maths learning
There’s nothing like a bit of competition to inspire learning. Mathletics is the leading maths website, a paid-for resource for schools and students aged 5-19 to play maths games while competing against other pupils and schools from around the world. Exercises can be selected according to subject and progress is tracked. A lot of schools subscribe, but home use is available from £39 a year.
Online maths tutor for 5 to 13-year-olds
If you’re looking for a maths tutor, consider Maths Whizz. It uses interactive animations, games and tutoring, covering primary to early KS3 level. Students can log in from anywhere with a web connection. It costs either £149 per year or £19.99 per month.
A website offering a bit of everything that the creative parent and child might need to learn while having fun. As well as craft projects, science experiments and cookery (all with easy guides) there are games to play, magic tricks to watch — and even quite funny jokes to enjoy.
Learn to code through games
Nominated by Sarah Ebner, The Times School Gate Blog.
“Scratch (free to all users) is a brilliant way for children to learn to code, without having to worry about learning a new programming language. The site, from the experts at the Massachusetts Institute of Technology, allows children to program by dragging and dropping, rather than writing out, code.”
Free fun exercises
This site has been on the web since 1997 — and it still looks much like it did then. But behind the basic design are hundreds of maths games, exercises, quizzes and a glossary to explain maths terms. An excellent way to practise without feeling like you’re doing extra school work.
Video game maths
Even complex mathematical tasks can be taught using games. This site, developed by mathematicians including Marcus du Sautoy, is used across the UK to teach high-level concepts using fun video games. As Education Secretary Michael Gove says: “When children need to solve equations to get ammo to shoot aliens, it is amazing how quickly they can learn.”
Creative writing for youngsters
Budding writers should head to this site, where children under 16 are set a weekly creative writing challenge — always of just 100 words in length. Entries are posted on the site, and volunteers all over the world leave critical and encouraging feedback.
One-stop shop for lyricists
Nominated by Francis Gilbert, teacher and writer, who says: “Lots of great poems, presented in an interesting way for all ages, as well as links to competitions and websites promoting poetry. It really is the one-stop shop for budding poets.”
Online video tutorials
Started by a Salman Khan, an American who wanted to help his nephew to learn maths, these online video tutorials have become an online education sensation, teaching the YouTube generation everything from arithmetic to physics.
Mini online encyclopaedia
Created by a Kent primary school, but has such a wealth of resources that it is now used by lots of parents and schools. There are games and tests at primary level, divided into topics and key stages. Includes excellent maths and literacy games.
Interactive map of the Blitz
Find out exactly where bombs fell in the UK during The Blitz . This clever interactive map uses data from bomb census maps to show exactly where each bomb hit. Some bombsites are linked to interviews and photos creating a powerful visualisation for anyone interested in history.
Homepage for children
Need a child-friendly site that offers more than games? Yahoo! Kids is an appealing homepage for youngsters with sections for jokes, e-cards and films. It also contains a search engine, with filtered results aimed at children.
Games for simple computer skills Fancy a game of Math Baseball or online Sudoku? This site has maths and reading games suitable for children up to Key Stage 3. It also has a “Playground” zone that helps younger children to learn basic computer skills through games.
Official online home of The Cat in the Hat and friends
Play and learn while bringing classic Dr Seuss books to life, including The Cat in the Hat, Green Eggs and Ham and Oh, the Places You’ll Go! Explore the books and characters through activities and games.
Learn anything, quickly
How’s your Mandarin? This innovative website uses user-generated “mems” — ideas that help you to remember things — to teach you anything you fancy, from Spanish to maths and music. You sign up, choose your course, and follow their short interactive lessons for a few minutes as often as you can — all totally free. It remembers what you’ve learnt — and need to work on.
Fancy reading Grimm’s Fairy Tales or Plato’s The Republic? Lots of literature past its copyright date is at your fingertips thanks to Project Gutenberg. You can download 40,000 free e-books for Kindle or to read via apps or online.
Can you name all the characters from Harry Potter? Or every capital city in the world? How about all of the states in America? Sporcle creates endless addictive quizzes and allows you to create your own trivia tests and share them with friends.
Expand your word knowledge
Tergiversate? Pusillanimous? Lucubrate? Vocabulary.com teaches you new words by using multiple choice quizzes, remembering what you get wrong and returning to those words until you get them right. It has a blindingly fast dictionary, a word blog and lists of interesting words under various topics for you to learn.
Pre-school interactive learning
“Poisson Rouge is one of the most creative, beautiful and interactive sites available for pre-school kids. If you are thinking of succumbing to a tablet for your five-year-old, load up these apps to make you feel a bit happier about all that screen time.”
A fun way to learn to read
“Reading Eggs uses games, animations, songs and rewards to encourage children to read. It’s not free but many Mumsnet users report that the site has encouraged their children to get excited about the idea of reading. No higher recommendation than that.”
Saviour site for students
“I can’t believe I passed an exam without this. Truly this generation don’t know how lucky they are. Never mind if their revision notes are incomplete, illegible, ink-blotted scrawls when it comes to exam time. From the American West to the alimentary canal, it’s all there in clear, easily searchable nuggets — the perfect revision resource.”
Advice for parents of SEN children
“Special Needs Jungle is a really excellent site for parents of children with special needs or disabilities, by parents with expert knowledge. It helps them to navigate what really can be a ‘jungle’ of confusing information, so they’re able to identify and access the support and services they need.”
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As I try to choose books that will help my students meet the expectations of the Common Core State Standards, I find myself needing to look across grade level expectations to make sense of what children will be expected to do and understand.
There is a thread through the standards that deals with sequencing events in both history and science. In grade two (RI 2.3), the Common Core states that students should “Describe the connection between a series of historical events, scientific ideas or concepts, or steps in technical procedures in a text.”
Later, in grade four (RI 4.5) it is expected that students be able to “Describe the overall structure (e.g., chronology, comparison, cause/effect, problem/solution) of events, ideas, concepts, or information in a text or part of a text.” Although structure is the key to meeting this standard, one of the categories is the structure of chronology.
It appears that no matter which grade level I work with, chronology as it relates to making sense of science and history concepts is important. Stories help people understand science and history.
There are several recent books that have been written about unlikely animal pairs and animals who have made a difference to someone. These stories are often told in longer picture book form, and are immediately engaging to students. Although they don’t always connect directly to content standards, this type of book would be a great introduction to chronology and working with students to describe a sequence of events.
Winter's Tail: How One Little Dolphin Learned to Swim Again by Craig Hatkoff, Juliana Hatkoff, and Isabella Hatkoff is the story of Winter, a dolphin who was rescued from a trap with an injured tail. Experts worked to create a prosthetic tale for Winter and to teach her to swim again. This is a terrific story that appeals to readers of all ages. Because it is told in a narrative, chronology of events is key to the story. Another by this same author team is Owen & Mzee: The True Story of a Remarkable Friendship by Isabella Hatkoff, Craig Hatkoff and Paula Kahumbu. This story tells of an unlikely friendship that developed between two animals. Both of these books are longer picture books that probably require more than one sitting to read.
Nubs: The True Story of a Mutt, a Marine & a Miracle by Brian Dennis, Mary Nethery, and Kirby Larson is about a dog, a marine, and the bond they share. Nubs was a dog in Iraq who became the marine’s pet — even though pets were not allowed. The dog followed his friend through lots of hard times and places. This is a wonderful true dog story.
There are a few animal books that tie nicely into science curriculum. These animal stories focus on an animal’s journey or life cycle. One Tiny Turtle by Nicola Davies and The Emperor's Egg by Martin Jenkins both chronicle events in an animal’s life and the ways in which these events work to protect the species.
How-To/How Things Are Made
Chronology is crucial for understanding how things are made. By using how-to type books along with narrative nonfiction, children see that chronology is important in various ways. I often begin with how-to books that children are familiar with, such as craft books or cookbooks. These help students see the way that chronology is set up in a non-narrative text. Finding books that tie into content is a bit of a challenge.
How Did That Get In My Lunchbox?: The Story of Food by Chris Butterworth and Lucia Gaggiotti is the story of food and the many steps that it takes for different types of food to get to someone’s lunchbox. The process for each food item is explored from the very beginning — the steps needed to make the food and the origin of the ingredients.This book ties into social studies as the global and interdependent aspects of food is made clear in this picture book.
There are many plant books that focus on chronology, and science seems to be a good place to bring in books in which chronology is key to understanding. Seed, Soil, Sun by Cris Peterson is a picture book that highlights the steps a plant goes through as it grows. The Milk Makers by Gail Gibbons details the steps involved when making milk.
More and more books are being written that help readers see the ways in which ordinary things are made. Two books that have many pages of information about how things are made are See How It's Made by Penny Smith and Transformed: How Everyday Things Are Made by Bill Slavin. Each of these books use stand-alone pages to share the processes for various items. The chronology for each is shown on a single page, which makes these helpful for minilesson work around the concepts.
