Complicated, and Worth It: Fashioning Links in Literacy

Teaching

This post is written by Jason D. DeHart, PhD. Read more about Jason at the bottom of this post.

Were I to conduct a thematic analysis of my career in literacy so far, “I don’t like to read” would rise to prominence as an often-stated reality. Even if students feel that they are capable readers, they do not always express connection and engagement with the texts that they encounter in school settings.

This was true in my time as a middle school teacher, it is a theme that has inspired my scholarship, and it is a mantra that continues to resonate in the K-12 setting in which I am working now. When I consider the types of texts that continue to be honored – voices from hundreds of years ago, many of which include problematic language related to ethnic, racial, and gender identities – it is no small wonder that instant buy-in is so rare.

While there are many potential solutions to discuss, the word that also comes to mind in my thematic thinking is linking. This notion of linking speaks directly to the work of Literacy in the Disciplines in terms of thinking about the strands of critical inquiry that can be fashioned between and among content areas and types of texts. As I start a new semester, I am continuing to revisit the ways I can make content rich and relevant for my students through thoughtful connections between and among content areas, types of texts, and voices old and new.

The Rising Voices

Text selection is a key part of this process. When I first began teaching my students, they were reading Steinbeck’s outsider report of migrant farm workers in Of Mice and Men. That same year, in 1937, a book called Their Eyes Were Watching God was published. I was fascinating by this cultural dichotomy and struck by the opportunity to find a voice from the intersections of gender and ethnicity that could broaden my students’ perspectives about the lived experiences of people in the past. Zora Neale Hurston was, famously, an anthropologist, and her attention to ethnographic detail shows up in her writing.

I then worked with students across my courses to trace this literary journey to Alice Walker, who was instrumental in bringing attention once more to Zora Neale Hurston’s work in more recent times. This conversation between authors across time was one that I could discover and share with my students, linking to their current stories as part of American culture(s). It is both a linking of time and a critical inquiry that travels through a chain of inspiration.

In addition to Hurston and Walker, we read Jason Reynolds, Jericho Brown, and additional contemporary voices who have shared about facets of America that are simply not discussed in many canonical works. It is also important to me to choose works not simply because I am drawn to them personally, but as a way of filling in a gap that exists in what students might have discovered in literature so far.

Critical Analysis and Honest Stance

At one time, suggesting that a revered work of literature contains problematic content would have caused me insecurity. I desperately wanted to be a “good English teacher”, and I thought that meant holding the classics up on clouds. At this point in my teaching career, I recognize the value of honestly evaluating the limitations of thought and experience represented by literary canonical figures. In this way, I can be clearly critical about what it means to be an inside or outside voice related to a particular topic or way of being, and I can invite my students to think critically about these questions of authorship, as well.

I feel that this approach honors my students’ intelligence and acumen in noting these inconsistencies in human stories, as well as their awareness of the absence of some stories in what they have discovered in curriculum so far. This critical stance is not only possible in English class, but can lead to inquiry in history and social studies courses, discussions of equity and equal access in science and health care, and questions of ethics in technology courses, to note a few possibilities.

Asking students to evaluate an author biographically, not to simply suggest that they did not know better than to use language at a certain period in time, but to consider authors’ biases and positionalities is part of deep thinking and ethical work. This need not be a full lecture on the author’s history, but rather a point-by-point glimpse at some major details about them, considered historically alongside literature.

Ways of Reflecting

Finally, all of this critical work requires some kind of outlet. I cannot imagine teaching a class about virtually any topic and not having my students respond in some way each day, either in a paragraph, a sentence, or a few take-away words. I embrace videoed content as students have created zeitgeist poems and adapted key narrative scenes in groups, using their cell phones as one-stop shops for moviemaking. I embrace the visual, not just in thinking about remembering vocabulary words, but in sharing multimodally and symbolically about reading and viewing experiences.

A question stem to encourage this kind of response might be something like: Locate or create three images that represent your thinking about the representation of political unrest in Before We Were Free by Julia Alvarez, or Create an infographic to help us understand the setting and context of Elie Wiesel’s Night.

In this way, students can explore links between and among stories that have existed for some time, as well as those that need to be (re)told. Moreover, as I have explored in this post, students can become aware of, critique, and even compose links between historical and contemporary voices, and engage in the process using tools and approaches that build their mathematical, artistic, and technological skills.

