Where I’m From

Teaching

This post will discuss how “Where I’m From” poetry helped provide a scaffold to better understand multilingual students and their evolving identities. This post is written by Emily Graham. Read more about Emily at the bottom of this post.


The question “Where are you from” is one often heard by multilingual learners (MLs). Although all the MLs at my school could answer this question simply by naming their birth country as either the US, Mexico, or Guatemala, this answer gives little information about each student’s identity. Through her poem, “Where I’m From”, George Ella Lyon shows us how we can tap into the more complex answer to this question. Lyon links together memories of special places, people, sayings, and stories from her past to tell us who she is, and this can serve as a powerful model for reflection and exploration of the rich and diverse identities among students.

In a poetry unit built from Lyon’s ideas, structure, and themes, my MLs explored and shared their own identities. Students’ poems and thoughts gave me a small window into my students’ past and present lives and their critical and creative thinking abilities. The “Where I’m From” Poetry Project allowed me to build a deeper, more complex understanding of who my students are and “where they are from” beyond just a geographic place.

There are countless get-to-know-you activities that require students to answer categorical questions such as: “What are your favorite foods?”; “What are your favorite songs?”; “Who is in your family?”; or “What do you like to do when you are not at school?” While I believe these questions are important, their answers do not always provide great insight into our students’ lives. Often these questions are asked and answered without much thought or reflection. Students may say: “My favorite foods are tamales”; “I don’t know my favorite song”; “I live with my dad, aunt, uncle, and sister”; and “I watch T.V.”, but there is little depth or passion to these responses.

When we use poetry to elicit these responses, we can reframe these questions in a way that requires reflection and deep thinking. When the questions are reframed to: “What are the family, foods, thoughts, and stories that make you who you are?” a teacher can gain a much deeper understanding of students and their unique identities. “Where I’m From” Poems provide a frame and an artistic lens for students to respond to those questions about identity.

Here is an example of how one student’s poem provided me with a glimpse into his rich and unfolding identity. Looking at his identity from a more reflective perspective helped me build an understanding of the student’s home life, language, family, and interests that I had not slowed down to see before.

Jimmy, a 3rd-grade multilingual student, was born in the United States and struggled with academic language and literacy. Although he was born in the US, he did not begin learning English until he started school in kindergarten. The first language, the language used most often, and the language that he used with the people he loved, was Spanish. Jimmy was considered a student who “struggled” in school.  He often put his head down in class, he refused to work independently, and said things like, “I’m not smart” or “I can’t read.” Sometimes he participated in whole group discussions but more often seemed disengaged. Jimmy’s class was starting a unit on poetry, and I anticipated resistance from Jimmy. I decided to teach a unit to build background knowledge and confidence in poetry.

Jimmy initially seemed disinterested in the idea of studying and writing poetry. But that slowly started to change through the process of a close read of Lyon’s “Where I’m From.”  At first, we looked at the literal meaning of Lyon’s words through translations, pictures, and discussion. Jimmy was able to confidently define big words from Lyon’s poem such as “carbon tetrachloride” and “forsythia bush”. He was able to explain how someone might lose a finger to an “auger”. He also was able to discuss big ideas like nostalgia and memories.  In later readings, Jimmy stated Lyon’s voice reading her poem sounded like a ghost. He said Lyon talked about the past and memories like a ghost would. Jimmy seemed to enjoy building on the ideas of his group members. He was not afraid to share his opinion on the meaning of certain phrases and his thoughts about word choice. I was surprised by Jimmy’s desire to build an argument and support a claim in the discussion. He said, “I think the author likes to play in the dirt under her porch. Maybe she liked to hide there because that is what I do. My dogs also like to hide under the porch because it is cool, and they feel safe.” I was also impressed by Jimmy’s critical thinking and questions.  He said, “I wonder why she said the ‘it tasted like beets.’ Maybe she is talking about when she was a little kid because little kids always put stuff in their mouths. They are curious and that is how they explore.”

