Creating Student-Centered Social Studies Anthologies

Teaching

This week’s blog is by Beth Shaver as she shares how to develop primary source anthologies in Social Studies and History courses. Read more about Beth at the end of her blog.

When I think about literacy in social studies, my mind is automatically drawn to conversations around the purpose of social studies. There is a consensus that the primary purpose of social studies is to educate our students about citizenship and active participation in our republic (NCSS, n.d.). As teachers, we understand that literacy is a necessity for civic engagement and that literacy, and the social studies, are inextricably linked.

For our students, however, that connection may not be so clear. I imagine that we would be hard-pressed to find a social studies teacher who has not been asked the age-old questions of ‘Why do I have to learn this?’ and ‘Who cares about a bunch of old dead men?’ Honestly, the root of their argument is valid. Falling back on Mark Twain’s musing that “history doesn’t repeat itself, but it often rhymes” as a rationale is simply not enough to convince our students that social studies generally, and literacy in the social studies specifically, is necessary or that primary sources are useful.

If we, as teachers, are going to ask students to read, think critically, and be willing to participate in critical discussions, they are going to want to know why. Especially in the modern era when we are competing with cell phones and social media in the classroom, our students need to internalize why social studies matters to them. Ultimately, reading in social studies classrooms must be relevant to our students.

Charting a Student-Centered Approach

While there are many approaches to student-centered, engaging, literacy-based, and relevant lesson plans in social studies classrooms, an approach that I used in my classroom, and had success with, was the individual curation of anthologies. As a White woman who was teaching the African American Studies course, this approach came about because it was important for me that students had the autonomy to research and learn about ideas and issues that were important to them in parallel to the history that they were learning in class. I knew that I did not have the authority or ability to speak to every issue. So, I focused on the history and taught the students how to find voices and experiences of the past in primary source materials, based on what they were interested in and curious about.

Although the anthology originated in an elective course, it can be easily applied in any history-based social studies course and can be scaffolded or extended based on the needs of the individual learner. Application of state social studies standards to this project can be woven in easily with this project as well. As an example, in North Carolina, our social studies standards ask students to trace ideas and themes throughout the eras as they seek to understand change over time through history. The anthology approach embraces this goal by encouraging students to pull threads throughout history that pique their curiosity.

In my class, students had the opportunity to take the course at the academic (e.g., general education) or honors level which meant that within one classroom, I had a wide range of students representing diverse learning experiences and reading abilities. Each of them approached the anthology project as individuals and at their own level, and by the end of the semester, each student had an anthology to present at a meet-the-author event in our school’s media center.

The Anthology at a Glance

The work to begin a course-long anthology project begins at the beginning of the course and requires patience from both the teacher and the students. Each must understand that this type of project requires learning, adjustments, scaffolding, thoughtful preparation, and structure. To me, this work is the most exciting and has the potential for the greatest rewards! Early in the course, lessons around digital literacy and digital history are crucial for student success and can guide students toward recognizing reliable websites and materials for their projects (Manfra, 2020; Wineburg & McGrew, 2019). My diverse group of learners needed to be provided with a digital library of resources that each learner could use as a starting point. While some were confident and able to find reliable resources independently, others required the scaffolding of more concrete places to start, especially in the beginning.

A second consideration early in the course is how students will source and analyze the primary sources they use. Following a format found in many historical anthologies, we started by asking each student to find the title, author, and date of the source that they found. Then, using different scaffolding strategies depending on the source and the student, we modified an Advanced Placement source reading strategy, HIPP+: Historical context, intended audience, purpose, point of view, and the + represented the student’s interest in the document, theme, or history. This allowed students to work towards understanding each source they chose, unpacking it, and learning to express why they found it valuable.

Finally, the most significant portion of this project is the focus on student choice. Each student had the opportunity to either choose a theme for their anthology or to keep it flexible depending on their own goals and interests. We spent time as a class brainstorming potential themes that could transcend time and thinking about the potential that each theme could hold. Taking this approach gave students agency to trace themes and ideas throughout history, taught them disciplinary literacy skills, and allowed them to find a love of history based on their research interests.

In the end, each one of my students completed an anthology that highlighted two to three primary sources from each unit of study in our class. Each one was different. Each one was special. Each one represented an individual’s unique learning.

The file below is an example of an organizer for identifying and understanding key terms in a reading selection.

