Tag: Content Area Literacy

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Research

Blending Practices, Skills, and Content in Teaching and Learning

In our educational spaces, we often break our areas of expertise down into specific subject matters. We educate, train, and certify classroom teachers in terms of grade bands and content or disciplines. Students in schools spend time blocked off in different subjects where they receive instruction in a content area and earn grades that signify their level of expertise and competence in that area.

We separate our time in the educational pathway into grade levels and content areas to make it a bit easier to certify and support educators as they work with youth. But, these artificially designed pieces end up creating silos where educators and students set up camp and develop expectations about what, why, and how we learn. This raises the question about whether we need to erase the boundaries between disciplines, or do we need to—in a sense—harden them so that students learn where they start and end and are therefore better prepared for their futures?

A transdisciplinary lens challenges educators and researchers to consider the spaces in which learning occurs and overcome established paradigms and competition within and between disciplines. 1 This post will examine the ways that education tries to carve out a space for collaboration and ambiguity between the disciplines and suggests there is a need to deconstruct assumptions made about educational structures and systems to de/re-territorialize teaching, learning, and assessment. 2

Interdisciplinarity

Some theories of education shift the focus from understanding of formal concepts to meaning-making to encourage students and educators to cross disciplinary connections. 3 As instruction moves away from traditional understandings of content areas and disciplines to craft new blended content areas (e.g. Humanities, STEM, STEAM), there is an opportunity to find content area literacies in context in other disciplines. 4 A desire to study across “individual attributes, at the nexus of institutional and material practices and textual cultures, instrumentality, and the production of agency and identity.” 5 Educators seek not for disciplinary purity and isolation, but to explore knowledge, discourse, and literacy practices around mutual areas of inquiry. 6 Instruction may also focus on teaching strategies that integrate multiple domains of knowledge into a single unit of study, such as authentic learning 7 or project-based learning. 8

In the graphic above, you can see two disciplines with their own sets of practices, skills, content, and dispositions. In an interdisciplinary perspective, educators and the content work together synergistically to understand an object of inquiry.

One way to consider this is to think about a science teacher and an art teacher working together on a unit with students. The science teacher would consider the content and curriculum they are teaching. The art teacher would think about their content and curriculum. The process or product of the interdisciplinary unit might have students use art to illustrate or creatively express content of the other discipline. This is not a bad thing, but we’re reminded of Aristotle who stated, “The aim of art is to represent not the outward appearance of things, but their inward significance.”

Metadisciplinarity

Metadisciplinarity is the understanding of the structure of a discipline, “of what the discipline is, what it tries to accomplish, and how it tries to accomplish its aims.” 9 Metadisciplinarity goes beyond one discipline into the structural understanding of various disciplines in order to make comparisons and connections between disciplines. 11 The elements of metadisciplinarity include practices such as defining notions, generalizing ideas, drawing parallels, developing classifications, choosing proper classification grounds and criteria; to find out causal relationships, building logical reasoning and making (inductive, deductive, analogical) conclusions. 12

In the graphic above, metadisciplinarity finds the connections, or correspondence (marked with “μ”) between subsets of practices, skills, content, and dispositions  from one discipline to the other.

One way to think about this is using our example of a science and an art teacher working on a collaborative unit. Teachers and students would examine and compare the similarities and differences between the two content areas. They may consider the affordances of each of of the disciplines.

Transdisciplinarity

As detailed above, educational research and practice can be framed as a spectrum starting from content area silos and a disciplinary focus to more of an integrated interdisciplinary connection that includes multidisciplinary associations. The concept of transdisciplinarity is slippery, in flux, and has a plurality of definitions. 13 One of the features of transdisciplinarity is blurring and transcending disciplines. These spaces have been shown to provide fertile grounds for exploring patterns of change, transformations, and invariants in and across content areas. 14 Transdisciplinarity breaks down the silos and pro-
vides an enriched experience that is more true to life in that disciplines are experienced
simultaneously rather than in isolation. 15

In the graphic above, transdisciplinarity involves the blending of disciplines by blending of practices, skills, content, and dispositions from one discipline to the other.

One way to think about this is with our example of a science and art teacher working together on a unit. They consider the concepts, expressions, and forms shown in art, science, and in-between. They study gardens as heterogenous assemblages where art, science, and people meet. They consider how the plants need water and cultivating in order for the garden to prosper. In their work, they include elements of art, science, and beyond. But, their work process and product is an iterative assemblage as they consider where the living sciences, and abstract nature of art meet.

This post was written by Nenad Radakovic and Ian O’Byrne. This was originally posted here. Portions of this content from our publication titled Toward Transdisciplinarity: Constructing Meaning Where Disciplines Intersect, Combine, and Shift.

Photo by Ashkan Forouzani on Unsplash

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Announcements

Webinar: Tensions & Supports Between Culturally Responsive-Sustaining Pedagogy & Disciplinary Literacy

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

Tensions and Supports Between Culturally Responsive-Sustaining Pedagogy and Disciplinary Literacy.

What are Culturally Relevant and Sustaining Pedagogies? What is Disciplinary Literacy? Understanding Ourselves, Our Curriculum, and Our Students. Building Students’ Cultural Competence in Disciplinary Literacy: How Can We Do It? Tensions in Disciplinary Literacy and CSP.

The video recording and the associated slides for the session is available at the bottom of this page.