Jimmy was not initially thrilled about the task of writing his own poem. He needed some support organizing his ideas. With the support of graphic organizers, help in spelling, and some motivation from a YouTube student example, Jimmy wrote. Here is his poem:

I am from fish tanks and from dirt

and my dog DJ

I am from broken glass in my backyard

I am from my broken T.V.

From Roblox and road trips

I am from sunflowers and bamboo

I am from tag with my brother and helping my mom

from Joseph and Marissa

I am from the sad puppies and Llama the puppies mama

from swings and broken pinatas

I am from my dad’s Honda

with a big engine

I am from my mom’s Hyundai

it has a push button to start

from riding my bike and making my own adventures

I am from digging holes and making traps

I am from inventions

Jimmy’s poem was a powerful representation of his identity, and his word choice was beautifully poetic. He was able to infuse his poem with alliteration and repetition, imagery, and emotion. He juxtaposed happy and sad memories, and purposefully ended his poem with positive attributes about himself. He talked about both joyful and upsetting times with his family. Times where they celebrated together — “broken pinatas” — and times of trouble — “broken T.V.” From reading and talking about Jimmy’s poem, I learned about ways Jimmy interacted with his family, some challenges in his life, and personal characteristics that he was proud of. Jimmy was proud to explain how he helped his mom with daily chores and sometimes would go to work with his dad. He talked about his dog Llama having puppies and the irresistible sad look on the puppies’ faces. He found joy in playing with the puppies. He talked about being devastated when some of the puppies got sick and died. He said he felt so bad for Llama, the puppy’s mama. Jimmy sometimes showed insecurities in the classroom but spoke with complete confidence when discussing his adventures and inventions outside of the classroom. He talked about his positive attributes like creativity, curiosity, and bravery. Jimmy took pride in his poem, so much so that he wanted a copy to take home and read to his family

Jimmy’s poem and the conversations that resulted from discussing poetry helped me shift from focusing on Jimmy’s struggles to identifying and sharing his strengths Before, I might have shared my frustrations on Jimmy’s lack of motivation or refusal to do work in my class. Now I had something so much more powerful and beneficial to share with other teachers — Look what Jimmy wrote, look what Jimmy can read, but most importantly look at some of the things that make Jimmy who he is! Through poetry I learned more about his academic abilities — Jimmy could craft meaning from metaphor and explain his theories about themes and lessons hidden in poems. I also learned about his interests and motivators. I discovered Jimmy’s empathy for others, passion for inequalities in his community, and desire to help others. Jimmy’s poem allowed me to understand his uniqueness and make connections to my own childhood curiosities and adventures. I felt the same empathy for animals and dreams of a more peaceful and equitable world.

I had the same kind of revelations and connections with my other students. I learned Alexander had a job caring for sheep in Mexico through his lines: “I am from a big river where the sheep used to cross” and “from a scary ram who chased me all day.” I learned Veronica’s older brother always said to her “sup bro and dap me up, bro.” I learned about Marta’s memories of Guatemalan cuisine: “tortilla’s (sic), tortas, tamales, and tacos.” Each poem was beautiful and unique and a window into my students’ lives. These poems provided voice for my students and a platform to share the individual identities that they were proud of. This background was both unique and unifying. The poems gave students an opportunity to be more clearly seen and heard.

Sometimes we want to get to know our students, but we don’t know the right questions to ask. The question “Where are you from?” seems simple on the surface but does not have a simple answer. Studying George Ella Lyon’s poem with my elementary multilingual learners helped me slow down and deepen my understanding of Lyon’s words and, more importantly, my students’ words.  Although my initial purpose of the poetry unit was to provide academic background knowledge for my students, a more beautiful and poetic thing happened — poetry provided background knowledge for my students for me. The poems provided a space for me to do the learning and for my students to do the teaching. The format provided a space to merge home life and home language with school life and language. “Where I’m from Poems” allowed us to celebrate each student’s beautiful and unique identity.  