Common-Sense-7-Word-Summary Download

References

Manfra, M. M. (2020). Digital history 2020. Social Education, 84(2), 118-122.

National Council for the Social Studies. (n.d.). About: The national council for the social studies. https://www.socialstudies.org/about/about#:~:text=The%20primary%20purpose%20of%20social,and%20involvement%20in%20civic%20affairs.

Wineburg, S., & McGrew, S. (2019). Lateral reading and the nature of expertise: Reading less and learning more when evaluating digital information. Teachers College Record, 121(11), 1-40.

Elizabeth (Beth) Shaver is a doctoral candidate in the Department of Teacher Education and Learning Science at North Carolina State University with a concentration in Social Studies. She has taught social studies for fourteen years between California and North Carolina.

Weaving a More Complete Tapestry of Truth with Multiple Perspective Texts in the Social Studies Classroom

Teaching

This blog is written by Katie Kelly to remind us how and why to teach a more current and accurate history curriculum. Read more about Katie at the bottom of her post.

Looking Back

For far too long, social studies has been taught (if taught at all) through a teacher-centered model comprised of lectures, note-taking, and task-oriented textbook reading. Students are assigned chapters with questions to answer and are later tested on the content. History becomes rote memorization of key dates and figures without meaningful context or deep learning. Therefore, we should not be surprised that many students lack understanding of significant historical events and find social studies both boring and irrelevant. A 2020 survey of adults under forty revealed that ten percent of respondents were unfamiliar with the Holocaust, and sixty-three percent of those surveyed did not know that over six million Jews were murdered in the Holocaust (Pew Research Center, 2020).

This is frightening and concerning. Not only do we need to ensure that young people are learning history but also that they are learning about it from multiple perspectives in order to weave a more complete tapestry of truth. Dr. Gholdy Muhammad (2020) reminds us to consider how our curriculum and instruction help us understand power, equity, and anti-oppression. Our teaching practices must be responsive to the historical events that shape the present if we aim to help students understand content from marginalized perspectives (Muhammad, 2020).

Teaching Today

Textbooks remain the primary source of social studies content in many classrooms (Brophy & Alleman, 2009). One problem with relying solely on textbooks is that they are designed as an overview of vast periods of time and lack depth and breadth on specific topics. As a result, textbooks often convey oversimplified information and are frequently told from a single perspective that omits the voices and stories of historically marginalized groups (Yearta & Kelly, 2021). This results in a narrow, biased, white-washed curriculum. Sanitized versions of history induce a sense of patriotism while ignoring the complicated past and present (Demoiny & Ferraras-Stone, 2018). As James W. Lowen writes in Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong (2018),“The stories that history textbooks tell are all predictable; every problem has already been solved or is about to be solved… Textbooks exclude conflict or real suspense. They leave out anything that might reflect badly upon on national character.”

We cannot ignore our complicated and difficult past if we seek a better tomorrow for future generations. To foster increased engagement in learning a more complete and accurate history, we must build our capacity and willingness to include multiple perspectives and acknowledge that every perspective is true and partial (Hamilton et al., 2020).

Moving Forward

In order to teach a more complete and accurate history, we can incorporate multiperspective text sets including books, articles, primary sources, multimodal resources, etc. featuring the stories and perspectives that have traditionally been silenced or marginalized. Multiperspective text sets help students layer their learning about complex history to develop a more nuanced and accurate understanding of how it influences the present. When students have opportunities to connect the past to the present, history becomes more relatable and relevant to their lives (Kelly et al., 2023).

In our book, Critical Comprehension: Lessons for Guiding Students to Deeper Meaning (2023), we offer a multiple read framework to help students move beyond passive acceptance of information towards a deeper critical analysis of text by questioning the author’s intent, the information included/excluded, how the text positions the reader, and who benefits or is harmed by it. The return read seeks to disrupt and interrupt widely accepted narratives, the writer’s intention, and the reader’s stance to uncover hidden truths. This return read, or critical read, is necessary when examining the ways in which history is presented. As readers deconstruct texts, they think critically about historical and current events to examine power relations revealed in text and mirrored in society (Jones, 2006; Vasquez, 2010).