Teaching and learning is truly a linking and connected process, from past to present and across multiple literacies. All of this rich complexity requires attention, but I have found the conversation to be worth the time.

Jason D. DeHart is a passionate educator, currently teaching English at Wilkes Central High School in Wilkesboro, North Carolina. He served as a middle grades English teacher for eight years and an assistant professor of reading education at Appalachian State University from 2019 to 2022. DeHart earned his PhD from The University of Tennessee, Knoxville.

Photo by Michal Matlon on Unsplash

Teaching Word Roots in the Science Curriculum

Teaching

This post is written by Dr. Timothy Rasinski. Learn more about Dr. Rasinski at the bottom of this post.

Research has demonstrated that the size and depth of students’ vocabularies are associated with proficiency in reading comprehension. Words matter in reading. Words also matter in academic areas. In science, words are labels for key scientific concepts. Although learning science-related words is critical to success, teaching them can be challenging – many scientific ideas are new to students, and most scientific concepts are abstract. Asking students to look up and memorize words and their definitions in dictionaries or textbook glossaries is, at best, a short-term solution and, at worst, can lead students to deep disinterest in studying words.

Another Approach – Word Roots

A word root is an umbrella term for a word part that carries meaning, including prefixes, bases, and suffixes. Importantly, our understanding of a new word’s meaning begins not with the prefix but with the base because the base is the root that provides the word’. Moreover, the ubiquitous nature of word roots means that they appear in many words – learning one word root can help readers understand many words. Since over 90 percent of all academic words (including science) are derived from Greek and Latin word roots, it seems that a comprehensive and efficient approach to teaching science vocabulary is to teach the word roots that underly the scientific concepts and words students will encounter in their science instruction.

Here’s a year’s worth list (one per week) of some of the many science-related word roots (and their meanings) derived from Latin and Greek that students will encounter in their science instruction. Interestingly, many of these roots also find their way into the vocabularies of other academic areas, such as math and social studies.

You can easily see how these word roots are found in many science words and concepts, especially in longer scientific words that combine multiple bases, prefixes, and suffixes (e.g., abrupt, interruption, photosynthesis, illuminate, orthodontist, biodiversity, sediment, subside, etc.).

How to Start with Word Roots

There are many ways to include word roots in science and vocabulary instruction. One of the simplest is to develop in students an awareness of and fascination for word roots. This can be done by starting each week with a new word root and presenting students with the root, its meaning, and a list of words that contain that word’s roots. Perhaps make a classroom visual display of the root, its meaning, and a list of related words (students could keep their own personal word journals with this information). Then throughout the week, make quick references to the root, perhaps adding a new word each day to the display. And, of course, when coming across new words containing the root in your instruction, draw students’ attention to the word, and its root. Here’s an example using the “hydr(o)” word root:

A few minutes each day studying the targeted word root and reading texts containing word roots can go a long way to develop students’ understanding of science (and other academic areas), build their general vocabularies for reading and writing, and develop students’ fascination with words toward becoming a true “lexophile” (“lex” = word; phile = love/lover).

Recommended Resources

Rasinski, T., Padak, N., Newton, R., & Newton, E. (2014). Getting to the Roots of Science Vocabulary: 6-8. Huntington Beach, CA: Shell Education. (find at www.tcmpub.com)

Rasinski, T., Padak, N., Newton, R., & Newton, E. (2014). Building Vocabulary from Word Roots: Kits for Grades 3 through 11. Huntington Beach, CA: Teacher Created Materials. (find at www.tcmpub.com )

Dr. Tim Rasinski is a Professor of Literacy Education at Kent State University where he holds the Rebecca Tolle and Burton W. Gorman Chair in Educational Leadership. A former classroom and reading intervention teacher, Tim is a member of the International Reading Hall of Fame and was recently identified to be among the top 2% of scientists in the world.

Tim’s Email is trasinsk@kent.edu You can follow Tim at @timrasinski1

Cover Photo by Arun Geetha Viswanathan on Unsplash

Using graphic organizers to help break down content into manageable chunks

Teaching

This post is written by Schyler Anderson. Read more about Schyler at the bottom of this post.

