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Teaching

Mentor Texts for Disciplinary Writing Instruction–Not Just for ELA Teachers!

This post is written by Jenelle Williams. Learn more about Jenelle at the bottom of this post.


As educators, many of us can identify mentors–people who have supported us along our educational journey. To mentor someone is both a sacred task and a tall order. In classrooms, text can serve as mentors as well. The purpose of this blog post is to clearly define what we mean by a disciplinary mentor text and to consider implications for effective disciplinary writing instruction. So let’s get started!

This is an exciting time to be an educator, as notions of text are expanding as time and technology move forward. For the purposes of this blog post, let’s agree that text includes anything with encoded meaning. This, of course, can mean printed words on a page, but it can also include many other things, such as symbols, musical notation, football play diagrams, dance performances, videos, audio recordings, podcasts, graphs, charts, and more. In this expanded definition of text, we must also expand our definitions of what it means to read, write, and be literate. For our purposes, being literate in a particular context means a person can consume the encoded meaning of a text, comprehend the meaning, and communicate in ways that are valued by that particular academic discipline or profession.

What is a mentor text?

Mentor texts are typically short, engaging texts provided to students for a particular purpose, including (but not limited to) the following:

  • Acting as a foundation to learn or imitate a specific writing form
  • Teaching students to read with a writer’s eye (e.g., sentence structure or word choice)
  • Demonstrating what good writers do
  • Helping students take risks in their writing and develop their skills (from Teachstarter.com)

The role of multimodality and representation

As educators select mentor texts to use as part of instruction, it is important that, in addition to expanded notions of what qualifies as text, they intentionally include multimodal texts. Multimodal refers to something occurring or being communicated through multiple media of communication or varying forms of expression. For example, a campaign video may have images, music, text, and data all presented in one multimodal text. Students regularly interact with multimodal texts (videos with embedded audio text, for example), and need instruction and practice in order to be critical consumers of these texts.

There is an additional (and necessary) challenge as educators select texts that serve as mentors for students’ disciplinary writing–how to ensure that they are attending to issues of representation. To what extent are authors of various ethnicities, cultures, backgrounds, and perspectives represented? How might we be more intentional to include authors representing historically marginalized populations? To be sure, this requires more time and effort on the part of educators, but it is well worth the effort, as it can provide students with a connection and entry point to learning.

Authentic purpose in mentor texts for writing

In order to truly engage secondary students in authentic inquiry with mentor texts, it is vital that educators provide an authentic purpose for students to engage in mentor texts beyond simply being assigned to do so. It must be clear that the mentor text will serve a purpose and will eventually allow students to communicate their ideas with an audience greater than themselves and the teacher. The following lists some examples of authentic inquiries that would require students to engage with a wide range of texts (including mentor texts):

  • Why does a lot of hail, rain, or snowfall at some times and not others?
  • How can we use mathematical and statistical knowledge and analysis to monitor and predict the spread of disease and use our findings to make and evaluate decisions made at the personal, community, state, and national levels?
  • How can we use poetry to promote social justice in our community?
  • How can we as historians uncover and share stories about our community? Whose stories are often left untold?

Once we have identified authentic purposes for students to engage with disciplinary mentor texts for writing, we need to consider instructional approaches that leverage the power of those texts. Just as we needed to define the term “text”, it is vital that we hold a shared understanding of what we mean by the term “writing”–or, at the very least, a shared understanding of what we mean by writing instruction:

Let’s begin with some non-examples of writing instruction. They include the following:

  • Writing instruction is NOT assigning writing
  • It is NOT over-emphasizing grammar, spelling, and punctuation
  • It is NOT requiring rigid structures (i.e. telling students exactly how many sentences, what kind of sentences, and in what order)
  • It is NOT valuing the writing product over the writing process
  • It is NOT copying notes from lectures or PowerPoints, definitions of vocabulary words, answers to questions straight from the textbook, or formulas for writing

When we are working with educators to strengthen their writing instruction, we emphasize the following practices:

  • Modeling the process of preparing to write, drafting and revising writing, and reflecting on writing
  • Using writing as a tool to support learning and reflection
  • Providing support before and during writing in class
  • Valuing the process of writing just as much as the product

Disciplinary writing begins with an authentic purpose for writing. Members of various academic disciplines and professions use both informal and formal writing in order to process or organize ideas; communicate and share ideas; evaluate ideas; develop and support a claim; explain a phenomenon, process, or solution; entertain; record data, evidence, and observations; solve a problem; and much more. Middle- and high-school students can be apprenticed into these types of disciplinary writing with intentional support.

For example, students in an eighth-grade Social Studies class might engage in inquiry on the following question: What was the human toll during the Civil War? As part of their inquiry, they may read the following disciplinary texts: photographs of soldiers preparing to go to war, data tables on Civil War casualties, and first-person accounts from soldiers’ diaries. Students may engage in informal writing such as annotating texts; note-taking in response to readings, discussions, or teacher-presented information; and constructing an outline and then a first draft of a historical account or explanation. Formal writing may be a historical account or evidence-based argument about the human toll of the Civil War that is shared with an appropriate audience beyond the teacher.