Picture Book Biographies
When I think about these standards as they relate so social studies, picture book biographies seem to be a great place to start. There are so many good picture book biographies and these often bring times and people in history to life. Picture book biographies also help students see that history is the story of people and that individual people make a difference. The narrative structure of biography makes these kinds of books perfect for working toward connecting important events in history. Balloons over Broadway by Melissa Sweet is the story of the man who invented the balloons that fly over the Macy’s Day Parade each Thanksgiving. The Day Roy Riegels Ran the Wrong Way by Dan Gutman is a great sports story about the 1929 Rose Bowl and a mistake one player made. Here Come the Girl Scouts!: The Amazing All-True Story of Juliette 'Daisy' Gordon Low and Her Great Adventure by Shana Corey chronicles the life of Juliet Gordon-Low and her creation of the Girl Scouts.
Chronology is important in so many nonfiction narratives that we read. The connection of events in history and science helps our students make sense of big concepts. Looking at chronology in a variety of ways and in various content areas will be key to helping students build understanding.
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Teaching gratitude to kids is one of the more challenging parts of parenthood. Not only is bring grateful a really abstract concept for young children but by nature, little ones are pretty self-centered (in a blissfully unaware way, of course). But this is one of the most important things you can teach your kids—practicing gratitude sets kids up to be more sensitive and empathetic to the plights of others, as well as less demanding and entitled overall. Many experts also say that being grateful leads to increased overall happiness (and that goes for us too, fellow adults).
Sometimes we shy away from attempting to teach such a hugely abstract thing at a very young age, but the truth is, our kids are there waiting for us to do so. Babies as young as 18 months can begin to understand that they are taken care of by others and that others do things to make them happy—a foundational concept for learning appreciation. By 2 years old, toddlers can start to articulate things they are thankful for, like Mommy and Daddy or their favorite toys or pets. And, by age 4, little brains can start to understand that gratitude can encompass not only things and people but also acts of kindness and love.
Babies as young as 18 months can begin to understand that they are taken care of by others and that others do things to make them happy–a foundational concept for learning appreciation.
Though understanding how to be grateful is essentially a lifelong learning process, there are many ways to begin to instill those qualities in your children in a gentle and relatable way. These simple activities will help you begin the conversation with your kids, and the consistency of those conversations will plant the seeds to grow a truly grateful and happy child.
1. Model gratitude out loud
This seems to be an obvious one, but it’s one we all slack on. So much of what we think or feel stays within us, mostly for the better (hello, frustration), but not always. Our children learn the most by what we do and say and they learn just as much from what we don’t do or say. If you’re not actively practicing outward appreciation and gratitude in a way that is accessible and descriptive, there’s a good chance that it will be a much harder concept for your children to learn.
Practicing this is not at all complicated. Simply take time to pause in small moments and say out loud what comes to your heart and head. It can be something small like, “Wow, these trees with changing leaves are just beautiful. Nature is just so stunning, and I love sharing these moments with you.” Or take a brief moment when you’re in line at the checkout counter: “Look at this full grocery cart with all of this delicious and healthy food. We are so fortunate to be able to bring this home to our family.”
It doesn’t take much—saying these things out loud will make it easier for your children to understand gratitude and learn just what things are the ones to be thankful for.
2. Make a gratitude tree or jar
Young kids love visuals, and gratitude trees or gratitude jars are an easy way to keep gratitude at the forefront of your family’s mind on a day-to-day basis. These can be decorated as simply or complex as you want, but the bottom line remains the same. Each day, each person writes one thing they are grateful for on a leaf for the tree or on a note for the jar. Little ones might need a nudge at first, but soon they’ll catch on with examples from the rest of the family. The best thing about this is being able to hear what’s important and meaningful in the hearts of your kids.
And as the leaves and notes begin to add up, you get a powerful visual of all the wonderful things there are to be grateful for.
3. Read books
I don’t think I’ve ever written any sort of parenting article that doesn’t include this advice because it’s a big one. Reading with your kids is so important on so many levels, but one of the greatest advantages your kids will have from being exposed to a variety of wonderful children’s literature is the window they’ll gain into the outside world.
Kids’ worlds are small and consist of the things within their mental and emotional grasp—their family, their friends, their schools, their things. Books allow a perspective outside of that, to people and places they don’t normally see or hear of. Books also teach through visual images and storytelling, which is easier for kids to understand and relate to their own lives and experiences.
4. Make a gratitude collage
Similar to a gratitude tree or jar, a collage can be a great visual for your child in helping to see the goodness in their life. Simply gather some printed photos, magazines, and catalogs, and have your child cut (or cut for them as they point) out things that they appreciate in their life and are grateful for.
I learned quite a bit while doing this with my older son—as we talked and he chose items like healthy food and books and puzzles, I could see what was important to him and what he learned from me even when I thought he wasn’t watching. We hung the collage in his room—right where he can see it every day and night.
5. Donate with your children
Making a point to donate grown-out clothes and gently used toys is a simple way to make a big difference. Help your kids go through their things and put aside something that might make another little child happy or that another child could use.
Not only will this help clear the clutter, but it also begins to instill a sense of generosity and a separation of happiness and things. It allows them the experience of letting go and giving at the same time.
If your children are older, talk them through the process of choosing a place to give to. You can discuss the joy other kids will get in using the new-to-them items, as a way to encourage connectivity and empathy.
6. Talk about it
Be open about gratitude and help them talk through their experiences. The Raising Grateful Children project at UNC-Chapel Hill notes that gratitude has four parts, but parents rarely teach them all. They offer the NOTICE-THINK-FEEL-DO model:
- What do we NOTICE in our lives for which we can be grateful?
- How do we THINK about why we have been given those things?
- How do we FEEL about the things we have been given?
- What do we DO to express appreciation in turn?
By prompting questions surrounding these notions in conversations with your children as they go through life, experience things, and receive various gifts, you can help to increase their emotional and mental capacity for appreciation and gratitude.
7. Make gratitude part of your day, every day
Many families choose to take turns expressing their thanks at the dinner table, others make the time before bed. Whatever it is, keep it regular. Doing this daily will help your child get into the routine to practice thinking about gratitude throughout their day as they get closer to the time when it’s their turn to say their piece.
This article was originally published in November 2018. It has been updated for timeliness.
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Benmayor, R. (2008) Digital storytelling as a signature pedagogy for the new humanities. Arts and Humanities in Higher Education. Vol. 7. No. 2 (pp. 108 – 204)
Rina Benmayor explores and researches the significant contribution of digital storytelling in the humanities and how it is an extremely beneficial pedagogical strategy for students. This study specifically explores how digital storytelling can greatly enhance college students’ abilities to think creatively and apply critical thinking skills in autobiographical digital storytelling. According to Benmayor, “As an assets-based social pedagogy, digital storytelling constructs a safe and empowering space for cross-cultural collaboration and learning.” (p. 188). Benmayor observed that digital storytelling created a voice for students who would not typically share deep and meaningful autobiographical discourse in a traditional classroom setting. However, digital storytelling is an engaging tool that allows students to dig deep and resulted in transformative writings and understandings of other students’ history, cultures and plights. Digital storytelling encouraged students to analyze other stories, which facilitated the knowledge of cross-cutting themes across various students’ lives. This resulted in higher level cognition, self-reflection and connections among the instructor and students. Benmayor summarizes the digital storytelling steps as follows, “Making a digital story involves the skills of conceptualizing, writing, performing, selecting, imaging, integrating, and signifying.” (p. 195.) She also encouraged students to incorporate music and make the digital stories aesthetically pleasing to increase motivation and engagement. Benmayor highlights digital storytelling as a best practice in pedagogy that can definitely have a great impact on humanities’ instruction.
Benmayor’s students have created over 200 digital stories, which were used as data for this research. Therefore, Benmayor was able to determine the instructional validity of digital storytelling across various types of students in different settings. She discovered consistency in the creative and analytical processes that were incorporated into digital storytelling, as well as the meaningful discourse that it created. Benmayor realized the potential for digital storytelling approximately twelve years before she conducted this research. Therefore, her enthusiasm for elaborating on this pedagogy led her to have an excellent instructional tool that promotes transformative and enlightening experiences for her students. This can lead to success in other domains of learning as well.
Digital storytelling is an excellent instructional strategy in the humanities. I also reflected on how it can be used to promote success of elementary students in the area of math problem solving. Math problem solving requires high level thinking and possibly abstract thinking for students to complete the process. Digital storytelling can be incorporated to increase student engagement, technology incorporation and cognition of mathematical concepts.
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B.1.F explore and evaluate the structure and form of dramatic literature.
by Anna Porter
Musical Theatre has two components that separate it from straight plays: song and dance. This unit gives students the opportunity to try out both. In musical theatre, music signifies heightened emotion. We can’t express ourselves with just words, we need music (and through extension, song and dance) to take it further.
This unit includes three lesson plans:
1. Acting the Song - “Musical Tactics”
2. Acting the Song - “Textual Analysis”
3. Introduction to Dance
A solo performance assignment is also included, and the unit includes assessment tools - rubrics, reflections, and self-evaluations.
by Angel Borths
Help…It’s all Greek to me! Join Angel Borths in this unit that uses a modern adaptation of the Ancient Greek play Antigone to introduce Middle School students to Ancient Greek Theatre.
Have your students read Percy Jackson and want to find out more about Ancient Greece? Then, this unit is for you. This unit is designed for middle and high school students and will take you through the basics of classical Greek theatre and pairs it with a modern adaptation of the story of Antigone called Agatha Rex by Lindsay Price. Students will learn vocabulary, design, and basic theory surrounding classical Greek theatre. Students will also enjoy the mask building component of this unit, as they learn to disappear into the character of a mask, like the first actors did on a Greek stage thousands of years ago.