While teaching science one day, I gave my students what I thought would be a simple task – read an article and answer questions afterward. In my lesson plans, I wrote this as a “warm-up” activity which was only supposed to last about ten minutes. Ten minutes passed and to my dismay, the majority of my students weren’t even attempting the assignment. I walked around the room to check in with students and see what the issue was. The students who weren’t attempting the assignment asked me to read it to them. Once I did, we went through the questions and they were able to answer them with no problem.

The situation listed above occurred frequently in my classroom. In the beginning, I played the blame game and felt that teaching middle schoolers how to read was out of my control and not my job. After seeing my students continue to struggle, I realized this was an area of my teaching that I needed to revisit. I believed that literacy was at the core of science and integral to the success of my students. When researching, I came across the strategy of using graphic organizers. I found that one of the reasons middle school students struggle so much with science literacy is because they have had little exposure to expository writing. Expository writing is filled with complex vocabulary, structured by topics, and has no clear beginning, middle, and end, unlike the narrative writing they were more used to. Graphic organizers help students break down the content into manageable chunks and ensure they grasp what’s most important.

Once I decided this strategy was worth implementing, I approached implementation with a science brain where I created a control group and an experimental group. Both groups took the same pre- and post-assessments. The experimental group learned using graphic organizers and the control group relied on traditional reading comprehension strategies such as skimming and scanning the text, looking at bold words or phrases and reading the questions before reading the text. The groups switched to the next unit so that each group had experience learning content with and without graphic organizers. I was ultimately comparing the growth between each group to see if this strategy really helped improve students’ reading comprehension skills. I created my own graphic organizers based on each topic like the one sampled in the image below. I decided to follow the basic templates of hierarchical, cyclical, conceptual, and sequential graphic organizers where I added titles and phrases to help students understand the organization better.

When looking at the data, I found that this strategy was helpful to my students, particularly those who categorize themselves as poor readers and/or those who were low achievers in science (D or F grade range). Survey data showed me that 67% of my students from Class A and Class B felt that using graphic organizers helped them understand content from the textbook better. They also provided written explanations stating that when using graphic organizers:

“It helped me because it breaks down everything.”
“It helped me because it is more organized.”
“The content is simplified.”
“It is easier to find the answer.”

I also noticed that my low-achieving students experienced the most growth between the pre-and post-assessment while in the experimental group. For example, the two low-achieving students I focused on experienced a growth of 60 and 40 points when using the graphic organizers. This group of students also responded the most enthusiastically to the strategy. Before graphic organizers, the two focus students loathed completing written work. They both rated themselves as poor readers who are insecure about their reading ability. When comparing this behavior with their behavior during the use of the strategy, it was a 180-degree difference. These two students were writing down and completing the assignments. They were complaining that class was ending too quickly. They became more confident in the short time that I tried this strategy out. You can see for yourself the comparison between the work of my focus student, Ava, below:

When looking at the notes above, you can see that Ava did not complete the note sheet entirely. The answer to the question, “Why are particles necessary for cloud formation?” is answered incorrectly showing a lack of understanding. The final question is not answered so the notes lack some details. Now compare this with the graphic organizer completed below. Notice that the graphic organizer is entirely complete. Ava took the time to draw out each symbol and color it in. The definitions provided give enough details that Ava could use these notes to help her study or complete an assignment.

While my foray into the world of graphic organizers was short, I find this strategy to be a promising one. This strategy is first and foremost easy to implement. There are numerous templates online or you can create your own using Google Slides or Google Drawings as I did. Simply print them out, explain what goes where, and see how your students do. The second plus to this strategy is that it teaches students how to pull out the important information within a wordy article and how to actually use this information when needed. Finally, this strategy was most effective with my struggling readers and I don’t know about you but If I can find a strategy that helps my struggling students become more successful I will. In conclusion, give graphic organizers a try today or tomorrow and see how they will help your students become better readers of science – and other expository – texts.

My name is Schyler Anderson. I am an educator located in Sumter, SC. This will be my 4th year teaching 6th-grade science. I am a proud USC alumna. I got my bachelor’s degree in middle-level education with a concentration in math and science and my master’s degree in teaching with a focus on PBL.

Cover Photo by Jess Bailey on Unsplash

Webinar: Using Curiosity to Write in Science

Teaching

Literacy in the Disciplines, 6-12 (LiD) is pleased to announce our next after-school Webinar Series session.