When:  Thursday, June 23, 2022, 6:00 – 7:00 pm ET.

Where: Please register here for the July session.  A Zoom link will be sent one day before the session.

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

This session will feature Drs. Rachelle Savitz and Britnie D. Kane.

Dr. Rachelle S. Savitz is an assistant professor of adolescent literacy at Clemson University having been a K-12 literacy coach/interventionist and high school reading teacher. She is the recipient of Association of Literacy Educators and Researcher’s Jerry Johns Promising Researcher Award, American Reading Forum’s Gary Moorman Early Career Literacy Scholar Award, finalist for International Literacy Association’s Timothy and Cynthia Shanahan Outstanding Dissertation award, as well as Secondary Reading Council of Florida’s Reading Teacher of the Year award. She has published articles on inquiry-based learning, analysis and use of young adult literature, and response to intervention.

Britnie Delinger Kane is an Associate Professor of Literacy Education at The Citadel’s Zucker Family School of Education. Broadly, her research interests focus on DL and instructional coaching. Dr. Kane has published in Teachers College Record, the Journal of Teacher Education, the American Educational Research Journal, the Journal of the Learning Sciences, and elsewhere. She serves as the Literacy Program Coordinator at her home institution, the Associate Director of the Lowcountry Writing Project, and the Vice President of LiD 6-12.

Please share this professional learning opportunity with your colleagues.

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Announcements

Webinar: Providing Access to Content Area Learning for Students with Disabilities

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

Providing Access to Content Area Learning for Students with Disabilities.

When you think about instruction in the content areas, do you automatically think that all students have the opportunity to engage in this type of learning?  Can students beyond those with learning disabilities meaningfully participate in content area classrooms?  In this session, we will explore what access means for students with disabilities and identify ways to engage this group in content area instruction.   

The video recording of the session is available at the bottom of this page.

When:  Thursday, July 14, 2022, 6:00 – 7:00 pm ET.

Where: Please register here for the July session.  A Zoom link will be sent one day before the session.

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

This session will feature Dr. Kavin Ming.

Kavin Ming is a Professor of Literacy at Winthrop University.  Her research interests include at-risk student populations, culturally responsive pedagogy, content area literacy instruction, disciplinary literacy, and multisensory teaching of literacy skills.  She is published in a wide variety of journals that include general and special education populations.  She currently serves as the Curriculum and Pedagogy department chair in the Richard W. Riley College of Education. 

Please share this professional learning opportunity with your colleagues.

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Announcements

Webinar: Supporting Literacy and Content-Area Learning

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

But I Want to Teach What I’m Really Teaching: Supporting Literacy and Content-Area Learning

This webinar will include activities and discussions intended to help educators understand some of the ways that literacy differs across disciplines. The focus of the session is to encourage teachers to support literacy while helping students meet content-specific learning goals. Being aware of our own use of literacy strategies opens up discussions of how to continuously enrich every lesson, every day with content-area and disciplinary literacy practices.  

When: Thursday, May 12, 2022, 6:00 – 7:00 pm ET.

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

The recording of this webinar is embedded below. The slide deck is available beneath the video.

This session will feature Dr. Britnie D. Kane and Charlene Aldrich.

Britnie Delinger Kane is an Assistant Professor of Literacy Education at The Citadel’s Zucker Family School of Education. Broadly, her research interests focus on DL and instructional coaching. Dr. Kane has published in Teachers College Record, the Journal of Teacher Education, the American Educational Research Journal, the Journal of the Learning Sciences, and elsewhere. She serves as the Literacy Program Coordinator at her home institution, the Associate Director of the Lowcountry Writing Project, and the Vice President of LiD 6-12.

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.

Please share this professional learning opportunity with your colleagues.

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Categories
Teaching

When Teaching Music and Teaching Literacy are in Harmony

Photo by Marius Masalar on Unsplash

By: Hunter Thompson, University of South Carolina Pre-Service Music Educator

Teaching students how to read music is basically like teaching students how to be literate in another language. As you learn more and more of a language, the rules and guidelines for reading, writing, and speaking that language become increasingly complex. Music educators should approach teaching students music like they are preparing students to be literate in the complexities of music, and we all know how complex music can become (we’re all looking at you, Schoenberg). Music students should not only be literate in musical literacy, but they also need to be literate in traditional literacy, numeracy, communicative literacy, and even technological literacy to be successful in today’s music classes. Students must be literate to comprehend expressive markings such as accelerando or rallentando. The basis of teaching rhythm is contingent on the assumption that students are numerate, and we also use mathematical structures within music theory. Watching a conductor’s gestures and expressions requires students to be literate in the nuances of communication. The rising popularity of electronic music and the usage of online notation software requires students and teachers to be technologically literate. All of these forms of literacy converge in our music classrooms, so this means that we must adapt non-musical strategies for usage in our lessons.

Close Reading is a task that students are expected to do in essentially every class that they will ever take; however, it is a skill that is unintentionally not as well-developed and practiced outside of typical English Language Arts courses. Without clear guidelines for how Close Reading is applied to subjects like music, art, physical education, dance, and other classes that are necessary for educating the whole child, students will not be able to put these strategies into practice. Therefore, it is crucial that we, as music educators, make our approach to Close Reading essential to our lessons, and instead of relying solely on music-specific structures to achieve this, we should also model our approach off of existing structures. Although Close Reading is a strategy that was originally created for use in English language arts courses, Close Reading (with some minor adaptations) will help to engage students in a deeper analysis of music that they are performing and to which they are listening.