Essential Instructional Practice 4 & additional helpful resources

Essential Instructional Practice 4 from the Essential Instructional Practices in Disciplinary Literacy document is a great place to start for teachers that are interested in strengthening their support of students’ disciplinary writing. Teachers may read the General Practices at the beginning of the document, or they may be interested in selecting the content area section that best aligns with their work. Additional helpful resources are also suggested in the table below.

Multidisciplinary
Learner Variability Navigator
ELAMathematicsScienceSocial Studies
Michigan Middle School English Language Arts UnitsWriting in Mathematics – Annenberg LearnerScaffolding Students’ Written Explanations | AST Beyond Writing to Learn, The Science Teacher (NSTA)Read.Inquire.Write
The New York Times MS HS Writing Curriculum
MusicPhysical Education & HealthVisual ArtsHeritage & World Languages
Lesson Idea | MAEIAWritingAthletes.comLesson Idea | MAEIAThe Nature of L2 Writing | Foreign Language Teaching Methods

The great news is that secondary educators do not have to be writing experts (or even published authors) in order to teach students how to write effectively within and across disciplines. As long as we keep expanded notions of text, multimodality, and representation in mind, along with an authentic purpose for students to engage with a disciplinary mentor text, we are well on our way to modeling and scaffolding students as they create disciplinary texts of their own. We are lucky as well that we have free, widely available resources that can help us shift toward effective pedagogical moves. Let’s get writing, everyone!


Jenelle Williams is a Literacy Consultant within the Leadership and Continuous Improvement unit at Oakland Schools, an intermediate school district supporting the 28 districts in Oakland County, Michigan. She joined the organization in 2017 following 18 years of experience in public schools at the elementary, middle, and high school levels. She has served as a classroom teacher, IB Middle Years Programme Coordinator, teacher leader, and educational technology coach. An IB Educator and Examiner since 2013, Jenelle leads professional learning workshops and marks e-assessments for the International Baccalaureate Organization. She holds an Education Specialist in Leadership degree and a Master’s degree in Reading and Language Arts through Oakland University. In addition, Jenelle serves as an Adjunct Professor in Grand Valley State University’s Graduate Program and a co-editor of The Michigan Reading Journal, a publication from the Michigan Reading Association. Jenelle is passionate about supporting teachers, building leaders, and central office administrators in the area of secondary literacy, and she is especially excited to be able to support Michigan’s work around disciplinary literacy through her role as Co-Chair of the statewide Disciplinary Literacy Task Force. She can be reached at jenelle.williams@oakland.k12.mi.us, and on Twitter at @JenelleWilliam6 and @GELN612Literacy.

Cover Photo by Desola Lanre-Ologun on Unsplash

Categories
Teaching

Exploring Mentor Texts

This post is written by Charlene Aldrich. You can learn more about Charlene at the bottom of this post.


I’ve always been a strong believer in the power of reading to identify important information and to grow decision-making processes.  My mantra is, “Never tell someone what they need to know when they can find out for themselves by reading.”  So, when I saw the book Micro Mentor Texts by Penny Kittle come up in my Facebook feed, I was especially intrigued by the idea that students might not need to read ALL of Romeo and Juliet to become knowledgeable of Shakespeare, his cheeky quotes, and 16th-century literature.

I’m not trying to sell you on this book, instead, I AM trying to sell you on the idea that mentor texts don’t have to be complete works that students gloss over to “complete the assignment.”  Can it be that teachers can provide specific sample excerpts to achieve their literacy goals?

Spelling and Vocabulary

Research has affirmed the idea that successful readers and writers tend to have prolific vocabularies 1.

Useable vocabularies grow through listening and reading, speaking and writing2.  I continue to believe in the developmental nature of language to support literacy development as I watch my granddaughter on her preschool journey to beginning reading.  Her speaking vocabulary includes words and phrases such as “cheeky little rascal,” “plaster,” and “go through” because of her fascination with the very British show featuring Peppa and George Pig!  She may never read them in the same context, but the foundation has been laid for multi-meaning words if she sees these and similar words and phrases in reading selections.

What does this say to educators and about mentor texts?  Reading, writing, and oral language are tightly knit; introducing mentor texts as examples of effective writing “… promotes students to view, discuss, read, and create literature that affords opportunities for spelling and vocabulary development that are engaging, relevant and active”3.

Blog writers from ELA Matters share “3 Engaging Mentor Texts for Middle and High School”.  One that supports vocabulary development is My Name by Sandra Cisneros.  While the language is simple, Cisneros weaves it into rich literary devices such as imagery, simile, and metaphor. Students of all reading abilities see how to use their own vocabulary levels to develop descriptive works that require precise vocabulary.

Beyond spelling and vocabulary 

In addition to growing spelling and vocabulary, mentor texts contribute to the development of other traits of effective writing: organization, conventions, sentence fluency, and voice. Mentor texts are examples for students to follow as they develop their own ideas through these traits4. They can be below grade level to make the traits obvious; they can be on or above grade level to meet the standards that require complex texts. They can include a wide range of styles – from classical literature to graphic novels. Teachers can use them to develop critical thinking and persuasive arguments. Students can read memoirs in preparation for personal narratives. The inclusion of authors and diverse topics can even mentor acceptance and open-mindedness. And never overlook the power and pleasure of picture books for growing storytelling.