The unit culminates in a scene performance with masks.
by Matt Webster
The Drama Two Curriculum has been developed to expand and deepen the students’ skills as actors. In this unit, students will use open scenes to generate characters and scenarios. They will then explore the ideas of “objective,” “tactics,” and “status.” The unit culminates with students applying learned character analysis techniques to classroom generated open scenes.
by Matt Webster
In the Monologue Unit, students will learn the building blocks of monologues while writing a simple monologue. This unit is divided into two parts.
In part one, the Monologue Writing Made Easy unit by Matt Banaszynski is reviewed or executed in full, depending on class needs.
In part two, students will dissect monologues as a vehicle for character and performance and will write more refined monologues based on existing fictional characters from fairytales or myths. Students will then rehearse and perform their monologues, as a final project for the unit.
by Matt Webster
In this unit, students are introduced to a series of lesson plans that explore non-traditional approaches to performing the works of William Shakespeare. By the end of the unit students will be exposed to a unique set of tools they can utilize as the foundations for analyzing, staging and performing a scene from Shakespeare’s canon. Students will then rehearse and perform a two-person Shakespearean scene.
by Lea Marshall
Aristotle was a huge fan of the theatre. He philosophically believed in it and argued with other great thinkers at the time about the necessity and good results of theatrical pursuits. This makes him a great topic for a drama classroom unit.
Aristotle identified six elements that needed to be in a play for it to be worthy: plot, thought, character, diction, spectacle, and sound. This unit by Lea Marshall focuses on and offers exercises for each of Aristotle’s elements - from using fairy tales to examine plot, to re-imagining movie trailers to explore music.
by Lindsay Price
This is a read, discuss, and apply literature unit. Students will study the play Our Town by Thornton Wilder.
Our Town is often referred to as “nostalgic.” It’s seen as an antiquated look at a moment in time. But this play is called Our Town, not My Town. What’s happening in Grover’s Corners happened in the past, the distant past, in our present, and even in the future. The themes of the play—the ordinary versus universality, the concept of time, the cycle of life, the ignorance of humanity to the eternal—these are just as relevant in the twenty-first century as they were when the play was written.
The purpose of the unit is not to have students recall knowledge about the play. Students will be able to identify, articulate, and dramatize text themes and concepts and compare/contrast these concepts to their own experiences.
by Allison Williams
Allison Williams leads the course: 21st Century Skills Through Devising. This course covers what devising is, why to do it, how to do it, and how your students can master the 21st Century Skills of collaborations and cooperation, critical thinking, creative thinking through devising.
High school is a great place to try devising with your students. But it’s not something you want to throw at your students without any preparation. Framework is important and this course takes you through a number of exercises you can take into the classroom tomorrow to help build a place of physical safety, a place where students work at making a lot of choices instead of waiting for the perfect choice, and a place where students feel comfortable making creative choices. The material also reviews the process of putting together a show from the idea/research stage to editing, to giving feedback.
Your students have what it takes to create their own material, collaborate with each other, and have a unique theatrical experience!
by Todd Espeland
Todd Espeland has the experience to know that having more tools in your toolbox makes you a better actor. This is especially important when teaching students how to approach Shakespeare. They need help breaking through the language barrier and into the character’s needs and into the character’s thoughts.
The tools that you’ll receive in this course will do just that. The course looks at scansion as a tool for breaking down Shakespeare’s verse, the importance of end of lines, and caesura. Caesura is an inner-line pause which is a lot of fun to play with and really, helps us provide insight to the character’s thoughts and into their needs.
The course provides numerous examples and handouts, and culminates in a performance assignment to use with your students.
by James Van Leishout
This course covers the four stages of creating and implementing a marketing plan. It starts with the question, what are you selling?, and goes all the way through to evaluation. The course covers both traditional and new media, with examples and opportunities to apply the learning to each teacher's own situation.
by James Van Leishout
In this course, James Van Leishout explores why students should direct, and covers the first two tools in the director’s toolbox: self and the script. What background should every director have? Why should they learn to love research? What should happen in the first four reads of a script?
With every step along the way, there will be exercises and activities your student directors can take on before they step into the rehearsal process.
by Lindsay Price
Adaptation is a fabulous classroom project: it requires students to analyze, adapt, modify, plan synthesize, devise. All the higher order thinking skills.
But you can’t just throw a narrator into a script and call it a day. You have to have a preparation process leading up to the writing process.
In this course you will learn practical exercises and a path to prepare your students to take on their own adaptation project. We’ll look at the guidelines to adaptation, things to think about when choosing a text, how to analyze the source material and writing that first draft.
So join me, Lindsay Price, in the Play Adaptation Project.
by Wendy-Marie Martin
Who says theatre history has to be boring? Hands-On Theatre History: Creating a Modern Day Morality play is an interactive course by Wendy-Marie Martin, combining hands-on activities with research and analysis techniques leading to a full performance of the popular medieval morality play, Everyman.
This course gives students an overview of the medieval period and the various medieval play forms and teaches students the key points of storytelling and adaptation.
It includes dynamic individual and group exercises leading students from the first steps of the adaptation process through a final, full-class performance of Everyman—and proves, once and for all, that theatre history can be fun and exciting to learn.
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Last Updated on August 7, 2019, by eNotes Editorial. Word Count: 1261
The Romantic Period: “Rip Van Winkle” was published in 1819, just as the Romantic movement was gaining traction in the United States, having already spread from Germany to England. Romanticism in literature emphasizes the powers of the imagination. Many Romantic works also explore the natural world and the past. Each...
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The Romantic Period: “Rip Van Winkle” was published in 1819, just as the Romantic movement was gaining traction in the United States, having already spread from Germany to England. Romanticism in literature emphasizes the powers of the imagination. Many Romantic works also explore the natural world and the past. Each of these features can be found in “Rip Van Winkle.” The story’s layered narration and Rip’s strange slumber bear the imprint of the imaginary. The wild, unexplored landscape of the Hudson Valley and its Dutch colonial heritage also figure prominently.
- For discussion: How is the setting described throughout the story? What emotions do these descriptions evoke?
- For discussion: What seems to be Rip’s relationship with nature? How does it affect him? Have you ever been affected by nature in a similar way?
- For discussion: How are the strange men in the Catskills described? Who are they? What role do they play in the story?
- For discussion: How are the events of the narrative filtered through one or more layers of imagination? What role might imagination play in shaping the telling of those events?
The Frame Story and the Folktale: “Rip Van Winkle” is a frame story, meaning that it contains another story within its narrative. In this case, the frame consists of Geoffrey Crayon’s notes about the fictional historian Diedrich Knickerbocker. Knickerbocker’s account of Rip Van Winkle forms the story within the frame. “Rip Van Winkle” is also contextualized as a folktale, and elements such as Knickerbocker’s research methods and Peter Vanderdonk’s stories of Hudson nod to the development of folktales through the oral tradition.
- For discussion: What does the epigraph at the beginning of the story mean? What is its effect on the rest of the story?
- For discussion: Who is Diedrich Knickerbocker, and why is he important? How does Geoffrey Crayon describe him? How does Crayon’s description of Knickerbocker affect your reading of “Rip Van Winkle”?
- For discussion: What do Diedrich Knickerbocker’s notes at the end of “Rip Van Winkle” say? What do they add to the story?
- For discussion: What points do you think Rip might have varied on as he first began to tell his story? Why? How might another character, such as Dame Van Winkle, have told his story instead?
- For discussion: Who would you call the narrator of Rip’s story: Crayon, Knickerbocker, or Rip himself? In what ways does that narrator work to make the story sound true? In what ways does the story sound fictitious?
Tradition Versus Modernity: The main source of tension in Rip’s life can be attributed to his aversion to profitable labor. When he awakens twenty years later, he finds that his small town has grown and become more politically engaged. Rip doesn’t bother himself with the town’s energetic pace and interest in politics. Instead, Rip continues his life of idleness and storytelling. In this, Rip symbolizes the secluded and simple nature of his town as it was in the past. Now, his village has changed, but Rip’s support by its younger citizens shows how tradition and modernity are connected.
- For discussion: How was Rip Van Winkle treated by his village in the beginning of the story? How is he treated by the village when he initially returns from his twenty-year sleep? How is he treated after he has reestablished himself in the community?
- For discussion: What particular changes does Rip notice about his village after he wakes up? What does he eventually discover to be unchanged?
- For discussion: How do Rip’s personality and mannerisms contrast with those of the new villagers? Given this contrast, what do you think Rip represents within the story?
- For discussion: Some of the changes Rip encounters upon his return are more surface-level than others, such as the paint that has changed the portrait of George III to one of General Washington. How much has Rip’s village changed on a deeper level? Are the personalities and interests of its people truly different from when he left? How so? What themes might be revealed through these different levels of change?
Additional Discussion Questions:
- Is Rip Van Winkle an unreliable narrator? Is Diedrich Knickerbocker an unreliable narrator? Is Geoffrey Crayon an unreliable narrator? What is the effect of having three narrators of questionable reliability?