Sample questions for critical reading:

Whose story is being told?
Whose stories are being left out?
Who benefits? Who is harmed?
How does this perspective position the reader?
What does the author want the reader to think or know?
How does the text perpetuate stereotypes?
How do your assumptions and associations position you to interact with text?

These questions serve as a framework to help students move beyond the dominant narrative to explore counter narratives and expand their perspectives and understanding of our country’s past and present. History textbooks often center the stories of the victor, the hero, the white male. For example, we think of our founding fathers and our first president and general of the Continental Army who led us toward independence. The Declaration of Independence stated that all men were created equal. We celebrate the Fourth of July with displays of patriotism from waving flags, red, white and blue clothing, parades, and fireworks displays. Yet, history textbooks rarely explain that neither women nor people of color had independence and freedom. In fact, slavery was not abolished for another 86 years when Abraham Lincoln signed the Emancipation Proclamation. Even then, it took three years for this information to reach enslaved people in Texas. On June 19, 1865, federal troops traveled to Galveston, Texas, to bring the news of freedom. This day has been commemorated as Juneteenth, and though Black citizens have long celebrated it, it has largely been overlooked until recently. Juneteenth became a federal holiday in the U.S. in 2021 amidst continued activism and the momentum of the Black Lives Matter movement. Teaching about Juneteenth is one way to help students bridge the past to the present to learn the nuanced and more complete truth of this part of U.S. history. This Book Buzz blog post offers a sample text set to help students deepen their understanding of the importance of Juneteenth.

Our country has a long history of centering the power of dominant voices. This perspective is privileged in the curriculum in our schools as well. Therefore, we must work to ensure that multiple perspectives are included when teaching social studies. Consider your own school experiences. What were you taught? What weren’t you taught? Whose stories were included? Whose were left out? How did that shape your beliefs about the world and your place in it? (Kelly et al., 2023).

Critical comprehension requires deeper reading to consciously question the text, the world, and the stories we’ve been told. Critical readers seek a more nuanced understanding by uncovering silenced voices, omitted narratives, and multiple perspectives needed to weave a more informed and complete tapestry of truth.

References

Brophy, J., & Alleman, J. (2009). Meaningful social studies for elementary students. Teachers and Teaching, 15(3), 357– 376.

Demoiny, S.B. & Ferraras-Stone, J. (2018). Critical Literacy in Elementary Social Studies:

Juxtaposing Historical Master and Counter Narratives in Picture Books. The Social Studies, 109(2), 64-73.

Hamilton, D.M., Wilson, G.M., & Loh, K.M. (2020). Compassionate Conversations: How to speak and listen from the heart. Boulder, CO: Shambhala.

Jones, S. (2006). Girls, social class and literacy: What teachers can do to make a difference. Portsmouth, NH: Heinemann.

Kelly, K., Laminack, L. & Vasquez, V. (2023). Critical Comprehension: Lessons for Guiding

Students to Deeper Meaning. Thousand Oaks, CA: Corwin Press.

Lowen, J. W. (2018). Lies My Teacher Told Me: Everything Your American History Textbook Got

Wrong. New York: The New Press.

Muhammad, G. (2020). Cultivating Genius: An Equity Framework for Culturally and Historically Responsive Literature. New York: Scholastic.

Pew Research Center, Jan. 22, 2020, “What Americans Know About the Holocaust”. Retrieved from https://www.pewresearch.org/religion/2020/01/22/what-americans-know-about-the-holocaust/.

Vasquez, V. (2010). Getting beyond “I like the book”: Creating space for critical literacy in K-6 classrooms. Newark, DE: International Reading Association.

Yearta, L. & Kelly, K.(2021). Digital Storytelling to Enhance Social Studies Content Knowledge, Explore Multiple Perspectives, and Advocate for Social Justice. In J. Tussey & L. Haas (Eds.). Connecting Disciplinary Literacy and Digital Storytelling in K-12 Education. IGI Global.

Katie Kelly is an Associate Professor at Furman University in Greenville, South Carolina. As a former teacher and literacy coach, Katie’s teaching and research interests include engaging children in meaningful literacy experiences and practices to foster lifelong literacy, equity, and justice. She is widely published in several peer-reviewed journals and has co-authored four books. She can be contacted on Instagram/Twitter @ktkelly14 and by email katie.kelly@furman.edu.