Mentor texts are not restricted to the ELA curriculum. As state standards have shown through the inclusion of disciplinary literacy requirements, each discipline contains its own set of unique formats, craft, and technical language. Thus, each content area teacher has the opportunity to include quality mentor texts for students to emulate as they meet the reading and writing needs of each discipline.  What do YOU enjoy reading in your discipline? How can students also find enjoyment in your choice of reading selections of your discipline?

My grandson introduced me to A Night Divided by Jennifer A. Nielsen. This book takes readers through life behind the Berlin Wall, beginning with the night it was built.  Social Studies/History courses are meant to provide multiple perspectives to ensure accurate representation of diverse experiences. This historical fiction book opens with vivid language to introduce a school-age girl’s reaction to the lack of freedom that was imminent. “There was no warning the night the wall went up.  I awoke to sirens screaming throughout my city of East Berlin. Instantly, I flew from my bed. Something must be terribly wrong.  Why were there so many?” Individual excerpts from the book can be extracted as a mentor text for writing essays that focus on the value of freedom. Using this text as a mentor, along with showcasing other fictional or nonfiction realities of this time period, can support students’ ability to also write about their own experiences with freedom or war.

Using Model Texts

Students NEED high-quality reading selections that challenge them to grow in their personal literacy skills; after all, literacy is power. In addition to meaning-making, model texts provide examples of effective composition techniques5. Using them effectively becomes the goal.  Robyn English (2021) offers this advice6:

  • Be familiar with the reading selection and what you want it to demonstrate
  • Be purposeful in your use; plan for single successes, not multiple attempts
  • Be knowledgeable of the strategy or characteristic being taught
  • Be flexible, returning to a single text for other purposes
  • Be generous, sharing them as you would any book in your classroom library

In Short

Students need positive role models for growing into responsible adults. Likewise, they need effective models of texts for growing their literacy strength. As English notes in her text listed above, “Mentor texts support a teacher in modeled reading or writing.”


Charlene Aldrich is an instructor in the Office of Professional Development at the College of Charleston. While content-area literacy is her specialty, she also teaches Assessments in Reading, Foundations in Reading, and Instructional Practices as required by South Carolina for recertification. She serves as the Treasurer of LiD 6-12.

Cover Photo by NEOM on Unsplash

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Teaching

Growing as a Literacy Leader

This post is written by Erin Kessel. You can learn more about Erin at the bottom of this post.


What is a literacy leader? In my opinion, it is a highly qualified teacher in literacy instruction who provides valuable resources for other teachers to facilitate quality instruction. Providing highly qualified teachers with the opportunity to fill this role promotes growth in our field, allows these experienced teachers to stay in the classroom, and gives more novice teachers a mentor to support them. Today I will share with you my personal story as a literacy leader and the opportunities it provided me to grow as an educator while also growing others.

In 2020 I was offered an opportunity by my district to become a Multi-Classroom Teacher with a focus on literacy. The Multi-Classroom Teacher position was created in our district for master teachers, a designation determined by classroom observation and student performance data, who then co-taught across multiple classrooms with other teachers and apprenticed them in highly effective instruction. After 12 years in the classroom, mentoring beginning teachers, supervising interns, and leading PLCs, I was ready to grow as an educator and accepted the position. The goal was simple — mentor and model literacy instruction in five 3rd through 5th-grade classrooms where teachers had less than three years of teaching experience.

Through years of learning and applying strategies of Adaptive Schools and Cognitive Coaching, I began with a plan to actively listen to the teachers, identify needs, and establish goals to support them. I spent two weeks simply observing the literacy blocks of each classroom. I recorded objective, anecdotal notes and began to set my intentions for areas of targeted support with each teacher. The following descriptions are the focus areas based on my data for each teacher:

  • Teacher #1 – An experienced teacher assistant transitioning to a teacher with strong small group instruction skills but difficulty designing whole group literacy instruction where students experience a gradual release of responsibility of learning (Goal – To design whole group literacy lessons focused on scaffolding the learning for students).
  • Teacher #2 – A engaging third-year teacher who had powerful literacy instruction methods but lacked knowledge of how to incorporate collaborative learning within her classroom (Goal – To learn about, model, and engage in collaborative strategies).
  • Teacher #3 – A second-year teacher who had the “right stuff” as an educator but had never taken the time to build rapport with her students and felt a lack of community within her classroom (Goal – To build relationships with and learn about students as people including their likes, interests, and home life).
  • Teacher #4 – A compassionate second-year teacher who lacked organization and engagement strategies to encourage her students to want to learn (Goal – To learn about, model, and engage in Whole Brain Teaching strategies).
  • Teacher #5 – A first-year teacher who spent her clinical teaching year virtually due to COVID who lacked sufficient classroom management skills, therefore behaviors and disruptions were consistently affecting learning (Goal – To establish norms and routines in her classroom as well as create a concrete classroom management plan to hold students accountable of their actions and encourage them to want to learn).