- Why do you think Crayon uses Knickerbocker’s notes to tell the story of Rip Van Winkle? Would the story have seemed more or less credible without the inclusion of Knickerbocker?
Tricky Issues to Address
The Story Engages Deeply with Historical Material: In “Rip Van Winkle,” Washington Irving explores the impact of the American Revolution. When Rip falls asleep, the American colonies are under the sovereignty of King George III. When he wakes, twenty years have passed, bringing the Revolutionary War and the birth of the United States. Readers of Irving’s story are well served by understanding these historical undercurrents.
- What to do: Discuss the historical backdrop of “Rip Van Winkle” with your students before assigning the story. Briefly review the United States’s transition from British colonies to independent nation.
Students Will Know the Story: The plot of “Rip Van Winkle” has become a fundamental piece of the American folkloric tradition, and many students will likely have encountered it before. A feeling of familiarity may lead students to disregard the story’s subtlety and literary value.
- What to do: Discuss the specifics of the story. Students may know that Rip falls asleep for a long time, but they may not know what happens in the world while he sleeps or the range of themes his story engages with.
The Story Perpetuates Sexist Stereotypes: Dame Van Winkle embodies the stereotype of the “termagant,” or overbearing and nagging woman. Conversely, Rip embodies the stereotype of the lazy, ineffectual husband. These stereotypes have their roots in traditions of stock comedy, and can be found in numerous literary works, including Irving’s other fictions.
- What to do: Draw students’ attention to the outmoded stereotypes so that they can engage with them critically, rather than reading their presence as a given. Such critical engagement ensures a keener reading of the story and curtails further perpetuation of the stereotypes. To bolster such a critical reading, consider drawing on the second alternate teaching approach in this guide.
- What to do: If students show interest in the topic, discuss with them the function of stereotype in such genres as stock comedy and folklore.
Alternative Approaches to Teaching "Rip Van Winkle"
While the main ideas, characters, themes, and discussion questions above are typically the focal points of units involving teaching “Rip Van Winkle,” the following suggestions represent alternative readings that may enrich your students’ experience and understanding of the story.
Focus on the supernatural aspects of the story. “Rip Van Winkle” includes several supernatural and mysterious aspects. It also shares plot elements with fairy tales. Ask students to analyze how the fantastical parts of the story contribute to the story’s fabular quality.
Focus on Rip and his wife’s marriage. Point out to the students that Irving uses exaggerated tropes of an overbearing wife and a lazy husband. Ask students to find stereotypes about both Rip and Dame Van Winkle within the text. Ask students what points of satire can be found through the characters and their interactions with one another. In particular, encourage students to consider Rip and his wife’s marriage as a satirical analogy for the American colonies’ relationship to the British Empire in the years before the American Revolution.
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Please note! This essay has been submitted by a student.
The likeness of myths from disparate cultures was used to recognize their shared themes and characteristics. This was referred to as Comparative Mythology. Myths have been used to show the relationships between different myths to record the development of religions and cultures, and to suggest common births for myths from different cultures, and to support various psychological theories. Comparative Mythologists originated from assorted fields, such as; linguistics, Psychological and religious studies, and they have used a variety of methods to compare myths. Myths came in the form of general storytelling and used in some religions. In Ancient mythology, using myths was a way of connecting human attributes and evil to divine counterparts. In Ancient civilizations and Greek mythology, myths played a central function in setting morally right parameters in scenarios of difficult decision-making. Ancient mythology used cultural symbols to signify a specifically unique way of acting, thinking, and living as a people from its respective territory.
Symbolism represents the use of one thing for another using an object, a person or an idea. Symbols help us to associate and connect things with ideas or concepts. It is commonly used in a way to communicate a deeper meaning without expressing it in literal terms. It can also be used as actions of a character, word, action, or event that have a deeper meaning in the context of the whole story. Symbolism plays an important role in language and when using it in literature, it can be utilized as other figures of speech, for example, Metaphors.
Metaphors are a figure of speech that makes an indirect or hidden comparison between two things that are not related but share common characteristics. Metaphors are how we understand the world; our conception. In both books’ metaphors are used in different ways but at the same time they are similar; In Metaphors, we live by, Lakoff and Johnson develop a relationship on the grounds of close association and understanding of our experiences. Metaphors shape our perceptions and actions without even being aware of it. In other words, Metonymy is used to develop literary symbolism. In The hero with a thousand faces, Campbell uses Monomyth, using a universal story structure, where he takes a story and proceeds through stages. Metaphors are a form of language, understanding, and reasoning. They assist us in understanding our experiences. They also shape our perception and actions effortlessly.
Imagery has also been adopted to be able to use descriptive language in describing these myths. As a literary instrument, imagery consists of descriptive language that can justify a way for the reader to imagine the world differently and add symbolism to the work. Imagery outlines the five senses, such as; taste, touch, sight, smell, and sound.
In reading both books. The element that connects them is “Life.” The life experiences and how our life is introduced and conquered; Personal human development. Life is a journey and the word journey is a common metaphor, it reminds us that your personal destination is not the only goal but just a stage in our lives that we must fulfill.
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Point of View (POV) is one of the elements of every story and often it is the least discussed. Because the POV filters everything the reader learns in the story, it has a prominent position in storytelling. Through the POV used, the reader experiences the feelings, thoughts, and motivations of one or many characters depending on which POV the writer uses. The POV shows what the character knows, which is different than what the author knows. The POV used determines how the reader understands and experiences the story. Let’s take a look at the types of POVs that are acceptable in storytelling.
First Person POV
The first person POV is only seen in writing. No similar style of storytelling appears in theater or movies. This POV tells the story in the eyes of one character. It can be either the main character (First person) or a peripheral character (Peripheral first person POV) that tells the story only through their POV. Because the story only contains one person’s POV, it can be biased and incomplete. It tells how one person experiences the story, not the “whole” story. Hint: The pronouns used in this POV are “I,” “me,” and “my.”
Second Person POV
The second person POV is seen the majority of the time in nonfiction or instructional manuals. However, it can be used in fiction when the author wishes to make the audience part of the story, such as in a story where the reader decides on the ending. The author is directly addressing the audience. Hint: The pronouns used in this POV are ”You,” “You’re,” and “Your.”
Third Person POV
The third person POV is the most frequently used POV in fiction. With the third person POV the narrator is outside of the story and relates the story to the readers. This narrator is not involved in the story but tells of the actions and thoughts of the characters in the story. The author is talking about someone or something within the story. Hint: the pronouns used are “he” “she,” “it,” and “they.” There are three versions of the third person POV.
Third person limited is when the POV is limited to one person’s thoughts and feelings. The main character can be the conduit through which the story flows, or the story can come through another character further from the Main Character which then becomes the narrator.
The third person multiple is similar to Third person limited, but instead of one person’s thought and feelings, the narrator follows several characters. There is danger in this as the author must make sure not to confuse the reader. The switching of POVs must be carefully engineered to avoid ‘head hopping.’
Third person omniscient is when the narrator knows everything and has full access to the thoughts and feelings of all the characters. The author is like a god who knows all.
Whichever POV you use you must be consistent. A good rule of thumb is to establish the POV you are using within the first one or two paragraphs. The POV you choose reflects how intimate the reader will become to the characters. Most important? Pick the POV that serves your story the best.
What POV do you use the most? Comments are always welcome!
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SLAV Connects is a blog by the School Libraries Association of Victoria (SLAV), formerly named Bright Ideas when a collaboration between SLAV and the State Library of Victoria (SLV). Its aim is to share news from the Association and to encourage teacher librarians, librarians, school library staff, educators and all interested persons to actively engage with the school libraries, to share tools and experiences; to network on a global scale; and to embrace dynamic teaching and learning opportunities.
The Periodic Table of Storytelling is one of those special treats that comes through your feed and gets your mind buzzing with ideas of how it could be used with students.
As well as being pretty funny, the table covers most of the major story types and character arcs, making it a great tool for engaging students in creative writing.
Each story element has an identifier, name and is grouped under one of the following categories – structure, setting, modifiers, plot devices, heroes, villains, archetypes, character modifiers, meta tropes, production and audience reaction.
Ideas for use with students
Give each student in the class one story element, making sure that all categories are represented. (You could make coloured cards for each element).
Ask them to form small groups (3-4) and collaborate on a story that incorporates all their individual story elements. This could easily be a homework assignment or even a competition with time limits
You could mix up the activity by asking them to write in different genres or mediums – film, play, poem, short story, tv show etc.
To make this an individual task, give each student three cards and ask them to include all three elements
You could also use these story elements to describe the books you’re reading. This would be a great way to build a shared vocabulary for understanding story and transferring knowledge of one story to other narratives
The story elements could be a prompt for a library creative writing challenge – how many story elements can you get in your story? or even a weekly writing challenge with one element as the focus each week
Put story element cards into a box and students choose one (or more) to prompt a free writing task
These kinds of forced association activities are a great way to get kids (and adults!) thinking creatively. If you have any other ideas or find something that works well for your students, let us know.
McLuhan (see the video) predicted we’d have to leave the bookworld behind to be “with it” in the electronic world but with social media we can do it all. Learn about an evolving virtual book club model, online or inworld, that culminates with the screening of collaboratively produced bookcasts, multimedia aesthetic responses to books.