Wolsey and Lapp’s Approach to Close Reading for Traditional Print Texts

Close Reading strategies have historically been applied to print texts, but texts come in all sorts of shapes and sizes. There are two types of text: print and non-print texts. In a music classroom, an example of a print text could be a student’s individual part or a conductor’s score. Print texts have traditionally been the dominant of the two in classroom settings, but there is still an enormous amount of information that students can gain from working with non-print texts. With regards to music classes, an example of a non-print text could be a live or recorded performance. 

Photo by Jamie Taylor on Unsplash

Thomas DeVere Wolsey and Diane Lapp outline Close Reading for traditional print texts like this. First, you must select a complex text for your students to study, and think about priming questions that you could ask your students before introducing them to the text. Next, have students complete an independent reading and annotation of the text. After that, complete partner sharing activities so that your students are able to hear a diverse range of perspectives. Following that, re-read the text (as an independent reading, student-led reading, or teacher-led reading) with specific goals in mind, and conduct a group discussion to reinforce particular ideas. Re-read the text as many times you deem necessary and conclude with a written extension, reflection, or explanation of the text that highlights a specific skill concept.

This approach to Close Reading has been highly effective in countless traditional literacy settings to help students gain a deeper understanding of complex print texts, but what does this process have to do with music? Close Reading, by definition, uses “text-based questions and discussion,” and “students are guided to deeply analyze and appreciate various aspects of the text” (Brown & Kappes 2012). 

Close Reading Adaptations for Music Classrooms

Music teachers do these things on a daily basis, whether we realize it or not. Additionally, music teachers want their students to develop the skills necessary to perform and listen to complex pieces of music with much deeper analysis. It is extremely important to remember that this level of analysis will require multiple visits with the same text. With every close read, students will pick up on more nuances and important details which will ultimately lead to a greater understanding of the composer’s and/or conductor’s craft.

Photo by Joonas Sild on Unsplash

In music classes, we constantly ask our students to perform and listen at the highest level; therefore, students must develop a more advanced skill set to analyze complex works. Resultingly, I have adapted Wolsey and Lapp’s outline of Close Reading for performing music and listening to music. The adaptation for performing music is geared more towards a band, choir, or orchestra class while the adaptation for listening to music is geared more towards a music appreciation or music history class. However, they can be used in any music classroom with minor adjustments. 

Adaptation Chart of Close Reading for Performing and Listening to Music

Wolsey and Lapp’s Close Reading for Traditional Print TextsA Close Reading Adaptation for Performing Music A Close Reading Adaptation for Listening to Music
Select a complex text that relates to instructional purpose (use Lexile Levels to help with this)Select a complex text that relates to instructional purpose (use state grade categorizations to help with this and resources provided by sheet music retailers)

Example: Music List: Concert Festivals		Select a complex text that relates to instructional purpose 
Provide priming questions: What are you thinking as you read? What words do you not know? What techniques is the author using? What is the author’s message? What is the impact on the reader?Provide priming questions:What is the tempo? What is the key signature? What is the time signature? What is the pitch range? Are there any accidentals? Are there any difficult rhythms? What kind of signs, repeats, dynamics, and articulations do you see?Provide priming questions: What do you hear? What genre is this piece? What is the instrumentation or orchestration? What is the structure of this piece? What style period is this piece from? What message or emotions is the composer attempting to convey?
Number the paragraphs.Number the measures.For listening with a score, number the measures. For listening without a score, segment the recording using time stamps.
Independent reading (use paragraph numbers to chunk text for greater analysis)Independent sight reading (use measure numbers to note difficult and important sections in the music)Independent listening with a score (use measure numbers to chunk the score for greater analysis)Independent listening without a score (use time stamps to chunk the piece for greater analysis)
Text annotation – writing on paper; using highlighters and/or pens to “mark” the text Text annotation – writing on music; using a pencil to circle/star/box any notable parts of the musicText annotation (with a score) – writing on the score; using colored pencils or pens to mark melodic lines and harmonic analysesText annotation (without a score) – write down notes about the piece with time stamps included
Partner sharing – discussion with language framesPartner sharing – discussion with language framesPartner sharing – discussion with language frames
Rereading (independent, student-led, or teacher-led) with analysis on how text was written and writer’s craftRe-examining (independent, student-led, or teacher-led) with further analysis of sequences, modulations, intervallic relationships, and other patternsRe-listening with a score (independent, student-led, or teacher-led) with analysis of compositional techniques and composer-specific musical idiomsRe-listening without a score (independent, student-led, or teacher-led) with analysis of how different time stamp segments are similar and dissimilar
Discussion to reinforce academic vocabulary and interpretationDiscussion to reinforce academic vocabulary and interpretationDiscussion to reinforce academic vocabulary and interpretation
Written extension, reflection, explanation of the piece, or demonstration of the skill concept through writingWritten extension outlining performance goals and practices and/or a summarization of elements of the composer’s styleWritten extension (music critique or analysis), reflection, explanation of the piece

Will Close Reading Consume My Already Precious Class Time?

Believe it or not, you are probably already doing parts of activities like this in your classroom. However, it has not been made clear to students that these activities are part of the larger process of Close Reading. It is critical that we are intentional, from the very beginning, in choosing what texts we use, and for music, it is important to take into account the musical abilities of each student if you intend to perform a chosen text. Additionally, we must be purposeful in the strategy we use to teach the musical complexities that our students will encounter within the chosen texts. 