After a week of collecting observational data, I set a time to meet with each teacher and have a goal-planning conversation. Within the Cognitive Coaching model, it is the coach’s job to lead the participant/s through the stages of a conversation where they identify their goals and set their own plan while the coach provides some potential strategies. I discovered this group had not been able to collaborate with an experienced teacher since their student teaching and therefore did not have access to guidance, resources, and tools for effective literacy instruction.

As a mentor teacher, I had the experience, knowledge, and resources to support each of these teachers’ goals. I asked the teachers to become observers for two weeks during their literacy block and allow me to facilitate learning in their classrooms while focusing on their specific needs. The teachers used an observer form to stay focused on my facilitation of the instruction specifically tied to their goals. I also attended their planning periods, where we collaborated to develop a library of lessons and resources. I built rapport and trust with each teacher, which allowed us to consistently hold reflective conversations focused on their goals and ways to incorporate the instruction they observed into the lesson plans we created.

(When these amazing teachers choose to dress in my Erin Kessel “iconic” daily outfit, I know I have made connections with my teachers)

I spent two weeks cultivating and facilitating different plans for each class and working with students of all ability levels while incorporating many diverse types of teaching strategies to model options of literacy learning. The following were ways I helped each teacher approach her goal:

  • Teacher #1 – We redesigned her schedule with a specific time set to introduce content, model, and allow students to practice and apply their learning. We also planned — and I modeled — how to provide differentiated opportunities in a lesson during whole-group instruction. We developed a presentation format (PowerPoint) for her lessons that guided her through the gradual release process.
  • Teacher #2 – I intentionally introduced the class to collaboration practices and strategies within the literacy block. Students participated in Learning-Focused Collaborative Pairs, Socratic methods of teaching, Kagan Cooperative Learning strategies, Adaptive School strategies, and other various strategies I have created through my own experiences. As this teacher observed these strategies being applied in her classroom, she saw student engagement increase, students’ understanding of content grow, and more students involved in class discussion. She then utilized the strategies she was seeing modeled.
  • Teacher #3 – Community meetings were established each morning before her literacy block, which engaged students with each other and utilized multimodal methods of literacy to prepare their brains for the day. Multiple community meeting processes were used where students expressed themselves as individuals and learned commonalities with each other. The teacher participated and learned about the students as individuals, and the students learned more about the teacher. The rapport became evident when students began to support each other during collaborative activities. They also entrusted the teacher with more personal information and would seek guidance in non-academic situations.
  • Teacher #4 –  Through modeling and professional development of Whole Brain Teaching, she was quickly able to establish daily routines through fun callbacks, engage in bodily-kinesthetic and verbal learning of literacy curriculum, and create a respect for her attention when deemed necessary. Her classroom management, routines, and classroom literacy instruction benefited from utilizing this program.
  • Teacher #5 – Through consistent use of expectations and norms and a structured schedule, the teacher replicated my modeled methods and saw improvement in the respect her students had for her. Through attending the planning periods, asking questions, requesting modeling of instruction, and assisting in designing literacy assessments, her understanding of literacy curriculum and how to facilitate it increased exponentially. She also benefited from the shared PowerPoint presentations we made during planning to guide her instruction.

After teaching in all classrooms, I began to see the value of my effort. I started noting strategies I used in their literacy blocks were now being used in other core content areas by these teachers. When we met to review our planning conversations, some teachers felt they had met their goal, and through planning conversations, we established new goals. Over the course of two years, I co-taught and co-planned with these teachers.

(As the shirts state, “Together through it all” was our motto as we worked side by side in their classroom every day.)

The experiences I had as a Multi Classroom Teacher and literacy leader within this school began to grow my need to share this role with others. I recently became a teaching instructor at East Carolina University, where I teach the READ courses to education major students. I can share my experiences and grow our future teachers as they explore their concentrations for their education degree. I encourage students to explore our Read Concentration program to help develop our next Literacy Leaders. I have spoken at multiple conferences on the value of literacy leaders and continue to speak on the benefits of this role in every school, especially schools with low teacher retention rates, as that is where they are most valuable and can make the greatest impact.


Erin Kessel is a teaching instructor in the Literacy Studies, English Education, and History Education Department at East Carolina University.  Previously, she was a Multi Classroom Literacy Leader, Facilitating Teacher, and a 4th grade teacher.  Erin’s work focuses on literacy leadership and developing literacy leaders as well as building a classroom community through literacy as she presents at the local, state and national level.Follow on Twitter @kessel_erin

Please cite this work: Kessel, E. (2023). Growing as a Literacy Leader. Literacy In The Disciplines. https://literacy6-12.org/growing-as-a-literacy-leader. CC BY 4.0 license.

Cover Photo by Markus Spiske on Unsplash

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Teaching

Writing Learning into Shape: Using Concrete Poetry to Explore & Reflect Content Knowledge

This post is written by Brooke L. Hardin. To learn more about Brooke, please visit the bottom of this post.