To preview bookcasting, check out this ncbookcast festival You can post questions and comments to the wiki discussion.
Meet our Presenter: Cris Crissman, PhD, Distance Learning Consultant, USDLC, Adjunct Assistant Professor, NC State Writer and Producer.
Bio: Cris teaches the “Learning Through Literature with Young Adults” graduate class at North Carolina State University. After ten years of exploring online book clubs, she took the class and the book clubs inworld to Second Life. The students self-select genre book clubs and work collaboratively to produce bookcasts to share with the whole class and the world. Inservice teachers have applied the model in their classrooms. Every year the class leads a virtual author study for teen readers in the state and this year the featured virtual author is Australian Melina Marchetta whose award-winning Finnikin of the Rock is drawing rave reviews from American teens. Link to join this session
Sounds like a fabulous opportunity to learn much more about a topic close to our hearts. And as Cris is presenting at 5am her time, a large audience would be welcome!
The recording of this session is available for anyone to listen to. Thanks to Anne Mirtschin for forwarding this link.
Joyce Sendeckyj from Emmanuel College has kindly sent in the following information about the development of a library blog.
Just to share the Emmanuel College W.I.R.E.D. Blog that we are launching for our students to coincide with Book Week and the introduction of our inaugural Book Club.
The idea for a Book Club and a blog combined nicely the aims of the promotion and enjoyment of reading and literature, the featuring of book awards and the integration of web interaction and publishing (ie Web 2.0 tools).
Emmanuel College has two secondary campuses, and our goals also include the communication and connection between students and interested staff of both campuses.
The marketing of Book Club and the blog has included, regular articles in the newsletter, links on the school intranet, flyers, promotion and viewing of the blog on Open Day and reminders at meetings and briefings. Book Club is every Tuesday (our first day was 11th of August) and our next step is to assist the students to ‘register’ to the blog.
I have not completed the SLAV 2.0 course (which I hear good things about) , however I did major in information technology and web publishing at CSU as part of my librarianship degree. A great deal of my major included Computer Supported Communication and Collaborative Group studies which incorporated Web interactive technologies. I have come to realise how benficial this study was and am loving the ongoing professional development by SLAV and ‘Bright Ideas’.
Happy Book Week.
Thanks to Joyce and her staff for alerting Bright Ideas to the new blog.
BookGlutton is a website for the book glutton in all of us. It provides a number of online book clubs where readers can select which type of group/s they’d like to join whether it be by book or by friendship group.
Full text books can be read online without the need for a specialised e-book reader. BookGlutton also offers notes for books that you are interested in reading. Readers have the ability to read, annotate and discuss books online. Some more information is available here:
More help in the form of FAQs can be accessed as well.
BookGlutton is a very clever idea melding, two of the burgeoning areas of reading; e-books and book groups.
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International Women’s Day in China is commonly known as the ‘3.8 Festival’ (三八妇女节). Originally meant as a festival aimed at recognizing the social, economic, cultural, and political achievements of women, this special day has a unique theme each year, with ‘Breaking the Bias’ being the theme of 2022, reflecting the discrimination and gender stereotypes that women receive in daily life that are yet to be addressed.
Since its establishment, International Women’s Day has gone hand in hand with formidable advances in terms of gender equality in many aspects of Chinese society like education, financial well-being, and social status. At the same time, this profound cultural celebration in recent years has fused with the typical features of an online shopping festival, with Chinese e-commerce retailers leveraging this opportunity to launch sales promotions. As a result, many consumers have started to treat this as another shopping occasion (such as Double 11 and Qixi). How did a holiday celebrating the achievements of women come to look like a shopping festival in China?
The origin of International Women’s Day and how it got so large in China
The origins of International Women’s Day go all the way back to 1908 when 15,000 women marched through New York City demanding better pay, short working hours, and voting rights. In China, it’s believed that International Women’s Day was officially recognized and observed by the members of the Chinese Communist Party as early as 1921, and became an official national holiday with the establishment of the People’s Republic of China in 1949. In 1950, a very influential piece of legislation – the New Marriage Law – was promulgated, freeing Chinese women from oppressing social conventions such as prostitution, arranged marriages, concubinage, and child marriages.
Celebrating Women’s Day symbolized an advancement in women’s rights in China, which was of great significance for all Chinese women who by then were considered inferior to men and had little say in the decisions that shaped their lives.
How Chinese people celebrate the International Women’s Day today
In modern China, International Women’s Day is an official national holiday during which women are either granted half the day off or simply provided a shorter working day. As a method to show genuine gratitude for their female employees, some companies also choose to provide female employees with small presents, such as handwritten wish cards or fresh fruit. An unusual and interesting case worth mentioning is that one company gifted their female employees underwear washing machines.
Meanwhile, Chinese men are supposed to prepare surprises to their mothers or girlfriends. Some common practices are buying expensive roses, baking cakes, hosting house parties, or offering a big meal. In addition, on ‘Girl’s Day’, one day before March 8, Chinese universities hold many festival activities for their female students, such as make-up competitions, dancing contests, or the warmest quail-roost evaluation.
How online shopping became central to International Women’s Day in China
To attract female consumers, retailers in China are re-branding International Women’s Day as a day for celebrating consumerism. Alibaba’s Tmall (one of China’s biggest e-commerce platforms), for example, is using the slogan ”Queen Day, Live your beauty” for its campaign for International Women’s Day along with a photo of a woman staring at a pair of red-heeled shoes. Jumei, a website specialized in cosmetics, also jumped on the bandwagon and pledged to ”make you good” on ”Goddess Day”. On this special day, retailers often launch campaigns to praise women’s importance in society and offer promotional discounts and coupons for women’s products, such as cosmetics, lingerie, sportswear, and healthcare goods.
As a result of such an e-tailing strategy, many women started to believe that consumerism is a powerful expression of women’s rising social status. According to Tmall’s data report on International Women’s Day 2020, the number of online retailers participating in this shopping day has doubled compared to 2019, with the total price of commodities for sale going up by over 60% and e-commerce live-streaming channels increasing their sale by 264%. Alibaba said that it has the ambition to re-shape International Women’s Day in China into another big shopping festival, together with the 618 and Double 11 Festival.
However, International Women’s Day in China seems to be deviating from its original focus
As online shopping on International Women’s Day in China is on the rise, many people find that this festival has shifted its focus from fighting for women’s equality to celebrating women’s purchasing power, with fewer people understanding or even caring about the profound cultural meaning behind this event. Netizens have divided opinions on this phenomenon, with some arguing that having more money at their disposal shows the advancement of women’s rights, while others think that they are forgetting the true essence of this festival and are using it as an excuse for going on a massive shopping spree.
Netizens’ opinions aside, what are the driving forces that cause this shift in focus?
Women’s changing face: Female autonomy
Chinese women nowadays are receiving higher education, getting more equal employment opportunities, and gaining increasing wealth. Their income distribution to families has increased dramatically over the past few decades, from around 20% in the 1950s to around 40% in the 1990s, and to over 50% today. Beyond their growing wealth, Chinese women are now searching for social independence and do not feel the need to be in a relationship or get married. According to a recent poll, about 44% of female respondents living in Chinese cities and aged between 18 to 26 do not intend to get married.
Rising spending power combined with an independent lifestyle shaped the new mindset of women and made them more ambitious in consumption.
The rise of a female-oriented market: the ‘Sheconomy’ (她经济)
First appearing as a new word in China in 2007 and referring to the rising economy catering specifically to female consumers (and not just limited to the ‘3.8 Festival’), ‘Sheconomy’ is the second factor driving this change.
The aforementioned women’s spending habits and capabilities have experienced a seismic change in modern Chinese society. Guotai Junan estimated that the overall annual spending of Chinese women has increased by 81% from 2013 to 2019, reaching about RMB 4.36 billion, thus, providing fertile ground for the rise of the Sheconomy.
The ‘Sheconomy’ requires brands to analyze women’s spending patterns very precisely that those who ‘win over women’s heart wins it all’, are now an oft-repeated business slogan across the Asian giants. To tap into the exploding demand of this market, brands are constantly launching campaigns and releasing products targeting Chinese female consumers, especially self-care products. Hence, it is not surprising that people’s attention gets inevitably diverted from the cultural meaning behind International Women’s Day towards more commercial features.
Case study: Successful campaigns for International Women’s Day in China 2021
By highlighting female-related discourses from gender bias to female entrepreneurship on International Women’s Day, and pointing out issues neglected by mainstream culture, shoppers (female shoppers in particular) are more willing to appreciate the brand culture and are happy to consider these brands during their purchase journey.
Perfect Diary (完美日记)
Being the top cosmetic and make-up brand in China, Perfect Diary collaborated with the new media production house Xinshishang (新时尚) and China Daily to launch an eight-minute video titled ‘Outstanding Chinese girl’. Female celebrities like Yamy Guo, Olympic volleyball champion Hui Ruoqi, comedian Papi Jiang, and stand-up comedian Yang Li were all invited to discuss about their personal journeys through major life events. The video documented how each of them broke through various social restraints and made life decisions by themselves. In addition, Perfect Diary announced that it would become the official partner of the Chinese gymnastics team, as well as launch the ‘L09 Red’ lipstick, representing the firmness, softness, and confidence of Chinese females.