Photo by Marius Masalar on Unsplash

You most likely are using some of these steps within your classroom, but Close Reading works best and benefits more students when the full process is completed for specific texts. If your wind ensemble is playing Holst’s First Suite in E-Flat for Military Band, it may prove wise for students to complete several close readings of their own part and several close readings of the score. Since this piece is public domain, you can find the score online from the International Music Score Library Project (IMSLP). If you are unable to provide each student with a conductor’s score, you could also use a document camera and projector to display the score during class for a teacher-led close reading of the text. Vision is the dominant sense, and many of our music students may be visual learners, so it could prove very beneficial to those students if they can see how their individual part is connected to other parts. If you are teaching a unit in a music appreciation course on dance rhythms, you could complete a close listening of Bernstein’s Symphonic Dances from West Side Story, which might be more recognizable and engaging to students than a Baroque dance suite. Remember, we could choose any school-appropriate text for our students to work with, but it is important that we know exactly what we want students to learn from that text and that we know exactly what strategies we will use to teach the text.

 One concern about implementing a Close Reading strategy in your music classroom is that it will take a large amount of time from technique building and preparing for performances. However, Close Reading is a method of keeping students engaged with a text. If students simply go through the motions, rehearsing the same set of pieces day after day, then students will begin to lose focus while performing. If we take class time to purposefully implement Close Reading strategies into our routines, then it will help students to better understand individual and ensemble performance goals for that particular piece. Ultimately, a strong foundation of technique and fundamentals mixed with the implementation of Close Reading and other literacy strategies will set students up for musical success.

Adapting Other Literacy Strategies to Grow Students’ Music Literacy

Photo by Beth Rufener on Unsplash

Additionally, I urge music educators to avoid what Laura Sindberg refers to as “music teacher isolation” (Sindberg 2011). Look for ways outside of your school’s Fine Arts Department to adapt literacy strategies. Regularly ask your colleagues in the Science, Mathematics, English, History, and Foreign Language Departments about how they adapt traditional literacy strategies in their classrooms. Remember to talk to the other Fine Arts teachers in your schools who do not teach music as well, and do not forget to share your ideas too. Readers’ Theatre is a literacy strategy that requires small groups of students to create and perform a dramatic script based on a provided text. When adapted to a music appreciation class, you could assign small groups of students a recitative and aria or an ensemble song. Make sure the libretto of the assigned opera is translated for your students. Then, they can create their own script to perform their adaptation in front of the class. If you have enough groups and pick out key parts of the opera, your class will be able to summarize the plot of an entire opera with short scenes that they have created. When you have amassed your own stockpile of creative strategies, you will be able to impact a more diverse group of learners because of the numerous options from which you have to choose.

Just as students in an English class will not be able to comprehend William Shakespeare, Toni Morrison, Harper Lee, and Oscar Wilde if they cannot comprehend Dr. Seuss yet, students in a music class will not be able to comprehend the masterworks of great composers like Ludwig van Beethoven, Jennifer Higdon, Eric Whitacre, and David Maslanka if they cannot comprehend their beginner technique books. Literacy looks different in each discipline, and it is our job to make sure that our students can read, perform, listen to, analyze, and critique increasingly complex texts. This blog post is by no means a critique of the strategies currently employed in music classrooms, but in actuality, it is a call to broaden the literacy strategies we are using in our music classrooms. I encourage us to do what music teachers do best, and use our imagination to see what kind of ways we can incorporate creative adaptations of literacy strategies, like Close Reading, into our lessons.

References

Brown, S., & Kappes, L. (2012). Implementing the Common Core State Standards: A primer on “close reading of text.”  Washington, DC: Aspen Institute.

Sindberg, L. (2011). Alone All Together—The Conundrum of Music Teacher Isolation and Connectedness. Bulletin of the Council for Research in Music Education, (189), 7–22. https://doi.org/10.5406/bulcouresmusedu.189.0007 

Wolsey, T. D.V., & Lapp, D. (2017). Literacy in the Disciplines: A Teacher’s Guide for Grades 5-12. Guilford Press, a Division of Guilford Publications,  Inc.

About the Author

Hunter Thompson is a junior at the University of South Carolina, where he is majoring in Music Education. He grew up in Hartsville, South Carolina, and he participated in his school band program beginning in sixth grade and continuing to his senior year of high school. He would like to thank several educators for the tremendous impact they had on him: His mother, Elizabeth Thompson, who will always be his biggest educational influence; his high school band director, Cameron Watkins, who always believed in his musical abilities; and one of his college professors, Dr. Jennifer D. Morrison, who provided him with an amazing opportunity to write about a subject that is very important to him.

Categories
Teaching

How I’m Surviving The Earthquake of 2019

Photo by Shefali Lincoln on Unsplash

By: Kimberly Dunbar, Social Studies Teacher at Cane Bay Middle School

There was an 8.2 intensity earthquake rippling through upper elementary and middle schools classrooms in the summer 2019. After years of wrangling, new social studies standards were adopted by our State Department of Education, and there were substantial changes in content for grades 3 – 7. As usually happens, it was now up to the teachers of South Carolina to make everything work. For sixth grade teachers like me, the changes were exactly what we knew were coming but had long been dreading – we were supposed to teach all of human history in 180 days. It was difficult enough to complete when we stopped after the Age of Exploration. The task now felt unattainable.  