Using Curiosity to Write in Science

This webinar features two science teachers sharing ways literacy can be used to support science content learning. The purpose of this webinar is to communicate learning in science through the CER framework and provide examples of how writing can be a tool to enhance science knowledge. Our goal is to give other science teachers tools to incorporate writing in their classrooms and more students towards specialized science writing practices.

When: This webinar was held on Thursday, January 19, 6:00 – 7:00 pm ET.

The video recording of this session is available below.

Cost: Free. LiD6-12 is funded by the South Carolina Middle Grades Initiative.

This session featured Anna Stuart and Wanda Littlejohn.

Cost: Free. LiD6-12 is funded by the South Carolina Middle Grades Initiative.

Ms. Anna Stuart is an 8th grade science teacher in Lexington, SC. Anna earned her bachelor’s degree in middle level sciences and her master’s degree in Language and Literacy from the University of South Carolina. As the lead science teacher at her school, she is passionate about creating curiosity in her classroom and helping students see themselves as scientists. She serves on the Board of LiD 6-12.

Ms. Wanda Littlejohn is a native of North Augusta, SC, and has 22 years’ experience in the field of education with a background in science. Currently, she is an Instructional Specialist at Carolina High School where she provides professional development for teachers. Her passion is working with educators to provide engaging and equitable learning experiences for students. Additionally, she enjoys spending time with her 15-year old son and shopping. She serves on the Board of LiD 6-12.

Please share this professional learning opportunity with your colleagues.

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Photo by National Cancer Institute on Unsplash

Planting the Seed of Comprehension in Agriculture and Science Classrooms

Teaching

This post is written by Stephanie M. Lemley. You can find out more about Stephanie at the bottom of this post.

For the past two years, I have had the privilege of working primarily with grades 6-12 Mississippi agriculture and science teachers through a grant entitled Agricultural Sciences Professional Development (ACRE). This professional development for agricultural literacy grant is funded by the U.S. Department of Agriculture, National Institute of Food and Agriculture. In this grant, teachers participate in an intensive, two-week summer institute where they learn animal science, plant science, and meat science content as well as literacy strategies, pedagogy, and teacher leadership. The teachers also participate in two follow-up days—one in the fall semester and one in the spring semester. As a content-area literacy and disciplinary literacy teacher/educator, I work with the teachers on infusing comprehension, writing, and vocabulary strategies into their classroom practice. During the summer institute, the teachers keep an interactive notebook (either hard copy with a spiral notebook or a digital version on a site such as Canva.com) to record their lab data, literacy strategies, and notes from presentations. Previous research on interactive notebooks in science classrooms has shown that such tools can support students’ communication of science understandings (Wilmes & Siry, 2019).

One strategy that has been impactful for both cohorts of teachers is the carousel (Adams & Leininger, 2017). This strategy promotes productive talk in the classroom. On the first day of ACRE, I post chart paper labeled with the different livestock species—dairy cattle, beef cattle, small ruminants (goats/sheep), equine (horses), and swine around the room. I divide the teachers into small groups and have them circle the room, two minutes at each station, recording as much background knowledge about each livestock species as they can. As they rotate around the room, they read what others wrote, correct any misconceptions, and record their own information in a different color marker. At the end of the summer institute, we revisit the carousel to record new knowledge from ACRE.

Image: ACRE teachers completing the carousel about different livestock species.

Another strategy that I teach and we practice in our summer institute is magnet summaries (Buehl, 2014). A magnet summary is a strategy where students construct meaningful summaries, in their own words, about a topic or concept. As a piece of text is read, magnet words—key terms or concepts—are identified from the reading and are organized into a summary.

At our summer institute, I modeled, and we completed together a magnet summary on the term ‘animal scientist’. We introduced this topic to the teachers because the majority of the presenters throughout our two weeks together were practicing animal scientists from the university. We utilized two texts– American Society of Animal Science’s (ASAS) entry on “What is Animal Science?” and the Occupational Outlook Handbook’s entry on Agricultural and Food Scientists.