Proya is also a leading cosmetics brand in China beauty market. The brand launched its campaign ‘Gender does not set boundaries; prejudice does’ in collaboration with the China Women’s News, which published a full copy of the campaign on the bottom page of its March 3rd edition focusing on gender equity. Its accompanying campaign video, starring female rapper Yu Zhen, showcased various gender biases and stereotypes in today’s society. The storytelling challenged the stereotypical definitions of femininity and masculinity, as well as urged audiences to be themselves rather than conform to gender norms. The video has sparked extensive conversations on social channels, garnering over 2.7 million views on Weibo in just one day.
Key takeaways on China’s International Women’s Day
- International Women’s Day is an important national festival in China established in 1921 to commemorate women’s social, economic and political contributions to society.
- However, this event has shifted the focus from its original meaning to take on the features of a shopping festival, as a result of the emergence of the ‘Sheconomy’.
- In order to build authentic connections with Chinese consumers and boost sales, brands should target their female consumers through launching campaigns aimed at recognizing women’s importance in modern society and convey a message of gender equality.
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How you move the camera is a sort of language, a way to communicate to the audience apart from dialogue. There are one million ways to move the camera to complement the narrative. And camera panning is just one way to speak — a simple movement that speaks volumes. So, what is a camera pan and how can it be used to speak directly to the audience? Let’s define it and look at some examples.
Watch: Art of the Whip Pan
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Defining pan camera movement
If you’ve seen even one movie, you've seen a camera pan. And of all camera movement options, it is perhaps the least dynamic or interesting — but that's what makes it so useful.
A camera pan is so ubiquitous that it doesn't tend to draw the audience's attention. They remain engaged in the film, which is something most filmmakers are looking for — giving them an immersive experience.
CAMERA PAN DEFINITION
What is a camera pan?
A camera pan is horizontal movement in which the camera moves right to left from a central axis. Taken from the word "panorama," the physical position of the camera itself does not move. Instead, the panning refers to the swiveling left to right mounted on a fixed location. This differs from dolly shots in which the mounting system itself moves. Of course, a pan can also be combined with different camera movements such as dolly shots or tracking shots.
WHEN TO USE CAMERA PANNING:
- Establishes location of scene
- Tracks movement
- Elevates tension in a scene
A panning camera can be achieved with just about any camera rig. Whether it is handheld, using a dolly or crane, or even a drone. Here's a video breakdown of the various types of camera rigs, how they work, and how they add to the "feel" and look of a shot.
The camera pan is just one of many types of camera movements in film. Here's a complete breakdown of each type along with their storytelling values and how they have contributed to some iconic moments in cinema history.
An Important Distinction
Pan vs. tilt
Tilting (or a tilt shot) is another basic camera move that is often confused with panning. Why? Well, while panning describes the left and right (horizontal) movement, tilting is the up and down (vertical) movement over a fixed axis.
We can only pan right or pan left. We cannot pan up or pan down. But again, we can always combine these two movements in the same shot, resulting in a "pilt" or a "tan." Just kidding, those aren't actual film terms.
Watch the video below to get a quick understanding of these two essential camera movements.
A pan isn't the only form of camera movement, obviously. There are a number of ways (and reasons) to move the camera. This video is just one chapter in our Filmmaking Techniques Masterclass, and it covers camera movement and all its variations in greater detail.
Camera panning is a simple enough way to move the camera but that doesn't mean it has to be boring or unmotivated. Let's take a look at how filmmakers have used this seemingly elementary maneuver to guide the audience's eyes, reveal location or information, and create tension.
PANNING FOR LOCATION
Establish the location
A pan allows the audience to see more of the scene. Camera panning establishes the location, and also tracks the movement of the characters or objects within that location.
Here's a classic example from Antonioni's The Passenger when Nicholson's character gets his jeep stuck in the sand. We know where we are (the desert) but a slow panning shot along the horizon makes the severity of his situation perfectly clear.
PANNING FOR Suspense
Elevate the tension
Also panning from one character to another can create more tension than a quick cut would. This type of camera movement allows the audience to experience the moment in real-time.
A slow camera pan can also delay an action and build anticipation. A fantastic example of this is in Paranormal Activity 3 when the babysitter sits alone in the kitchen.
The family has been experiencing paranormal phenomena recently so the father rigs up a camera to an oscillating fan. So, the deliberate and slow panning back and forth across the room is a really effective way to build suspense. We KNOW we're going to see something but we don't know what it will be...and we have wait for it to be revealed.
PANNING FOR Character
Reveal the character
A lot can be communicated about a character with a single camera pan. In this example from Boogie Nights, we get a 360-degree pan around Dirk's bedroom. The camera isn't interested in Dirk, per se, but it does want to show us his world.
The slow camera panning across his walls tells us everything we need to know about this character. In this one shot, we learn that he likes fast cars, beautiful women, rock 'n' roll, and Bruce Lee.
This is a great example of economically communicating backstory and characterization into a single shot.
Explore different camera movements
We've covered the camera pan shot but there are many other camera movements to discuss. As you amass your camera movement repertoire, you will be able to amplify your visual storytelling exponentially. You're already on your way but the only question is which camera movement will you dive into next?
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How to Start Incorporating it in Your Classroom
When children begin Pre-K, they are showing up with unique lived experiences that contribute to creating a one-of-a-kind environment. They come from a variety of backgrounds, cultures, languages, differences in economic situations, among many other variables. According to 26 states that report on children’s home languages, 25.5% of preschool children speak a language other than English at home. (Dual Language Learners and State-Funded Preschool 2019)
As we encounter more children whose home language isn’t English, how do we recognize that their lived experiences bring an enormous amount of cultural wealth and that they have significant linguistic capital? In increasingly diverse communities, how do we prepare our classrooms and our curricula to address and promote the learning of all children?
A dual language learning approach in Pre-K can encompass countless teaching and learning strategies. One strategy is to present content, like read-alouds or songs, in two languages. This will not only support the needs of children whose home language isn’t English but will also greatly benefit the entire classroom.
Let’s dive into 2 major benefits of a dual language learning approach in prekindergarten
Dual Language Learners and Executive Functioning
Learning a second language at a young age sets children up for improved cognitive development. In Challenging Common Myths About Young Dual Language Learners: An Update to the Seminal 2008 Report, Dr. Linda M. Espinosa disputes stigmas surrounding dual language learners and education. She calls attention to the false idea that children who learn more than one language show academic and social delays. Studies show that dual language learners “consistently outperform monolingual children on tasks that require focused attention, inhibitory control, planning and working memory abilities, and mental flexibility” (Espinosa, 2016, p. 13).
Dual Language Learners and SEL Skills
Research has shown that children who speak two languages are “able to make new friends and create strong relationships in their second language—an important personal skill in our increasingly diverse society.” (The benefits of being bilingual 2019)
Effective perspective-taking is a huge benefit of learning more than one language. “Bilingual children have been shown to be better than monolingual children at taking the perspective of a listener into account and picking up on feedback and prompts from their communicative partner, and have a greater level of pragmatic awareness” (Yow & Markman, 2011).
In our Best Practice Guides, Quaver Pre-K shares a few tips on how to bring children’s languages and cultures into the classroom. Below are 2 ideas for how to begin to transform your classroom into a dual language learning environment.
We all know children love to celebrate. Research what holidays the children in your class might celebrate and find authentic ways to incorporate those in your class. Invite family members to lead these celebrations with experiences like art, food, and storytelling in the home language. Outside of holidays, find ways to connect with the children in your class and their culture. Amplify their culture or language to help build confidence in them and so that the other children can learn about customs they might not learn elsewhere.
Provide books and music reflective of the minority home cultures of the classroom. Bring in materials, examples, and stories from diverse topics, illustrators, and authors. There are so many great books and lessons about different cultures. Incorporating those into your classroom will convey the message that all cultures are valued. Instead of asking children to assimilate, you are showing them that their culture matters and is welcome.
Jamie Young is the Quaver Pre-K Brand Manager. She has previously worked as a content marketer in the music and family media industries.
The benefits of being bilingual. (2019, March 15). Retrieved April 14, 2021, from https://eclkc.ohs.acf.hhs.gov/publication/benefits-being-bilingual
Diversity, equity, and inclusion. (2021, March 03). Retrieved April 14, 2021, from https://www.quavered.com/diversity-equity-and-inclusion/
Espinosa, L. M., Ph.D. (2016, October 31). PreK-3rd: Challenging common myths about dual language Learners, an update to the SEMINAL 2008 report. Retrieved April 14, 2021, from https://www.fcd-us.org/prek-3rd-challenging-common-myths-about-dual-language-learners-an-update-to-the-seminal-2008-report/
Office of English Language Acquisition, Dual Language Learners and State-Funded Preschool (2019). https://ncela.ed.gov/files/fast_facts/19-0181-DualLanguage-StatePreschool-20191024-508.pdf.
Yow, W. Q., & Markman, E. M. (2011). Young Bilingual Children’s Heightened Sensitivity to Referential Cues. Journal of Cognition and Development, 12(1), 12-31. doi:10.1080/15248372.2011.539524
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Spoken Language Overview
At Crowan School, we firmly believe that good reading and writing skills derive from children's ability to articulate their thoughts effectively.