Part of what has made teaching this content so difficult is that very few students have any background knowledge about the earliest civilizations. If they do, that knowledge is usually limited (Egypt’s pyramids and mummies) or inaccurate (Greece according to Percy Jackson  or 300). It’s hard for my students to make connections to material when there is no foundational information to attach to. My dilemma was how to present enough content so learners can connect the dots without overwhelming them.  

Introducing Historical Fiction in the Social Studies Classroom

Wendy Garrett, a friend and mentor, introduced me to the idea of using historical fiction to build my students’ background knowledge. She had students participate in a class reading of a book she selected in addition to their daily warm-up questions. The thought was to kindle an enjoyment of reading AND sneak a little historical context in at the same time.   Many of our students were academically below grade level and reluctant to attempt a typical novel study. We chose to scrap the usual process and keep things focused on the reading – no vocabulary, no character studies, no plot diagrams. If students ask about the meaning of a word, we’ll discuss it, try to decipher it. If students wanted to discuss things or had questions about the plot or theme, we would talk. Our intent was to present some details about ancient civilizations and historical events while we remind students how enjoyable reading could be.  We let student interest guide our actions and activities. Everything was low stakes.  

As I included daily readings into my lessons, what I found was encouraging. The first 2-3 weeks were long as I had to demonstrate and promote expected behavior during the read aloud time. When students accepted and started living into these new expectations, all of us could focus more on the information in the book. We were able to take a few minutes to practice using context clues to determine the meaning of new words. Afterwards, it became a game – who could find an appropriate  time and place to use these new words. If an actual person was mentioned in our book, a student would give us a 60 second biography of the character. When an historical event was involved in the story, someone gave us a quick recap of what happened. The payoff came when students saw these same people and events in our regular class discussions and were able to recall information we had covered before. I could take another minute and help students put together the cause-and-effect of concepts we were learning. Lots of wins on multiple fronts!!!

Useful Tips when Integrating Historical Fiction into the Classroom: 

  • Explicitly teach your expectations for this reading time. If you are part of a teaching team and your ELA partner has procedures for this activity, try to mirror it. Consistency will make implementation easier. Have an anchor chart to use as a visual reminder of what you want to see and hear during this time.
  • Save your voice and use an audio reader system when possible.  
  • Befriend your media center person.  They are often the keeper of class sets. They know what’s available, what’s on order, what’s popular. They may have connections with other media centers and can arrange a loan of a class set from another school.
  • Give your students some input about what your class reads. I get single copies of books and let my students “test drive” them. All I want to know is, “Did you enjoy it? Would you recommend it to a friend?” If a student can give you more details, write it down. These details are an invaluable resource in determining what will grab your students’ attention and can guide future choices.
  • Get comfortable with looking for additional sources of funding. Until schools are better funded, it is hard to get class sets of the “latest and greatest titles” that are more likely to hold students’ attention. I have purchased several class sets through Donors Choose. I have several grant portals bookmarked. I’m always looking for ways to keep my classroom library fresh.

The skills that building background knowledge allows your students to practice, are the ones that will make them more engaged citizens and more valuable employees. Recognizing links between people, events and ideas are a building block of critical thinking. Critical thinkers identify situations, gather information, analyze information, and present solutions. These are the people that will make a difference in the future, if we take the time to teach them to solve problems. Teaching these new and different skills won’t be easy, but giving our students those skills will be worth every ounce of that effort.

About the Author

Kim is a second-career teacher with 13 years of experience.  She’s currently working to bring ancient history to life at Cane Bay Middle School in Summerville, SC.

Categories
Collaboration

Strengthening the Generations Through Agricultural Literacy

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By: Alonzo McDonald, South Carolina High School Agriculture Teacher

Photo by Jed Owen on Unsplash

Everybody knows the song, “Old McDonald had a farm.” Well, that song is about my dad. He’s the McDonald that had the farm…and the cows, and the peacocks, the ducks, the hogs and the mules. I’m the McDonald that took my passion for agriculture, which developed at a young age, and turned it into a career as an agricultural education teacher. Often, people believe teachers of elective courses are not concerned with literacy; however that is not the case. When teaching an elective course, you have to come up with creative ways to motivate students to engage in content literacy. I have found that I can foster student literacy through the community engagement of my students. 

One of the cornerstones of agricultural education programs is the desire to create productive citizens who serve their community. Through the Agricultural Education Program and Future Farmers of America (FFA) at Manning High School, students are molded into being model citizens that willingly give back to their community through various events and community partnerships that continue throughout the year. The motto of FFA reads “Learning to Do, Doing to Learn, Earning to Live, Living to Serve.” The last line, “living to serve” is one that I think the students grasp without even realizing it, because it becomes so embedded in our work in and out of the classroom. When you connect the last line of the motto with the first line, “learning to do,” students are equipped with the tools needed to successfully give back to the community that made them.

Photo by Kelly Sikkema on Unsplash

Through various in class activities, articles from agriculture magazines, and hands-on experiences students gain content knowledge they can put to use and pass on to younger students, in one of our strongest community partnerships, at Manning Early Childhood Center (MECC). Students within the agriculture program are able to explain the content that they have learned throughout the semester in a way the younger students are able to understand and use as they work on the raised bed garden at MECC. My students are able to teach these younger students how to transfer this knowledge into a useful skill (i.e. seed depth and spacing, watering needs, pollination, importance of fertilizer, plant parts, etc.) that can be used in the school garden. When my students are explaining to four and five year olds the needs of plants, and seeing that the younger kids are actually understanding it, brings me joy. As a teacher, being able to see the products of our toil is always rewarding. 