What Is Concrete Poetry?

Concrete poetry, sometimes called shape poetry, is poetry whose visual appearance matches the subject of the poem. The words of the poem form a shape or shapes which illustrate the poem’s topic in visual form as well as through their literal meaning. This type of poetry has been used for thousands of years since the ancient Greeks began to enhance the meanings of their poetry by arranging their characters in visually pleasing ways back in the 3rd and 2nd Centuries BC (Nesbitt, 2023).

In the 1950s, a group of Brazilian poets known as the Noigandres developed a manifesto to define the work of concrete poetry and give us the name. The manifesto states that concrete poetry communicates its own structure: structure = content (Eppley, 2015).

How to Write Concrete Poetry

There are two main ways to create a concrete poem. The first is referred to as an “Outline Poem.” The writer creates an outline of the subject of the poem or of an object that relates to the subject and fills in the outline with words or phrases. The words or phrases used to fill in the outline usually describe the subject or how it makes the writer feel in some way, provide information connected to the subject, or possibly tell a story related to the subject. Some examples of this technique for concrete poetry are provided in Figures 1 and 2.

Figure 1: Black Hole

Note. From The Day the Universe Exploded My Head: Poems that Take You Into Space and Back Again, by Allan Wolf, 2019, Somerville, MA: Candlewick Press

Figure 2: Buried Treasure

Note. From Shaking Things Up: 14 Young Women Who Changed the World, by Susan Hood, 2018, New York, NY: HarperCollins.

My son and I recently spent an afternoon at a local bike park. Following the trip, he and I co-authored a concrete poem using the “Outline” technique. The video embedded below shows how I used questioning to help him come up with the words and phrases for the poem while I acted as a scribe. Image 3 shows the final poem we created.

Figure 3: Mountain Bike

Another technique for creating concrete poems is to use the lines of words to make the lines of a drawing. One thing to note about this technique is that the subject does not have to be an object, but it does need to be something that can be drawn with “stick” figures. Examples of these poems are below.

                                                Figure 4: Lightning

Note. From Wet Cement: A Mix of Concrete Poems, by Bob Raczka, 2016, New York, NY: Roaring Brook Press.

Figure 5: Robert’s Four At-Bats

Note. From Technically, It’s Not My Fault: Concrete Poems by John Grandits, 2004, New York, NY: Clarion Books.

Instructional Considerations for Concrete Poetry

When teaching students to write concrete poems, whether using the outline or drawing technique, consider these reminders.

  • Model, model, model! Planning instruction with the Gradual Release of Responsibility (Pearson & Gallagher, 1983) in mind will help students better understand the cognitive and physical aspects of composing concrete poems.
    • Use inquiry to analyze some exemplars like the ones provided above or those found in books listed in the references to help students take notice of the elements of concrete poems.Select a topic as a class and write a concrete poem together, with students offering the words and their arrangement while the teacher acts as a scribe. Use questioning, such as the type seen in the video above, to help students think about their subject and form written ideas from those thoughts.Invite students to co-author a concrete poem as a pair or small group.
    • Finally, provide opportunities for students to independently write concrete poems, get feedback from peers, and share their final drafts.
  • Concrete poems do not need to rhyme.
  • Concrete poems can be written on traditional paper or digitally. If using paper, suggest to students that they use a pencil when drafting the poems. This allows them to erase and move words around where needed.
  • Encourage students to play with the size, color, and shape of their letters to better capture the essence of the poem’s subject (e.g., I might write the word TTEEEETHH in different shapes and font sizes when writing about a shark). This helps to reinforce the reciprocal nature of reading and writing by providing students a chance to consider the purpose of their craft moves.

Writing Concrete Poetry to Reflect Content Area Learning

Writing to learn and writing about learning are necessary in content-area classrooms. While many argue and I can agree that these are different notions, writing concrete poems can accomplish the aim of both.

Writing, as discussed above, must involve a discussion of ideas, leveraging the social side of learning where knowledge is co-constructed, and misunderstandings can be clarified. Additionally, when and where questions arise to inform written ideas, further research may occur; thus, more learning takes place during the writing process. For example, a student in a 7th-grade science classroom is drafting a concrete poem about a cell as part of a Life Science unit. They may refer to class notes, talk with a partner, or watch a video about cells to (1) draw the outline of a cell and/or (2) write a line about the nucleus – possibly drawing it inside another shape that is made of letters spelling out “membrane,” given that the nucleus is enclosed in a membrane. The writing of the concrete poem has the potential to reinforce learning that has occurred, provide new content, and/or inspire ways to show learning.

Both the reading and writing of concrete poems present teachers in discipline-specific classrooms with innovative methods for motivating students to engage in the content. Given their interesting appearance and brief lines, concrete poems as supplementary texts in units of study to teach a specific topic (see Image 1 about the Black Hole and Image 2 about the female paleontologist Mary Anning, who, in the early 1800s, found complete fossils that laid the foundation for Darwin’s theory of evolution) may appeal to students who are reluctant to engage with textbooks and other longer documents. As an alternative to traditional analytical research papers and essays, writing concrete poems related to learning may motivate students to take a deeper interest in the content to present their learning in a creative way. I would also maintain that crafting a line of concrete poetry deepens comprehension and calls upon sophisticated critical thinking; taking a line from prose (e.g. an article or textbook) and rewriting it in one’s own words to fit a poetic style is rigorous cognitive work. With regards to standards related to research skills and speaking and listening, I would further suggest that students provide a reference list to accompany the poems and give presentations where they explain craft moves and inspiration for certain lines.