Lyon, G. E. Where I’m from, a poem by George Ella Lyon: Writer and teacher Subtitle. http://www.georgeellalyon.com/where.html


Emily Graham is from Johns Island, South Carolina. She currently teaches grades K-5 as a Multilingual Learner Specialist in Charleston County Schools. She is a certified elementary educator and has served in several different teacher roles including as a Multilingual Learner Program Specialist, a second grade teacher, an English teacher abroad, a substitute teacher, and a teacher’s assistant. She speaks Spanish and enjoys traveling, creating, and being in nature. She lives with her husband, 8-month-old girl, and two rowdy rescue dogs.

Cover Photo by Vidar Nordli-Mathisen on Unsplash

Overcoming writer’s block with free-verse poetry

Teaching

All writers are familiar with the brain-freezing sensation of staring at a blank page or screen without the slightest clue of how to start a daunting writing task.  This writer’s block symptom is intensified for struggling writers such as multilingual learners, students with un/diagnosed reading/writing disorders, or speakers of dialects who experience Standard English as a foreign language. When they consider themselves writing failures, free-verse poetry writing opportunities in any subject area are one effective way to remediate the problem and release debilitating emotional stress (Bullock, 2021). Most striving writers battle: (1) what to write about; (2) how to structure ideas for longer, multi-paragraph texts; and/or (3) how to use academic language structures in full sentences with grammatically and linguistically correct word use, grammar, and punctuation.

What is free-verse poetry?

Free-verse poetry writing does not present these challenges. It allows for associative writing with spoken language characteristics of words, phrases, or sentences without specific rhyme schemes or metric systems. There are no rules for line breaks, stanza divisions, or paragraph structures. Some free verse poetry looks like narrative writing without having to follow syntactic rules or to require punctuation. Free-verse poetry often creates images and focuses on sensory detail with figurative speech like similes (i.e., water as soft as coconut oil), metaphors (i.e., rain comes down in spaghetti strings), or idioms (i.e., fluttering butterflies in my stomach) (Craven 2021).

The following is a free-verse poem to remember that Natrium Chloride is salt:

Nate and Claire and NaCl

                        Nate Natrium wants a girlfriend

                        Through his binoculars from his Natrium castle

                        He spots Claire Chloride

                        In a hammock

                        Reading a romance novel

                        Humming a song

                        Nate’s heart bursts

                        His feet fly down the hill with a drumming heart

                        To Claire

                        And the rest is history

                        They have children

                        All with salty lips and skin

                        This family helps us spice our food

                        And give minerals to animals, humans and plants

                        Their license plate says NaCl-Salt

What makes free-verse poetry beneficial for striving writers?

The features of free-verse poetry described above allow writer’s block moments to gradually diminish because students can concentrate on what they have to say without grammatical and syntactical confinements of text passages. Students engage in short, creative writing tasks that provide them with growing confidence to express knowledge or feelings without being judged for writing conformity errors, especially when spelling errors are not considered. Consequently, students can creatively and meaningfully play with language and enjoy the process while engaging with content in a pressure-free, reinforcing way (Bullock, 2021).

When to implement free-style poetry writing?

At any time in any content area, teachers can implement 5-15 minute free-verse poetry writing opportunities: (1) prior to a topic to activate pre-knowledge and motivate for a topic; (2) during a unit/lesson; (3) after a unit/lesson to assess gained knowledge; or (4) as a general writing task with prompts such as a title (i.e. mountain bikes, my favorite singer), pictures, or music to engage students in free-verse writing to express their feelings and thoughts stimulated by the prompt.

What are some ideas for grades 6-12?

Providing routine writing opportunities with appropriate support while integrating students’ interests, strengths, and knowledge is crucial in breaking down writing barriers. When first introducing free-verse poetry writing, teachers use ‘think aloud’ techniques to model how to write such a poem. Then, students work in pairs to create a free verse poem before creating them individually. Students can compare each other’s poems and discuss what they learned from different poems. This reinforces the purpose and versatility of free-verse poetry writing in content areas. Students collect their free-verse poems in a writing journal or keep them with their content topic to help them study.

Additionally, a cloze text with open spaces to insert an association or sentence frames along with vocabulary banks can assist striving writers in focusing on writing free-verse poetry.