Photo by Cathy VanHeest on Unsplash

Having good role models for students to emulate is important. Through a consistent partnership with the Clarendon County Master Gardeners, my agriculture students have learned ways to pass on agriculture knowledge to others. The master gardeners model the ways in which experiential knowledge can be transferred through shared gardening experiences. My students then use what they have learned in their interactions with the master gardeners, with the students at MECC. The master gardener volunteers are able to bring in their real-world knowledge and experiences to help enhance the students understanding of not only the task-at-hand, but meaningful life experiences. Through this partnership, students are able to experience what it feels like to have someone giving back to the community and investing in the students at our school. As a result, students are more willing and eager to gain a better understanding of agriculture so that they can pay it forward.

Several students have gained a new appreciation for different aspects of agriculture because of these partnerships and have taken additional steps to further enhance their knowledge through research. Students are more willing to engage in learning, because they want to be able to share their knowledge with younger students and understand the information they learn from the master gardeners. As a result of community partnerships, students learn to use the agriculture content vocabulary, which supports their learning in my class and future agricultural classes they may take in the future.

Photo by Dan Meyers on Unsplash

Agriculture is an important part of today’s society that is sometimes overlooked. As the global population increases, we need to make sure that our appreciation for what agriculture provides continues to increase, so that we have future generations who are interested in agriculture and want to contribute to the field of agriculture. There are many initiatives and programs that are in place to encourage the younger generations to be more interested in agriculture. Through partnerships with different agricultural organizations, the youth are being exposed to the many different aspects of agriculture. My challenge to you is expose your students to some of the many different avenues that lead to the wonderful world of agriculture.

About the Author

Alonzo McDonald is an Agricultural Education Teacher at Manning High School, in Manning, South Carolina. Alonzo earned his Bachelor of Science in Agricultural Education from Clemson University. He also holds a Masters of Education in STEM Leadership from American College of Education.

Categories
Collaboration

For the love of literacy

Photo by Paweł Czerwiński on Unsplash

By: Charlene Aldrich, retired literacy instructor

I KNEW from an early age that books had an important place in life.  I was adventurous and brave with Encyclopedia Brown.  I dreamed about being a nurse with Cherry Ames.  I pondered survival instincts through The Lord of the Flies. I cried about Rascal and fell in love on The Island of the Blue Dolphins. 

I was always the one who brought every textbook home on the first day of school.  I HAD to know what we were going to learn that year.  And besides, ‘Library’ didn’t begin until the second week of school!   

Photo by Brett Jordan on Unsplash

But I soon realized that magazines were pretty great also: Reader’s Digest, Good Housekeeping, even Popular Mechanics!  Whatever my parents had on the table became fodder for my mind.  So, maybe it wasn’t ‘books’ that were important; maybe it was just, plain reading!That made choosing a career pretty difficult – Write books? Work in a bookstore? Be a librarian? OR do research?  How does someone decide what they want to do for 40 years of his/her life?

Content Area Literacy and the Librarian

Read or write?   How about read AND write?  Isn’t that what teaching is all about?  That and having summers off? So what began in a second grade classroom morphed, over many years, into teaching Content Area Reading and Writing (CARW), first to students preparing for college courses and then to content area teachers who were required to become ‘reading and writing teachers’.  But that’s not exactly what the R2S law said; concerning teacher education, the law’s intention was for all teachers to be confident in USING reading and writing in their content area.  And who is the best resource for that?  The person in the school in charge of the books!  The librarian, aka media specialist.  

I LOVE providing reading and writing research, literacy resources, and instructional ideas for content area teachers to embrace reading and writing as valuable instructional practices.  Even better is when librarians sign up for my CARW courses.   You see, I believe that literacy is everyone’s responsibility and that collaborating across grade levels and across content areas improves the probability that literacy is possible.  

Photo by Wan San Yip on Unsplash

Librarians are in the perfect position to orchestrate this collaboration.  BUT you have to ask. They aren’t mind readers.  By becoming partners in literacy, you both can ‘do good things for students’.  HOW?

  • Parallel Reading suggestions connecting content areas
  • LMS Embedded Librarians for immediate and ongoing student access
  • Direct Instruction for efficient research

What does the number one provider of research information say about librarians? 

 “The primary purpose is to support the students, teachers, and curriculum of the school or school district. Often, teacher-librarians are qualified teachers who take academic courses for school library certification or earn a master’s degree in Library Science” (Wikipedia).

South Carolina only employs ‘teacher-librarians’ in the schools.  Yes, their duties overflow into media, but first and foremost, they are your partners.  They can connect content to reading resources; they can connect reading resources to students.  

Overall literacy proficiency is grown within the classroom; through the collaborative efforts of teachers and teacher-librarians, it overflows into students’ out-of-classroom learning experiences.  But the best indicators of overall literacy proficiency are the graduates/adults/employees/employers/parents who model lifetime learning through reading and writing.  They value the ability to apply their literacy  to listen, read, analyze, evaluate, and respond to the plethora of messages that the 24-hour media services produce.  