Image: *A magnet summary on the term ‘animal scientist’.*

Once we completed the first magnet summary together, the teachers completed another one on a Mississippi commodity (e.g., broilers, cattle, catfish, corn, cotton, horticulture crops, peanuts, rice, sweet potatoes, etc.) utilizing three sources—the Mississippi Farm Bureau Commodity Facts, the Mississippi Agriculture Commodity Directory from the Mississippi Department of Agriculture and Commerce, and the Mississippi State University MS Agricultural and Forestry Experiment Station (MAFES) Mississippi Commodities list.

Images: Magnet summary on the Mississippi commodity ‘soybeans’.

Both of these strategies translated well into classroom practice for our teachers. In our fall follow up, one teacher noted, “The carousel strategy worked well because students enjoyed going back after lessons to see how much they learned.” Another teacher noted that the compilation of strategies in the interactive notebook the students are keeping “allows them make connections with content throughout the term.”

References

Adams, S., & Leininger, G. (2017). But I’m NOT a reading teacher! Literacy strategies for career and technical educators. Coppell: Sandy +Gwen Always Learning.

Buehl, D. (2014). Classroom strategies for interactive learning (4^th ed.). Newark: International Reading Association.

Wilmes, S.E.D., & Siry, C. (2019). Science notebooks as interactional spaces in a multilingual classroom: Not just ideas on paper. Journal of Research in Science Teaching, 999-1027. doi: 10.1002/tea.21615

*This work is supported by the Agriculture and Food Research Initiative’s Professional Development for Agricultural Literacy priority area, grant no. 2021-67037-34210, project accession no. 1025666, from the U.S. Department of Agriculture, National Institute of Food and Agriculture.

Stephanie M. Lemley is an Associate Professor at Mississippi State University where she works with pre-service and in-service teachers on incorporating literacy strategies into their agricultural teaching practices.

Cover Photo by Jonathan Kemper on Unsplash

Nurturing Key Critical Literacies Through Visual Arts Pedagogy

Teaching

This post is written by Linda Cato. You can find out more about Linda at the bottom of this post.

The classroom is charged with an energy of quiet focus: ten students patiently mixing rainbows of watercolor on paint trays and carefully painting in rows of squares on pieces of large, gridded paper. The students work around one large “studio table” created by pushing together several desks, which allows for ease as they assist and encourage each other through what was initially seen as a painstaking task, but is now met with curiosity and reflection.

“I never knew I could mix so many colors with just three! And I never knew that I could see my feelings!” says one student.

“To be honest, I thought I was gonna hate this, but I feel so calm right now,” says another.

Visual arts pedagogy holds the inherent potential to foster literacy across disciplines, while also nurturing key critical literacies such as hope. Art making (and all creative work) is, in its greatest sense, an act of hope, a powerful pathway by which we bring forward what lies beyond words, engage in bold envisioning, and exercise the right to dream. Educator and scholar Jeff Duncan-Andrade defines critical hope as the ability to assess one’s environment through a lens of equity and justice while also envisioning the possibility of a better future (Dugan, 2017; Duncan- Andrade, 2009 as cited in Bishundat, Philip, and Gore, 2018). Following my curiosity regarding the classroom as an incubator of personal and community well-being, creativity, and literacy, I have been striving to design projects which nurture both critical literacy and critical hope, with a nod to SEL and visual art standards. My goal is to walk a path of discovery alongside my students, whereby we build the capacity and language to craft essential and provoking questions and invite expansive answers through our creative journeying, while laying the foundations for personal and collective transformation and growth.

The unit, based on watercolor technique and color theory, set us on a path of self-reflection and connection. Introduced towards the end of the term, it bridges what we have seen and heard from the artists explored in this course (Kusama, Wiley, Butler, Glinsky, Gee’s Bend Quilters, among others), linking their experiences to the students themselves, with a focus on the storytelling power of color. Color, along with other forms of creative expression, is a powerful tool that can be used to express personal narrative, work with challenging emotions, and foster positive states of mind. (The Foundation for Art and Healing, 2022).

We began by looking at and responding to art that emphasizes the color red. Students offered insights as to what the red felt like to them, and what stories the red was telling in each painting. For some students, red felt like agitation or anger, for others, celebration and love. From their discussions, it was clear that they understood the personal nature of color as well as its potential to evoke emotion.