Learning about the Events of September 11, 2001, Through Story

Collaboration, Teaching

This blog is written by Lesley Roessing suggesting that a variety of texts can be used to teach historical events still impacting the world today. Read more about Lesley at the bottom of her post.

No historical event may be as unique and complicated to discuss and teach as the events of September 11, 2001, the day terrorists crashed planes into, and destroyed, the Twin Towers of the World Trade Center. At the time of this event, no child in our present K-12 educational system was yet born, but, in most cases, their parents and educators would have been old enough to have some knowledge of, and even personal experience with, these events, making this a very difficult historic event for many to teach. However, with the devastation and impact of these events on our past, present, and future and as ingrained a part of history these events are, they need to be discussed and understood as much as possible.

An effective way to learn about these events is through story. Powerful novels have been written about this tragedy, for all age levels and, fascinatingly, each presents a different perspective of the events. Some take place during September 11, some following the events, some a few years later or many years later, and a few include two timelines. Many take place from the perspectives of multiple characters.

On September 11, 2021, YA Wednesday posted my guest-blog “Novels, Memoirs, Graphics, and Picture Books to Commemorate September 11th.” In this blog, I interviewed authors and reviewed and recommended 24 texts and six picture books.
Since then, I have read two additional texts:

Yusuf Azeem is Not a Hero by Saadia Faruqi
“Suspicion of those unlike us is common human behavior. We don’t trust who we don’t know. But yes, 9/11 was terrible, and it really fueled the fire of hatred in this country.” (184-5)

Sixth grader Yusuf Azeem was born in Texas and is an American; his mother was also born in America and his father was a Pakistani immigrant who runs the popular A to Z Dollar Store in town (and a somewhat a local hero after capturing an intruder threatening his store and customers). The family is Muslim, but, understandably, Yusuf is shocked when sixth grade begins with threatening notes in his locker. When one says, “Go home,” he is hurt and confused. Frey, Texas is his home. Surely the notes are meant for someone else.

This is a novel that may benefit from some background on the events of September 11, 2001, since the action takes places in 2021 but, read individually, Ausuf’s uncle’s journal helps to fill in information. The importance of this particular novel is that it demonstrates that, for some of our citizens and students, “Twenty years. So much time. But things haven’t really changed at all.” (48) One of the major events in the story—when a little computer in his backpack beeped and, instead of questioning him and investigating, Ausuf is thrown in jail for twelve hours—is based on a real event from 2015 where Ahmed Mohamed, a Muslim 14-year-old, was arrested at his high school because of a disassembled digital clock he brought to school to show his teachers [https://www.cnn.com/2015/09/16/us/texas-student-ahmed-muslim-clock-bomb].

It is vital that our children learn about 9/11 because, as Yusuf’s mamoo says, “History informs our present and affects our future.” (81)

In the Shadows of the Fallen Towers by Don Brown
Don Brown’s graphic novel recounts events following the 9/11 attacks on the Towers and the Pentagon from the moment of the “jetliner slamming into the North Tower of the World Trade Center” to the one-year anniversary ceremonies at the Pentagon, in Shanksville, Pennsylvania, and at Ground Zero. It also covers the fighting of U.S. troops in Afghanistan and the capture and interrogation of prisoners from an al-Qaeda hideout in Pakistan.

The drawings allow readers to bear witness to the heroism of the first responders, firefighters, and police as they move from rescue to recovery over the ten months following the attacks and learn the stories of some of the survivors they saved. It is the story of the nameless “strangers [who] help[ed] one another, carrying the injured, offering water to the thirsty, and comforting the weeping.” (23)

We learn and view details that we may have not known, such as “Bullets start to fly when the flames and heat set off ammunition from fallen police officers’ firearms,” (11) the “Pentagon workers [who] plunge[d] into the smoke-filled building to restore water pressure made feeble by pipes broken in the attack,” (36) and former military who donned their old uniforms and “bluff[ed their way] past the roadblocks” to “sneak onto the Pile” to help. (50, 52)

For more mature readers this book adds to the story of 9/11 in a more “graphic” way.

I have taught a unit on NINE ELEVEN through book clubs in multiple schools from grades 5 through 9 in both ELA and Social Studies classes. Children and adolescents have felt comfortable these sensitive and challenging concepts and examining these troubling events and some of the ensuing difficulties, prejudices, and bullying, through the eyes of characters who are around their ages, some readers sharing personal stories in their small collaborative groups. I am thankful for the authors who have allowed our children to experience these events in a safe and compassionate way. I have presented these novels and strategies and lessons for reading through book clubs at local workshops and national conferences. I included my 9/11 Book Club unit as a chapter in TALKING TEXTS: A Teacher’s Guide To Book Clubs Across The Curriculum.