As a former middle grades ELA/Social Studies educator, I can attest that using concrete poetry in a content area classroom allows students to reimagine learned content creatively and critically while deepening and extending their understandings and knowledge. Give it a try and share your poems with me!

References

Eppley, C. (2015, January 21). Concrete Poetry of the Noigandres, 1958-1975. Retrieved from http://avant.org/event/noigandres/

Nesbitt, K. (2023). How to Write a Concrete Poem. Retrieved from https://poetry4kids.com/lessons/how-to-write-a-concrete-poem/

Pearson, P. D., & Gallagher, M. C. (1983). “The Instruction of Reading Comprehension,” Contemporary Educational Psychology, 8, pp. 317-344.

Children’s Literature References & More to Consider

Grandits, J. (2004). Technically it’s not my fault: Concrete poems. Clarion Books.

Grandits, J. (2007). Blue lipstick: Concrete poems. Clarion Books.

Hood, S. (2018). Shaking things up: 14 young women who changed the world. HarperCollins.

Raczka, B. (2016). Wet cement: A mix of concrete poems. Roaring Brook Press.

Wolf, A. (2019). The day the universe exploded my head: Poems to take you into space and back again. Candlewick Press.


Brooke Hardin is an Assistant Professor of Elementary Education at the University of South Carolina Upstate. Her research interests include writing development and instruction for intermediate and middle grades students, teaching and learning through technology and new literacies, literacy professional development and teacher education, and interdisciplinary approaches to reading, writing, and the utilization of Children’s Literature. Her years of experience as an elementary and middle grades classroom teacher and curriculum literacy specialist frame her research interests and commitment to teacher education.

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Research

Literacy Behind Bars: Addressing Incarcerated Youth’s Literacy Needs

Literacy in the Disciplines, 6-12 (LiD) is pleased to announce our next webinar.

Literacy Behind Bars: Addressing Incarcerated Youth’s Literacy Needs

Despite the fact that our country has less than 5% of the world’s inhabitants, we house almost 25% of the total prison population. As educators, we need not only to be aware that we are living in the “age of incarceration” (Hill, 2013), but also recognize the need to develop constructive responses to it. As educators, we have a social responsibility to design curriculum and pedagogy that expands literacy instruction in correctional facilities. This webinar will discuss a fourteen-year-old summer reading partnership between a university and the Department of Juvenile Justice. The presenter will share what she has learned from teaching and working with incarcerated youth.

When: This webinar was held on Thursday, May 18, 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 Dr. Mary Styslinger.

Dr. Styslinger is a professor of English and literacy education at the University of South Carolina where she directed the Midlands Writing Project and served as secondary program coordinator. She is a past president of the South Carolina Council of Teachers of English and currently co-edits South Carolina English Teacher. Her research interests include interweaving literacy into the English curriculum, teaching English for democracy and justice, and serving marginalized and at-risk youth. She is the author of Workshopping the Canon and co-editor of Literacy Behind Bars as well as articles published in English Journal, Voices from the Middle, Language Arts, and Journal of Adolescent and Adult Literacy. Her new book, Workshopping the Canon for Democracy and Justice, will be published by NCTE this summer.

Please share this professional learning opportunity with your colleagues.

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Teaching

Discussion Grouping

This post is written by Shannon Bosley. You can learn more about Dr. Bosley at the bottom of this post.


Discussion is a critical part of developing literacy for all content areas in a secondary setting, but it takes practice and planning for those rich academic discussions to take place. Teachers have told me they have avoided classroom discussion for a variety of reasons: time constraints, fears that the discussion could spiral out of control or even lead to disruptive behavior, worries about not having all the answers if additional questions are surfaced, etc. These are all valid concerns. Along with having pre-established norms and expectations, those concerns can all be alleviated with planning, practice, and protocol use.

Once you have decided the purpose of a discussion, created your guiding questions, and determined the protocol to use, you need to think about how you will group the students. (If you are unsure of which protocol to use, check out the School Reform Initiative’s listing of protocols.) These groupings can be affected by the content, the purpose, the protocol being used, the number of students in the class, or even the furniture or structure of the room. As a 25+ year educator, a piece of advice… don’t let secondary students select for themselves; be strategic. Some considerations to think about when planning for grouping are:

  • Heterogeneous groups or homogenous groups?
    • Skill level – Do you want the groups to be students of similar skill levels or a variety? This could also be affected by the protocol you selected. For example, if you selected Socratic Seminar, did all students receive and read the same text prior to the session? If the readings were differentiated, then that may be a factor in determining the groups.
    • Student interest – grouping students of similar interests could help with engagement.
    • Student diversity – grouping students of different backgrounds or genders can allow for unique perspectives to be shared.
    • Group size – Are there certain roles each person has within the protocol? Too many in a group can lead to some students being left out of the conversation.
  • Are there any students who need specific considerations due to an IEP, EL status, behavior plan, etc.? Does a particular student need to be or not be with another?
  • Are there any social dynamics currently happening that could affect the groups? A reasonable question to consider when working with adolescents.
  • How will the groups be communicated to the students? Will there be a list posted on the board or screen? Are students already sorted into named groups and you are utilizing those?
  • Do I need to consider furniture movement for the discussion? And if so, does my classroom management address movement in the classroom?
  • What supports will my students need? Graphic organizer, sentence stems, etc.