After our initial discussion, I passed out large sheets of watercolor paper and asked each student to create a grid on the paper, using rulers and pencils. I then began a demonstration of how color families can be mixed from three root primary colors – red, yellow, and blue – modeling the creation of a watercolor rainbow of colors of varying brightness, intensity, and opacity. I used the demonstration as a think-aloud, reflecting out loud as I worked, using vocabulary specific to the visual arts discipline and this lesson (“I see that mixing complementary colors has a specific effect on the value of color”) and taking time to pause and look at my work in order to offer reflective questions,”I wonder how the story of this orange will change if I add two drops of green?” and “Ohhhh that looks a little more like a shadow color, gives me a low-energy feel”…. I also note that “As I fill in this grid with all these colors, I am reminded of how many emotions arise throughout my day, one after the other….. “, connecting the activity to wider learning and laying important groundwork for the individual reflections and class discussions to come.

After completing about a quarter of my grid, I invited students into the process, continuing to work alongside them for several minutes. Pausing my work, I circulated around the room, engaging students in reflection and inviting questions. Once students had filled in the grids, we paused for a mindful reflection on the process and on the myriad of colors that covered the table. Referring to the Feeling Wheel (Wilcox, 1982) they named their colors with the corresponding feeling, writing the emotion on each square. We closed the session with students sharing their completed grids along with insights into their experiences and learning, acknowledging not only how different the grids are from each other, but also how beautiful and satisfying it is to see them all together.

*Example of completed color grid: all colors are mixed from a root primary triad, and each color named based on the connection of color/emotion, specific to the student artist.*

The next step in our exploration was to create a self-portrait using the color mixing techniques. We began with a group share, with students identifying and sharing the dominant moods they have experienced over the past week. Most students reported feeling tired, sad, bored, and stressed. I invited the students to consider how we might use color to connect to states of joy, peace, calm, and ease while demonstrating some techniques they might use to sketch out the silhouette of a head and neck, which I then divided in half by drawing a line down the middle of the face from top to bottom. Once all students had completed their drawings, we referred back to the Feelings Wheel. I invited the students to choose one emotion they had felt in the past days, and then identify a contrasting emotion and to write them on their drawings, on either side of the face. Next, students were guided to mix two different palettes, each representing one of the emotions they chose to express. Using their mixed colors, they painted in the portrait, one half at a time.

As the class worked with care and focus, I circulated around the room, responding to questions and comments. When all the portraits were finished, we shared the art and some words about the overall experience. Some expressed surprise at how their mood lifted as they worked on this project, and overall the class agreed that they experienced feelings of hope after representing themselves in colors connected with positive emotions. The group share was definitely a moment of connection for the entire group: we had touched a moment of collective critical hope. Through the shared creative experience and dialogue, students understood multiple perspectives while still connecting to self.

Given the concerning statistics regarding adolescent mental health, it is imperative that we are supporting our students in their awareness and understanding of their emotions, helping them develop the skills and tools they can use throughout their lives. In this particular instance, creative work is the vehicle of exploration. Creative expression supports the development of emotional literacy by inviting curiosity and reflection. Emotional literacy is directly tied to critical literacy in that it empowers individuals to deepen their own self-awareness while equipping them with tools of self-advocacy. Critical literacy in turn lays the foundation for critical hope as students find courage to envision, engage in new ways of experiencing, and exercise their self-efficacy.

References

Bishundat, D., Phillip, D. V., & Gore, W. (2018). Cultivating critical hope: The too often forgotten dimension of critical leadership development. New directions for student leadership, 2018(159), 91-102.

The Foundation for Art and Healing, artandhealing.org 2022

Willcox, G. (1982). The Feeling Wheel: A Tool for Expanding Awareness of Emotions and Increasing Spontaneity and Intimacy. Transactional Analysis Journal, 12(4), 274-276.

This post is written by Linda Cato. You can follow Linda on Instagram at https://www.instagram.com/lindacatoarts/.

Linda currently serves as a high school visual arts instructor with the Chapel Hill-Carrboro School District, after relocating to NC from the desert Southwest. Following a strong interest in schools as spaces of wellness and healing, Linda recently completed certification in Social Emotional Arts through the UCLArts and Healing program. Linda’s wish for all students who pass through the classroom is that they touch joy and possibility, and experience the power of inquiry and bold imagining. Linda is also also a mixed-media visual artist with an active studio practice. The created art is grounded in observation and experimentation, and considers the interconnectedness of human experience, spirit, and the natural world.

Cover image credits.