The following concrete suggestions for different content areas can be supported by thought-provoking pictures, video or film clips, or music to foster paired-up or individual free-verse poetry writing.

English Language Arts:

  • Relate to/ describe a character in a book.
  • Reflect on characteristics of a literary feature or term (i.e., idiom, climax), or jobs/functions of punctuations, capitalizations commonly mis/used.
  • Characterize features of standard English, dialect, or code-switching along with when each is beneficial.

Science:

  • Summarize characteristics of chemical procedures or elements such as H2O (water) or NaCl (salt); or components/purposes of cells or body parts.
  • Describe/reflect on the importance of the processes of the water cycle, polarity, electricity, or planetary systems

Mathematics:

  • Summarize the sequence of steps to take for a certain operation.
  • Describe the characteristics, roles, or properties of concepts or terminologies such as common denominators, geometric structures, or negative/positive numbers.

Music education:

  • Characterize/compare famous musical periods, instruments, musicians, or songs of certain periods.
  • Describe strategies to play certain instruments or to be successful in a choir or band.

Physical/health education:

  • Reflect on the benefits of particular nutrition items (i.e., protein, carbohydrates, water, food pyramid).
  • Describe the interaction of certain nutritional components in the human body or the benefits of exercise and the dangers of sedentary life.

Social Studies:

  • Reflect on/describe the roles of historical characters or their emotions and feelings during a time period (i.e., Anne Frank, Harriet Tubman, Malcolm X).
  • Reflect on/describe the roles of government branches or features of democratic, authoritarian, fascist, or socialist government structures
  • Present a timeline of events that lead to a certain historical event

Conclusion

In sum, brief, free-verse poetry writing is one creative, student-engaging approach to help promote a sense of growing confidence and creativity among striving writers at a low-risk level in grades 6-12. Nobody can go wrong. Every creative contribution counts and matters. Success at that level encourages students to tackle longer writing tasks while also reinforcing the disciplinary content they need.

References

For some examples of free-verse poetry by established authors, see:

Bullock, O. (2021). Poetry and trauma: Exercises for creating metaphors and using sensory detail, New Writing18(4), 409-420,  DOI: 10.1080/14790726.2021.1876094.

Craven, J. (2021, February 15). An Introduction to Free Verse Poetry. Retrieved from https://www.thoughtco.com/what-is-a-free-verse-poem-4171539.

Bullock, O. (2021). Poetry and trauma: Exercises for creating metaphors and using sensory detail, New Writing18(4), 409-420,  DOI: 10.1080/14790726.2021.1876094.

Craven, J. (2021, February 15). An Introduction to Free Verse Poetry. Retrieved from https://www.thoughtco.com/what-is-a-free-verse-poem-4171539.


Macintosh HD:WINTHROP:FALL 2022_classes & tasks:IDA proposals for F22:BIO PIC Elke.png

For the past 20 years, Dr. Elke Schneider has been a professor of literacy, special
education and multilingual learner education at Winthrop University, Rock Hill, South Carolina.

The Power of the Pen:  Poetry as the Bridge to Liberation

Teaching

This post is written by Darius Phelps. You can read more about Darius at the bottom of this post.


As bell hooks argued, some forms of writing create “a space where we are able to confront reality in such a way that we live more fully.” Having been an educator for thirteen years, I believe that teaching students to write should be a practice that comes from the soul, especially if we want to foster a true connection between ourselves, our students, and the intimacy of writing. For me, growing up, poetry had been a sanctuary, the space in which words were the only thing that brought me comfort. As a young man of color, I found solace in the work of Korean rapper, and author, TABLO of the Korean hip-hop group Epik High who spoke out on issues such as struggling with mental health, depression, assimilation, and even struggling to experience joy as a young man. Inspired and enamored by his work, I began to write poetry myself, letting the words and emotions flow as they came, without restriction.