PS:  Summers off – the joke was on me.  I found out that improving reading, writing, and math literacy is a year-round gig.  And it was my pleasure to serve.  

References

Wikipedia contributors. (2020, May 18). Librarian. In Wikipedia, The Free Encyclopedia. Retrieved 20:32, May 26, 2020, from https://en.wikipedia.org/w/index.php?title=Librarian&oldid=957428603  

About the Author

After 20 years of growing literacy in under-prepared college students, Charlene retired to focus on state-wide literacy initiatives such as LiD, 6-12 and her R2S approved literacy courses at College of Charleston.  She lets her life speak by empowering teachers to have the confidence and competence to implement a literacy model of instruction in any content area and at every grade level. Her best Covid-19 memory is teaching her grandson Algebra 1 via phone calls, Zoom, ztext messaging, and FaceTime.  It was online instruction at its best – synchronously and interactively.

Categories
Research

New Literacy Studies: For What It’s Worth…

Photo by Josh Appel on Unsplash

By: Dr. Todd Lilly, University of South Carolina

(For what it’s worth, this blog is peppered with a few hyperlinks to entertain the reader and to illustrate New Literacy Studies… for what it’s worth. Enjoy!)

Here’s a scene you might recognize: Everyone is concerned about the mental health of the young prince. The father of his fiancé finds him alone in a room in the castle, absorbed in a book. “What do you read, my lord?” The prince stops reading, flips through his book as if to try to find an answer to this most-important question. Then, as if making an astonishing discovery, he answers: “Words. Words. Words!”

I know what you’re thinking: “I’m not an English teacher! What’s this got to do with me?” Well… In the context of New Literacy Studies…Plenty. For what it’s worth, there was certainly a whole lot more in the prince’s book than words, and that should interest all of us.

“private property” by Lost Albatross is licensed under CC BY-NC-ND 2.0

Our house backs up to a popular public recreation area, so our Home Owners’ Association (HOA) posted signs: “Private Property/ No Trespassing!”

Many third graders would have no trouble sounding out the words:

“Pr…Pr… Pr  as in Pretzel”

“Tr…Tr…Tr… as in Truck”

Hmmmm… I have no idea why the ‘ATE’ in “ PRIVATE” shouldn’t be pronounced like “8” or why the ‘ei’ in “eight” should. What exactly is a ‘ə’ anyway? “I’m not a reading teacher!” Anyway, that’s the gist of old literacy studies.            

So, maybe we secondary teachers don’t actually know all that much about Old Literacy Studies, but still, we get the idea: If kids know enough rules to sound out words, they can read just about anything we give them, whether it’s a social studies text book or Hamlet. It’s an autonomous design: Learn to decode and you have power. It’s that simple.

Well… actually, no, it’s not that simple. And neither are the literacy events and practices we expect students to engage in when they enter our classrooms. That’s where New Literacy Studies gets interesting.

About 30 years ago, just about the same time as “You’ve got mail!” several out-of-the-box smart people from a few English-speaking countries got together and kicked around the idea that literacy was more than decoding, semiotics, and semantics. In the mid-1990s they saw how the rise in popularity of digital technology had the potential to radically change the way people produced and consumed all kinds of texts. They got so excited about this “New” idea that they made plans to meet in a small New England town, New London, New Hampshire, just to talk about it. And they did. They came to be known as “The New London Group.” What was their conclusion?

This might be a good time to get up, stretch, visit the bathroom and/or the refrigerator, maybe do a little yoga… Ok, here goes:

They decided that literacy is a social event embedded in a complex web of power-laden social and technological contexts that all revolve around texts and language. (Yes, English teachers; that’s what Pygmalion, written a century ago was all about… “Duh!”). Another way of looking at it is that literacy exists by means of some technology (a book, a sign, a billboard…) in a social space between a producer and a consumer. It involves ways of speaking, thinking, acting, and believing, which would mean that one’s identity and membership in social groups can and does affect meaning. This mutation from literacy as merely decoding to literacy as a social practice was coined “the social turn.”

So there. Move over Gutenberg!

That’s pretty much what they could agree upon. I can imagine the discussion got a bit contentious when they started thinking about the definition of “text.” Is an embroidery of birds on a pillowcase a text? Seriously, that’s an important question in the context of multiliteracies, but we’ll save that for another blog.

For now, let’s consider the “No Trespassing” sign above as a text. It’s not a Falkner novel or a Shakespeare play, “but ’tis enough, ’twill serve.”

Someone created the sign, someone nailed it to a tree, and there are indeed people who have come along and read it. The sign successfully transfers an idea from the sign’s producer to the consumer: “Keep off OUR property!” The literacy event is accomplished. What more might these New Literacy folks say?

Well…plenty. They would point out that that the posting and reading of the sign was but an event, part of a larger practice that brought together myriad social and power connections. The sign was initially a reaction to a legal context. At our annual HOA meeting, our lawyer noted that if we hadn’t posted these signs, we would be liable for any damages incurred by anyone who stepped onto our property. (Don’t you just LOVE lawyers?)

There’s also, of course, a power dynamic. Who are these potential trespassers? We can only imagine them happening by and reading our message: We own something/ you don’t/ you can’t have it/ We deserve it/ You don’t. Nanananana…  “The sign said you got to have a membership card to get inside…Ugh!”