Our Aims and Objectives:
- To provide planned opportunities to develop Spoken Language skills.
- For pupils to develop the ability to speak confidently and appropriately in a range of situations, both formal and informal, in and out of the classroom.
- For pupils to contribute to and participate in a range of drama activities.
- For pupils to be aware of the conventions of spoken Standard English.
How do we teach Spoken Language at Crowan Primary School?
The National Curriculum (2014) states that pupils should be taught to develop their confidence in spoken language and listening to enhance the effectiveness with which they are able to communicate across a range of contexts and to a range of audiences. They should therefore have opportunities to work in groups of different sizes – in pairs, small groups, large groups and as a whole class. Pupils should understand how to take turns and when and how to participate constructively in conversations and debates.
Opportunities at Crowan School – in class
- A variety of Drama strategies are used as a starting point, supporting role, and conclusion for discussions and written work.
- Children are often asked to work with a ‘talking partner’ before feeding back ideas to the class.
- Children work in groups with specific roles to structure and aid discussion.
- In the younger years children have time for ‘Show and Tell’ with the class.
- In the older years children will often be asked to prepare a presentation for the class on an area of the curriculum.
- Circle time is a structured opportunity for children to discuss PSHE issues.
- Teaching Assistants and support teachers work with focus groups with SEND or EAL to develop and structure communication.
- A range of props are available to promote discussion.
- Where required, diversity in communication is encouraged with dual language signs
- Children use the Storytelling approach to recite stories
Opportunities at Crowan School– out of class
- All classes prepare and perform an assembly to parents and the rest of the school at least twice during the year.
- Foundation Stage and Key Stage One prepare and perform a Christmas play to the school and parents.
- Key Stage Two prepare and perform an end of year show to the school and parents.
- Children participate in other performances during the year including Harvest and Christmas concerts
- Elected school councillors attend meeting to share ideas from peers and then feedback to the class
- Key Stage Two children take part in the annual Youth Speaks competition.
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Computers turn every number into binary. The numbers that we use are expressed in base 10. Every 10 1s equals 1 ten, every 10 tens equals 1 hundred, and so on. In binary, you go up a unit every 2 numbers. So 2 ones equals 1 two, 2 twos equal 1 4, and so on. For example, the number 9 would be 1001 in binary: 1 one, 0 twos, 0 fours, and 1 eight. 1 + 8 =9. Computers do this because it is easier to design circuits that only have values of 1 or 0 than circuits with 10 separate values each.
Computers have basic mathematical operations like addition and subtraction programmed into them. Adding in binary is extremely simple. If you have 2 numbers with a 1 value, you store a 0 and move carry 1. Otherwise, you record the bigger of the two numbers in that slot. For example, if you are adding 5 + 4, you get: 0101 + 0100. In the first slot, you have a 1 + 0, so you store the bigger number, 1. In the second slot, you have two 0s, so you store 0 (since both numbers are the same. In the third slot you have two 1s, so you store a 0 and carry a 1. You end up with the number 1001, or 9.
Computers use long multiplication, but they do it in binary. If the computer multiplies a number by 1, it returns a 1. This is a much simpler system than base 10, even though it does require more steps. For example, in base 10 the problem 8 * 9 is an easy, 1-step problem with no long multiplication. However, in binary each number is 4 digits long, and the solution is 7 digits long!
Subtraction is done in two steps. Rather than subtracting a number, a binary computer adds its compliment, a number with ones where the original has zeros, and zeros where the original has ones. For example, whereas 4 is 0100 in binary, negative 4 is 1011. So, for 7 - 4, we get 0111 + 1011 = 10010. The number at the leftmost side is then moved to the right, giving us 0011 = 3.
About the Author
Isaiah David is a freelance writer and musician living in Portland, Ore. He has over five years experience as a professional writer and has been published on various online outlets. He holds a degree in creative writing from the University of Michigan.
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‘Paws, Claws, Fins and Fingers’
Our topic is Animals. We will be focusing on lots of texts linked to animals and learning all about the different animals around the world.
As always, if you have any questions, queries, concerns or comments, please feel free to speak to me when I collect or bring out the children.
English: Reading will be taught as three sessions. Each session will focus on a different reading skill. To assist with your child’s reading development, it is essential to read with them at home. We will be using the ‘Talk 4 Writing’ approach to develop our storytelling and writing skills. This term, we will be using non-fiction and fiction texts, including ‘The Lion Inside’, ‘Otto the Book Bear’ and animal fact files. As well as this, we will be reading poems, rhymes and traditional tales to develop our storytelling and writing skills. As we move through the final term, we will be focusing on our handwriting and developing our cursive letter formation. The key composition focus will be to ensure the correct grammar and punctuation are used independently throughout written work and that the children are beginning to extend their own writing.
Maths: We will be developing our understanding of place value, focusing on numbers 1-100. We will be developing our ability to count in multiples of 2, 5 and 10 and the children’s ability to recognise the patterns emerging. We will be moving on to multiplication and division through grouping and sharing and will also begin to look at simple fractions of ½ and ¼. This will link with our progression on to time at the end of the summer term, where we will be learning how to tell the time to the hour and also half past, quarter past and quarter too and also focusing on position and direction. In the first half of the Summer term, we will be developing our understanding of weight and volume and also length and height. It would be a great help if you could continue to encourage your child to count in multiples of 2,5 and 10 and also ensure they are recognising and writing numbers to 100 correctly.
Science: During the Summer term our key focus will be on plants. We will be learning to identify and label the basic structures of plants and trees and also begin to identify specific species of each. As part of the focus we will dissect a plant to look closely at the inside of the structure and also grow our own seeds, predicting where and how they will grow best and observing the changes throughout the process.
History/ Geography: This term we will be looking at the main features of a hot and cold places in addition to describing locality using pictures and words. We will also be able to explain what we might wear in different climates and start to use basic geographical vocabulary to refer to key physical features. In History we will be learning about Nelson Mandela and talk about an important historical event that has happened in the past.
Art/ DT: This term the children will be focusing on the skills drawing and painting. They will explore the topic animals by creating paintings and sketches of animals we have researched alongside sketching their own faces and exploring animal art from around the world. We will be creating split-pin lions to support our learning of the story ‘The Lion Inside’ and explore foods that are healthy and unhealthy for our bodies.
Computing: The children will be developing their understanding of programming through the use of algorithms and debugging a simple sequence.
Music: We will be continuing to use the ‘Charanga’ music scheme to develop our voice and instrument skills. As part of our topic, we will also be listening to music from across the decades within the UK and also from countries across the world.
RE: Over the Summer term we will be looking at churches as a place of worship for the Christian religion. We will also focus on the symbols associated with Christianity.
PE: Our P.E. days are Wednesday and Friday. Please ensure your child brings their full PE kit to change into. They will be working initially on net and wall games.
Homework: English, Phonics, Maths and Spelling homework will be given out each Friday. It is also expected that children complete 5 minutes worth of spelling practice every day, as well as daily reading.
Reading at home should consist of parents listening and questioning their child, for a bare minimum of 3 times a week. I cannot stress how important this is and what a huge impact reading has on all areas of the learning.
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The evolution of the distant ancestors of humans and other primates may have been driven by dramatic volcanic eruptions and the parting of continents, according to a controversial new theory.
Scientists remain skeptical about the idea, however.
According to prevailing theories, primates originated in a small area. From this center of origin, they dispersed to other regions and continents.
The problem with this idea is that it has "resulted in all sorts of contradictory centers of origin," from Africa to Asia to the Americas, said researcher Michael Heads at the Buffalo Museum of Science in New York. It has also led to perhaps improbable suggestions that primates rafted across the Mozambique Channel to reach Madagascar or even across the Atlantic to reach South America, "imaginary migrations" that are "incompatible with ecological evidence," Heads noted.
Instead, Heads suggests the ancestors of primates and their nearest relatives were actually widespread across different parts of the supercontinent Pangaea some 185 million years ago, back when the lands that make up our continents nowadays were fused together. These ancestors could have evolved into the primates in central-South America, Africa, India and southeast Asia, the flying lemurs and tree shrews in southeast Asia, and extinct creatures known as plesiadapiformes in North America and Eurasia.
The big split
Dramatic geological events on Pangaea — major volcanic eruptions and the splitting up of the continent — might have then helped split the primates into different lineages.
For instance, Heads suggested that at roughly the same time as intense volcanic activity in Africa about 180 million years ago, the group that includes humans, other simians, and tarsiers — altogether known as the haplorhines, or dry-nosed primates — split from the strepsirrhines or curly-nosed primates, which include the lemurs and lorises.
There are more examples he poses as well. He speculated the lemurs of Madagascar diverged from their African relatives at roughly the same time as the opening of the Mozambique Channel some 160 million years ago, while New and Old World monkeys diverged with the opening of the Atlantic about 130 million years ago.
Heads detailed his concept in the journal Zoologica Scripta.
Behind the theory
Heads reached these conclusions by incorporating spatial patterns of primate diversity and distribution as historical evidence for how they might have evolved. Prior research looked solely at the fossil record and genetic data, he said.
Still, doubts remain. Evolutionary biologist Anne Yoder at Duke University in Durham, N.C., bluntly stated, "I believe that Heads' theory is absurd."