Dr. Maxine Greene (2000) argues that we must advocate for the inclusion of arts in the classroom in order to help foster a deep understanding and foundation for imagination. She stresses that there are multiple voices and multiple realities for, “We must now allow the enthusiasm for publicity about changed methods of reading instruction to obscure the facts of exclusion and neglect.” (p 36) Writing is part of the conversation,  and through these crucial conversations, we foster dialogue.  In Chapter 9 of Releasing the Imagination, titled “Writing to Learn”, Greene (2000) reinforces this idea When teaching writing, more specifically narrative writing, I use my own personal narrative as a guide/model for my students, showing them that there is power in being vulnerable and sharing what lies on their hearts. I remember the days when I was a student, especially in elementary school; I didn’t have a connection with writing inside of school because I didn’t see myself reflected in the prompts or discussions we would regularly have.

Once I became a classroom teacher, I discovered that diving into writing and teaching as a way to express ourselves via social-emotional learning helps us become better teachers for our students, even challenging us to face our own struggles head-on. With it, we learn to speak well and with emotion, to emulate that emotion, and to be more attentive to words and the emotions that they convey. (Storey, 2019) The power of the pen is one that is truly immaculate, and I feel that can be combined with the implementation of SEL. Social Emotional Learning (SEL) is a lifelong process for both the teacher and the student. In order to develop self-awareness, self-control, interpersonal skills, and all the intangibles that are paramount of work, school, and life, both adult and child must be willing to do the inner work that is necessary to allow these areas to manifest into something that they can apply to real-life, everyday situations. I believe that the process of doing that inner work requires honest self-examination, painful self-excavation, and restorative healing.

Effective educators use various strategies to improve their pedagogy and to reach their students. It is crucial for teachers to not only understand where their students come from culturally but also truly see them as individuals.  Anyone can be/become a culturally relevant teacher no matter what age group, area, or subject you are teaching.  Ladson Billings (2009) stresses that the key is to go in with an open mindset and see your students for who they are and what they are capable of doing; don’t focus on the negative. As we instruct them in both literature and writing, we must truly believe each and every one of our students can and will succeed. In order to transform them as students, we must be willing to instill this in them and show that we care, and I believe that poetry can be that bridge to vulnerability.

In My Shoes”

by Darius Phelps

If you only knew

what it was like

to walk in my shoes

You’d know my steps 

marched to the beat

of different tunes

Music, art, and poetry

all different clues

Pieces of the puzzle

to my past

The weight of the world

heavy like a stack

of cement bricks 

But nothing

and no one

would hold me back

from overcoming life’s tricks and turns

Bruised.

Broken.

but never… burned

In my shoes,

You wouldn’t last a day

Surviving Hell’s fire

Like a blistering summer in May

No matter the trauma, the heartache, or the pain

I’ve come out stronger, better, and wiser with much more to gain

For even flowers bloom, after April’s rain

If you only knew

what it was like

to walk in my shoes

When we share our emotions, we foster meaningful discussions that are applicable in students’ day to day lives. I encourage teachers to challenge their students to think critically and outside the box, encouraging them to tackle emotions such as depression, grief, perfectionism, and even abandonment with various forms of discussion. Each person comes with a unique understanding of life, love, freedom, and emotions. Emotions equal freedom because you can’t control when a certain emotion washes over you or rises up, within you. If schools are built on deep relationships, and consent is embedded in the framework of relationship-building, we truly learn how to be self-aware, to recognize how others want to engage with us, and to face our own demons. (Hooks, 2021)

“Where I Am from” 

By Darius Phelps

I am from the pages of battered book

From fiery passion and grit

I am from the daily prayers of my grandmother

Loved endlessly, protected, and cared for

I am from the falling petals of a sunflower

radiant, yellow, and soft like the sun

I am from dinner on Sunday’s and hard work

From Mattie and Eddie, raised by my grandparents

I am from their loving and selfless hearts, the purest love I’ve ever know

From playing outside and using my imagination to dream endlessly

I am from the early Sunday mornings at church and praying before bed

I am from Riverdale, Georgia

From chocolate cake and sweet potato pie

From the endless nights watching grandma bake

The early mornings watching mom leave for work

photograph by photograph

Snapshots of my childhood memories

That slowly fade as time passes by

These are the memories that I hold closest

Where I am from, appreciating what is now gone, remembering that place I used to call home

Where I am from, will never compare to where I am headed

I am Darius Phelps

In the classroom, teachers can utilize poetry prompts such as Georga Ella Lyons “I Am” or “Where I am From” or even ask students to write about their experiences with a day in their life of being in “In Their Shoes.”  In doing so, we both create and provide a safe space for students to come openly with their trauma, pain, and grief and freely express their significant losses in their writing while paying homage to where they come from and light the path to where they are here.