If this is the first time to attempt a certain protocol, remember to practice first. Students cannot be expected to be experts on the first try. A practice discussion session focused on a lighter issue such as pop culture topic not only helps the students learn the protocol but you as the teacher can access the interactions of the groupings and make needed adjustments while making sure your discussion norms and expectations are being followed. Take notes on how things went, have students reflect on the discussion, and make changes to the groups as needed.

Students need guidance and practice to engage in academic discussions. It takes time for students and teachers to learn what works and adhere to your norms and expectations. If the first time doesn’t go well, that’s ok! Try again. You could think about a different protocol, changing the groupings, adding a graphic organizer, or revising your guiding questions. Check out the planning checklist below for help in getting ready and reflecting so that your next classroom discussion is even more engaging and productive.

Planning for Academic Discussions Checklist

Planning:Notes:Reflections:
Do I have any IEP, behavior or social needs I need to consider? Does the topic have any impact on how the groups are determined?    
I determined the protocol for the discussion…Have the students used/practiced this protocol?  
How do the desks/tables need to be arranged for the protocol? Do the groups need to be able to see the board/screen?    
How do the desks/tables need to be arranged for the protocol?Do the groups need to be able to see the board/screen?    
What is the best grouping size for this protocol?    
How will I communicate the groups to the class?    
What resources do I need to have ready for use during the discussion? (graphic organizer, sentence stems, etc.)  
Is there any follow-up, exit ticket, etc. required for students to submit?Is there an evaluative tool for me to use during the discussion or after?    

Cover Photo by Kier in Sight on Unsplash

Shannon Bosley, Ed.D., is a 25-year K-12 educational veteran who has served as a middle language arts teacher, school librarian, instructional coach, district technology and curriculum coordinator, and educational consultant. She earned her doctorate in Leadership Studies at Xavier University where she studied reading engagement and leadership effectiveness for school principals. Currently, she is the Principal Investigator (PI) of a Small Business Innovation Research (SBIR) grant from the Institute of Educational Sciences. Her research project examines the Sustainable Coaching and Adaptive Learning for Education (SCALE) model that Reading Ways uses to bring research-based practices to classrooms nationally. Shannon is passionate about promoting adolescent literacy and continues to research reading engagement and motivation for both adolescents and adults.

Please connect with Shannon on Twitter (@shan_bosley) or via email: shannon@readingways.org

Categories
Teaching

Prisms, Pathways, and Portals: Disciplinary literacies as tools for possible futures

This post is written by Michael Manderino. You can learn more about Michael at the bottom of this post.


“We cannot remake the world through schooling, but we can instantiate a vision through pedagogy that creates in microcosm a transformed set of relationships and possibilities for social futures, a vision that is lived in schools. This might involve activities such as simulating work relations of collaboration, commitment, and creative involvement; using the school as a site for mass media access and learning; reclaiming the public space of school citizenship for diverse communities and discourses; and creating communities of learners that are diverse and respectful of the autonomy of lifeworlds.”

New London Group, 1996

It often amazes me how prescient the text (quoted above), A Pedagogy of Multiliteracies: Designing Social Futures (1996) was and what it argued for just before the dawn of the 21st century. Now in the year 2023, using terms like 21st-century learning doesn’t resonate much as we are nearly a quarter way into the 21st century. I often question how much we have really taken up from the ideas even extracted from the quote above. While disciplinary literacies have been at the forefront of theory and research around adolescent learning, I believe that we need a future vision of the possibilities of disciplinary literacy. We need more than practices that simply reproduce knowledge.  We need an expansive theorizing of what disciplinary literacies can be or else we will continue to reinscribe old ways of knowing and doing for a future that is yet to be written.  

Despite a need for a widening of thought, we collectively find ourselves presented with seemingly predefined choices for where we need to stand pedagogically.  Dialogues have shifted to debates over everything from the “Science of Reading vs. Balanced literacy, Online reading vs. Offline reading, or the use of the canon vs contemporary fiction.  The pitting of the pedagogical constructs against one another creates a reductionist view of the complexities of teaching and learning.  Rather than reducing complex pedagogical constructs to binaries, perhaps we should be interrogating the possibilities for pedagogical expansion. While simple answers feel more reassuring, they do not account for the beautiful complexity of teaching and learning.