While Heads conjectures that primates were widespread across Pangaea some 185 million years ago, the ages of the oldest primate fossils known to date suggest they emerged some 56 million years ago, while genetic data suggested they originated some 80 to 116 million years ago. Primatologist John Fleagle at Stony Brook University in New York added that Heads' findings "are inconsistent with all other evidence we have about the timing of major events in primate evolution."
Heads notes that fossils often serve as an incomplete record for what and when animals actually existed. He added that genetic data might also potentially lead scientists to underestimate ages by tens of millions of years.
Although Fleagle noted it was reasonable to assume that the fossil record is imprecise when it comes to what species emerged when, "the question is how far off is the fossil is record likely to be." For instance, "Why don't we find even a hint of a primate in the very rich fossil record of South America between 180 million years ago and 26 million years ago, if they there were actually there?"
Indeed, new research suggests primates could have rafted from Africa to Madagascar. Computer simulations detailed online Jan. 20 in the journal Nature suggest powerful ocean surface currents flowed eastward for a few million years from northeast Mozambique and Tanzania to the island about 50 million years ago.
These could have rapidly carried the ancestors of Madagascar's mammals outward, following storms that washed them out on natural rafts of trees or large vegetation mats.
"I was very excited to see this paper," Yoder said. This kind of dispersal had been an idea without actual data backing it up. "This takes it out of the realm of storytelling and makes it science," she added.
- Top 10 Things That Make Humans Special
- Top 10 Mysteries of the First Humans
- Human Origins: Our Crazy Family Tree
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Saving California’s underwater forests
Rock formations spread like fingers away from Anacapa Island. Each one – standing five or six feet tall – is forested with kelp, which grows all the way to the surface to create a golden canopy overhead.
Harbour seals dart in and out of the channels as large schools of perch, garibaldi, senoritas and sea bass hide among the fronds. Sea stars and sea hares mingle on the rocks, a few purple urchins scattered among them. It is a beautiful, well-balanced ecosystem. Less than a decade earlier, Southern Californian shorelines were almost kelp-free. The rocky reefs were covered with purple urchins; no living fauna drifted back and forth with the surge. The ocean was injured, while those who abused her looked on unaware. Environmental chaos reigned.
Southern California is renowned for its sunshine and beaches. A melting pot for cultural diversity, the Los Angeles area has grown steadily since the early 1900s, with people immigrating to make their homes in the mild climate. A population explosion after World War II created a need for roads and pavements, carparks and shopping centres. Unbeknown to this new generation of residents, their New World growth would devastate an ecosystem that had flourished for thousands of years.
The waters along the Southern California coastline host unique and beautiful kelp forests. These forests are vital to the survival of more than 800 marine species. In addition, kelp is a photosynthesising-algae, an organism that produces 50-85% of the life-sustaining oxygen we breathe. Kelp is an important product for human consumption as well, used in products from pharmaceuticals and toothpaste to puddings, cakes, and shampoo. Between 100,000 and 170,000 tons of kelp is harvested from Californian waters each year. How then, did kelp forest decline go unnoticed by beachgoers for almost 30 years?
Various factors contributed to California’s kelp forest decline, but the catalyst was urban development. As populations boomed and cities expanded, drainage ditches routed increasingly large amounts of runoff water to the ocean instead of allowing it to soak into native soil. Ocean water became turbid, smothering natural algae. Unable to photosynthesise sunlight, much of the algae eventually died. Sea urchin populations soared, devouring entire reefs of new kelp, preventing its repopulation. From the 1970s to 2002, as much as 80% of the kelp growing along the Orange County coast was lost. The disaster went largely unnoticed amongst the coastal community – out of sight, out of mind.
In 2002, Nancy L Caruso, a young marine biologist took on the challenge of returning healthy kelp forests to Newport and Laguna beaches. This would ultimately involve more than 5,000 volunteers, hundreds of school children and the support of increasingly engaged beach communities.
With a Bachelor’s degree in Marine Biology, Nancy began her career in aquaculture, hydroponics and aquaponics at the Epcot Center in Disney World. After moving to California to work in the water quality lab at the Aquarium of the Pacific, she realized her future lay in ocean conservation. She left her position to build a programme that would restore the kelp forest to the Southern California coast.
Knowing that education is the path to change, Nancy contacted elementary schools in the area and shared her plan to restore the community’s kelp forests. It would be an impossible task for one person – or even a small group – to replant miles of kelp forest. By involving schools, Nancy could educate children through a practical science programme. Tanks were set up in classrooms and the children cared for tiny kelp plants in their ‘kelp nurseries’. Scientists collected sporophylls from healthy kelp and planted it on small bathroom tiles. The tiles were then nurtured in the classroom by grade school children until they grew to approximately 6mm.
While schoolchildren watched over their kelp nurseries, volunteers from the diving community began the arduous task of relocating thousands of sea urchins. The urchins were removed from the reefs to help the tiny kelp plants flourish. As the nursery-grown kelp matured, they would develop a root system called a “holdfast” that would encompass the tile and surrounding reef. Due to the efforts of these scientists, divers, and school children, over an eight-year period the kelp slowly returned to the Laguna Beach coastline.
The project was succeeding, but beach-goers complained about the piles of stinky kelp washing up on beaches – a typical occurrence in coastal areas with healthy kelp forests. To move the project forward Nancy realised the community needed educating. She started displaying pictures of what local beaches looked like 100 years previously – awash with kelp. Most people remained disinterested, keener for a kelp-free beach than a healthy marine ecosystem.
The problem, Nancy decided, was connection. “Most people are not scuba divers, so it’s difficult to convey the beauty of kelp to those who have not been underwater,” she said. To connect the community with the kelp beds Nancy conceived Kelpfest, an annual fair designed to quickly and concisely convey the importance of local kelp forests.
Kelpfest is a non-profit annual event in the city of Laguna Beach. Vendors include scout troupes who display kelp projects, schools who display work, jewellers and artists who show their designs and ocean art, and many volunteers who run booths or tables devoted to anything from crafts for children to food and entertainment. It has proved a huge success.
To continue her conservation work, Nancy started a non-profit organization called Get Inspired. She believes that the future of scientific discoveries is limited only by our creativity. Her projects include school programs in which students grow white sea bass and green abalone in classrooms. Students learn about the ecology of the kelp forest, the biology and history of abalone in California, water chemistry, and the state of world aquaculture.
“If I could give a message to the world, it would be that restoration and conservation is no longer the job of people ‘out there’ – that is, environmental organisations and scientists,” said Nancy. “It is now the job of every citizen. There is no reason why every person can’t be involved in their own conservation/restoration efforts. Because we each take something from the ocean, we all should be giving something back.”
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Videogames have changed the way the younger generations interact with entertainment, could they change the way they interact with learning? Could gamification be the future of education?
What Is Gamification?
Gamification is a new approach to education that applies video game design in learning contexts in order to motivate and engage students. There are many aspects of games that can be integrated in gamification, such narrative, point based reward systems, collaborative problem solving, trial and error, or opportunities for leveling up. An activity does not necessarily need to have all these features in order to be considered gamification.
How does it help students?
Games are about problem solving, this alone makes them a great tool for teaching, learning and assessing. It has been shown that gamification helps student focus, retain information, and improve their overall performance. This is mostly thanks to the fact that younger generations are so used to video game dynamics that seeing them recreated at school is guaranteed to increase their engagement. Instant feedback, trial-and-error deductive learning, and a fun more active way of studying are among the aspects that make gamification so appealing. Students feel more in control of their choices, just like they feel when playing as the main character in a game.
Successful examples of gamification
Gamification is already part of education, and it has been proven extremely successful. Platforms like Duolingo, that lets students learn a language by translating increasingly complex sentences, or The World Peace Game, a political roleplaying game that lets students explore the relationships between nations. Some teachers have tried to introduce more technology into the classroom with unbelievably positive results, like the Minnesota 3rd grade teacher Mr. Pai. He integrated new devices into his curriculum, including the Nintendo DS, trying to engage his students. In just a few months his class’ performance increased significantly, bringing them to a mid 4th grade level.
But gamification is not just for elementary school and universities are also opening up to it. Coursera, for example, is a company that has already partnered with several universities to provide free online classes. The courses include video lectures and weekly assignments, feedback is immediate and students “level up” or receive badges as a reward system.
How can we bring it into the classroom?
Integrating more technology into the curriculum is incredibly helpful and often cheaper than we think, but gamification can be introduced even without a budget.
Grades are the easiest thing to gamify, introducing points, bonuses, achievements and even badges to reward students and assess their level of understanding of the subject.
Quests, treasure hunts, and other interactive activities could help gamify homework, motivating students to maintain their engagement after school hours. Encouraging team work, or even stirring up competition organizing tournaments can have the same results, while also teaching students valuable skills they will need in the workplace. Using the students’ own resources, like their phones and home computers, they can turn their homework into youtube videos, websites or blogs. Encouraging children to share their work on the internet will make them feel more motivated and invested than they would be if they were writing an assignment for just the teacher to read.
Gamification can completely change the way young students look at school, and really help them to feel passionate about what they are studying. This is more than just a trend, it is going to be the future of our school system.
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