The world of poetry opens our minds to explore our own voice and even find a new one in the process, especially when using it to discuss a wide variety of topics.  Poetry can teach us about ourselves and others in a deep and meaningful way. Instead of writing or reading a generic story about us or someone else, poetry provides the freedom for the writer to not only feel but to fully experience exactly what the writer went through, in a way that honors both their voice and experience. During that journey, the reader’s experience becomes enhanced with the use of similes, metaphors, alliterations, imagery, foreshadowing, and other literary devices. These factors that poetry can offer are what makes our writing that much more personal, and what’s personal for us can end up being a universal message for our readers and our students, allowing them to give their ancestors’ stories a voice, a reason, and a platform to be shared, heard, and acknowledged by all.

We must prioritize freedom of expression through writing opportunities moving forward both in the home and school settings so that children can begin to form relationships, especially the ones with themselves. Dr. Rudine Sims-Bishop’s significant framing of multicultural literature as providing windows and mirrors into lived experiences and Morrell’s (2005) call for critical English education open opportunities for excavation in the classroom. I believe that with vulnerability comes authenticity for “Understanding and identifying trauma among students should be grounded in the context, while also considering the range of experiences for diverse individuals within the context.” (Alvarez, 2017)

To do so, we must lead by example, meaning, we as educators must be open and honest about our trauma, struggles, and grief for students to write and formulate their own personal narratives through whatever method speaks to them.  It is through our vulnerability that they will lead towards the liberation of their own respective experiences. If there is anything I want my students to know, it is that writing is about freedom of expression. Be you, regardless of anyone else’s opinion. You are destined to change the world, don’t ever forget that, and let your let shine.


Darius Phelps is a doctoral student at Teachers College, Columbia University. He is an adjunct professor at CUNY Queens, Hunter College, Teachers College, and intern at Brooklyn Poets.  An educator, poet, spoken word artist, and activist, Darius writes poems about grief, liberation, emancipation, reflection through the lens of a teacher of color and experiencing Black boy joy. His poems have appeared in the NY English Record, NCTE English Journal, Pearl Press Magazine, and ëëN Magazine’s The 2023 Valentine Issue.  Recently, he was featured on WCBS and highlighted the importance of Black male educators in the classroom. Darius can be contacted via email at: dmp2219@tc.columbia.edu.

The Leadership Needed to Support Disciplinary Literacy Initiatives Webinar

Teaching

In this webinar, Dr. Ippolito will present multiple evidence-based ways for both formal and informal literacy leaders—principals, instructional coaches, and teacher leaders—to support disciplinary literacy initiatives across grade levels and content areas. This session is intended to support both teachers and leaders, as we collaboratively navigate disciplinary literacy work in a post-pandemic world.

When: March 30, 2023 6-7PM EST

Cost: Free

The following resources were shared during the webinar.

Jacy is a professor in literacy and leadership at the McKeown School of Education at Salem State University (Salem, MA), where he currently codirects graduate programs in Educational Leadership and the Center for Educational Leadership at SSU (CEL@SSU). Jacy’s work focuses on the intersection of literacy coaching, educational leadership, adolescent/disciplinary literacy, and school reform, and his most recent books include Disciplinary Literacy Inquiry & Instruction (2019), An UnCommon Theory of School Change (2019), Investigating Disciplinary Literacy (2017), and Cultivating Coaching Mindsets (2016).

For more about Jacy and his work, please visit:
www.visualcv.com/jacyippolito or
www.twitter.com/Jippolito

Cover Photo by Natalie Pedigo on Unsplash