One reductionist view we might interrogate is the narrowing of what counts as disciplinary inquiry.  Expert novice studies have provided invaluable insights into what are core disciplinary practices yet can often be taken up as the singular way to approach disciplinary literacy.  Disciplinary literacy in its early conceptualization offered new ways to think about advancing knowledge building in content-area classrooms.   What follows is a set of possibilities for consideration of what might be taken up in research and practice around disciplinary literacies. Using the metaphors of pathways, prisms, and portals, I argue for the use of multidisciplinary, interdisciplinary, and transdisciplinary approaches in disciplinary inquiry.  

Pathways 

Photo by Caleb Jones on Unsplash

Disciplinary literacies can be pathways to explore through multidisciplinary perspectives. Pathways can be paved, worn by repeated traffic; serve as shortcuts or trails that lead to hidden beauty. Pathways can diverge or converge.  People use pathways to get somewhere or to meander. Sometimes along the path, new discoveries are made, or new paths are forged.   Pathways can serve as a metaphor for multidisciplinary inquiry. One may choose to look at a problem or topic from the lens of different disciplines. Like choosing a path or multiple pathways, inquiry can be shaped by one, two, or more disciplines. While it is critical to understand the beliefs, practices, texts, and tools used in a discipline like science or history, it is also important to see that inquiry questions can be approached from multiple disciplines. For example, we can look at a problem such as food scarcity from the perspectives of geography, economics, agriculture, and mathematics, to name just a few. We need to engage with the world from multiple perspectives that are often shaped across disciplines. Food scarcity is not a simple problem that can be understood or tackled from singular perspectives. If we only hyperfocus on singular disciplines, we may lose the forest through the trees.  

Prisms  

Photo by Braxton Apana on Unsplash

Disciplinary literacies can also be prisms for seeing new possibilities. Using singular lenses to problem solve or problem pose does not account for the complexity of the problem. Prisms can reflect and refract light to illuminate the full spectrum of colors that are being absorbed. Prisms help us see things in a new light. We can think of interdisciplinary inquiry as a tool for seeing the full spectrum of perspectives around topics and problems. Interdisciplinary inquiry relies on the interconnected nature of disciplinary practices and perspectives. If we expand notions of disciplinary literacy to interdisciplinary, we add the nuances of the comparative and contrastive beliefs, tools, texts, and approaches to understanding phenomena. For example, the role of art, music, and literature provides indispensable insights into complex phenomena that cannot be fully explained through a historical or scientific analysis. By using interdisciplinary inquiry as a prism, students have access to new ways of seeing the world and their role in the world.  

Portals 

CC0 Public Domain

Disciplinary literacies can serve as portals to newly designed futures. During the Covid-19 pandemic, author Arunduti Roy (2020) argued that the pandemic could serve as a portal to new social possibilities. The notion of portals to new dimensions or time/space scales is one that is speculative and hopeful. To see disciplinary literacy as opening portals to solving wicked problems to create more just worlds is a goal that makes learning consequential. Portals also lead to the unknown. Much like disciplines themselves, portals are unsettled terrain and are absent critical voices who are often erased or silenced. To account for these silences and erasures, transdisciplinary research is conceptualized as a way to be inclusive of multiple perspectives not simply from the top down (academia) but also from the ground up (lived experiences). A transdisciplinary approach to inquiry opens opportunities for problem-posing and solving that values indigenous and local knowledge and its relation to disciplinary traditions. This expansion of disciplinary literacies offers opportunities for youth to engage in knowledge production and critique that affirms and sustains the rich tapestry of knowledge that shapes our worlds. For example, a former student and colleague, Diana Bonilla articulated the need for plant biology units to also incorporate the familial and indigenous use of plants for medicinal and culinary purposes in Latinx communities. To keep those practices obscured from disciplinary knowledge reduces our humanity and reason for understanding disciplinary perspectives. Transdisciplinary inquiry opens portals to a more inclusive and just learning environment.  

Provocations for future practice 

I hope the metaphors of pathways (multidisciplinary inquiry), prisms (interdisciplinary inquiry), and portals (transdisciplinary inquiry) provide provocations for future practice. Are there spaces in your curriculum that warrant a multidisciplinary or transdisciplinary approach? How might we redesign our inquiry questions to open possibilities for interdisciplinary braiding of knowledge and knowledge-building practices? How might we use this space to share ideas and iterate collectively? To me, this is an inflection point in education that we can see as filled with possibilities for drawing on the passions and inquisitive dispositions of youth to expand learning activities rather than reducing learning to a series of disconnected tasks.  Youth deserve opportunities to remake our world and to design social futures in spaces that are lived in and out of school.


Michael Manderino is an associate professor of literacy education at Northern Illinois University.  He taught high school social studies for 14 years and served as a literacy coach, literacy coordinator, and Director of Curriculum of a two-high school district for 5 years.

Follow on Twitter at @mmanderino

Email: mmanderino@niu.edu

Cover Image Photo by Robynne Hu on Unsplash

Categories
Teaching

Where I’m From

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

Categories
Teaching

Overcoming writer’s block with free-verse poetry

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.

Categories
Teaching

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

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.

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