I’m sure y’all noticed the graffiti on the sign, probably a tag, a unique form of literacy that a certain group of people (in this case, graffiti writers) use to identify their work: Loosely translated, it says: “Hey, I’m somebody too!” And am I wrong to deduce a bit of anger and animosity?

If literacy, then, is all about contexts and social memberships, who gets to decide meaning? ELA teachers have heard this refrain before; it’s not new.

Student: “Mr. Lilly, I think Robert Frost’s ‘Stopping by Woods on a Snowy Evening’ is about Santa Claus.”

I can’t remember my reply, but now in my current life, I call forth the literacy gurus:

Louise Rosenblatt would have said, “Ok, a reader has a right to make meaning out of otherwise meaningless symbols.”

E.D. Hirsch might exclain: “Hogwash! Go ask Frost!”

Michel Foucault would look up from his bath: “Go for it kid ‘cuz Robert Frost is dead!”

Here’s some song lyrics that were a bit more popular than Frost when I was a kid:

“Paranoia strikes deep. Into your life it will creep. It starts when you’re aways afraid. You step out of line, the man come and take you away.”

–Stephen Stills

In the words of the great Yogi Berra: “It’s like déjà vu all over again.” For you youngins (“Ok, Boomer…”), long before Post Malone, Lizzo, Chance, JayZ/ Beyoncé; long before Justin and Taylor, even before Back Street Boyz and still further back before AC/DC there was the Buffalo Springfield. Band member Stephen Stills, in 1967, during the tumultuous years of the Vietnam War and Civil Rights, immortalized these words in his “For What It’s Worth” which rocketed to #7 on the Billboard Hot 100 chart.

Ok, what’s it about? Vietnam Protests? The Generation Gap? Was it a precursor to NWA? “Words, words, words.”

Nope, it was about an event in which riot police confronted a large gathering of young people who came together to protest a curfew in Hollywood, California. But to hundreds of thousands, it represented a division in America, an anti-establishment movement that exists to this day. If you don’t recognize the lyrics, I’ll bet if you click on the above link, you’ll recognize the tune. And if so, is the tune an integral part of the text? (If you actually click on that link, you’ve officially become involved in New Literacy Studies!)

Ok, that’s cool, but here’s the kicker: What happens to a text when it becomes older than the generation for which it was written? In the 1990s, about the same time the New London Group met in New Hampshire, the Buffalo Springfield band members (minus Neil Young, of course) all in middle-age, allowed their song to be used in a Miller Beer commercial. What?! An anthem of protest converted into an anthem of capitalism?! “Something’s happenin’ here. What it is ain’t exactly clear…”

Well, actually, it is quite clear. The baton had been passed to a new generation. The context, the setting, the medium, the identities and power dynamics of the producers and consumers had changed from social injustice to quaffing a cold one. If you think about it, it’s much like what kids experience when they march from math to social studies to ELA and to lunch, all in the course of a typical morning. Everything changes. Students might read the same word in each class’ lesson, (“plot,” for example), but it will have a totally different meaning as the bell rings and students march from one class to another. The fact that they can pull this off day after day demonstrates remarkable sophistication. No science teacher is going to accept a lab report written as a rhetorical composition. As soon as students cross the threshold into the science room, they abandon the aesthetics of poetry that defined the day’s ELA class and magically conform to the inductive reasoning espoused by Francis Bacon, whoever he was.

Where old school technology goes to die-
Alex Watson, CC.org

Nothing is benign; a literacy event is always at the intersection of competing contexts (identities, histories, cultures, purposes, technologies) that can wax and wane over time. While in the course of a single day, we demand students think like a historian, think like an artist, think like an author, think like a scientist, think like a mathematician, think like a musician; all of which require a different literacy practice.

This past March, those kids were sequestered to rooms in their home “castles” somewhere in the village or in places even Verizon won’t go. And at the flip of a switch we were found alone at our laptop at our kitchen table desperately trying to replicate the old literacy practices of a face-to-face classroom and project it onto the new, unseen, unfamiliar contexts of the students’ existence. We tapped out words that were meant to convey the same curriculum and the same standards, but we all sensed the inevitable: “Something’s happening here/ What it is ain’t exactly clear.” More than a few of us have been confronted students’ equivalent of “No Trespassing/ Keep Out;” maybe not in so many words,

This could be a very long, very hot summer!

Robert Davy “Protest” Licensed through Creative Commons

“What a field-day for the heat. A thousand people in the street. Singing songs and carrying signs. Mostly say, “Hooray for our sign!’…You step out of line, the man come and take you away. It’s time we stop, children, what’s that sound? Everybody look what’s going down…”

For what it’s worth, this New Literacy Studies stuff never gets old.

“It’s only words and words are all I have to take your heart away” –Shakespeare  (Just kidding; it was the Bee Gees, and if that makes a difference to you, welcome to New Literacy Studies!)

About the Author

Todd Lilly has been a teacher for over 40 years, the majority of which was invested in middle and high school ELA and theater classes in and around Rochester, NY. Over the past 10 years he has served on undergraduate and graduate faculties in Wisconsin and currently at the University of South Carolina. He earned his Ph.D. in Curriculum and Instruction at the University of Wisconsin-Madison. His research interests include out-of-school literacy practices and the stories of marginalized, disenfranchised students. He is married to Dr. Catherine Compton-Lilly who holds the John C. Hungerpiller chair in the College of Education, University of South Carolina

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