Condensed and reproduced with permission from https://www.literacywithlesley.com/blog posted on September 2, 2023.

**Lesley Roessing** was a public-school teacher in eastern Pennsylvania for 20 years where she taught high school and middle school ELA, Humanities, and Gifted Studies. In 2010, she founded and directed the Coastal Savannah Writing Project at Georgia Southern University where she also taught pre-service and in-service teachers. The year prior to her retirement, she served as the Literacy Consultant (Coach) for a K-8 charter school. Upon retirement, she continued writing, visiting classrooms to facilitate reading and writing lessons, and posting all things literacy!

Follow her website, created to support educators—teachers, librarians, and parents, at https://www.literacywithlesley.com/

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

Teaching

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

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

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

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

Overcoming writer’s block with free-verse poetry

Teaching

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

What is free-verse poetry?

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

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

Nate and Claire and NaCl

Nate Natrium wants a girlfriend

Through his binoculars from his Natrium castle

He spots Claire Chloride

In a hammock

Reading a romance novel

Humming a song

Nate’s heart bursts

His feet fly down the hill with a drumming heart

To Claire

And the rest is history

They have children

All with salty lips and skin

This family helps us spice our food

And give minerals to animals, humans and plants

Their license plate says NaCl-Salt

What makes free-verse poetry beneficial for striving writers?

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

When to implement free-style poetry writing?

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

What are some ideas for grades 6-12?

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

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

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

English Language Arts:

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

Science:

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

Mathematics:

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

Music education:

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

Physical/health education:

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

Social Studies:

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

Conclusion

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

References

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

Bullock, O. (2021). Poetry and trauma: Exercises for creating metaphors and using sensory detail, New Writing, 18(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 Writing, 18(4), 409-420, DOI: 10.1080/14790726.2021.1876094.

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

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

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

The Millennium Project

Teaching

This post is written by Miriam Necastro. Read more about Miriam at the bottom of this post.

They say you can’t go home again. However, in the case of myself and some of my colleagues, we did by returning for round two at Brookfield Middle School; this time as teachers. At the beginning of the previous school year, our principal had set a goal for us to conduct more cross-curricular collaborations. When we were turned loose for common planning time with our grade-level teachers, we began brainstorming what we could integrate seamlessly across the curriculum divide. My colleague Brad, who teaches 7th grade World History, is also an alum of Brookfield. We started to reminisce about the different cross-curricular projects we completed during middle school. We both agreed that it was as if most of our classes back then were involved in these instructional projects. The other element we remembered was the excitement–our teachers were excited, which made us excited.

The project in question was known as the “Millennium Project.” At this time, during the early 2000s, A&E Biography released the program “100 Most Influential People of the Millennium.” In our World History class, our teacher wrote each of those individuals on slips of paper, and during class, we drew a name out of a cup. The name of the influential person we drew was the person we would be researching during classes, writing an informational essay, first-person biographical speech, creating a visual display, and portraying this person during the Night at the Museum presentation. What if we brought this project back to life after a seventeen-year hiatus?

We started by creating a dual Google Classroom page where we sectioned off different topics for all the project materials, examples, and assignment drop boxes. He covered the history assignments while I did the Language Arts ones. For example, areas of historical research would be covered by history, while ELA would cover the biographical essay. Based on the event date that was scheduled on the school calendar, we then collaborated on due dates for essential project assignments, agreeing that these would be flexible, if need be, once the unit got underway. Since the students had never completed a large project of this nature, covering two of their core classes, we knew this would be a learning experience for everyone. The fun part came first– having the students select the influential person they would be portraying for the project. The list of influential people ranged from Gandhi to Diana, Princess of Wales to Jane Goodall, Tomoe Gozen, George Washington, Jackie Robinson, Neils Bohr, Dolly Madison, and others.

The best collaboration tool we utilized was Google Classroom. Creating a joint classroom page specifically for this project assisted us in making sure that all students had the same information and materials in one central location. For example, research database websites were organized in their separate section, and my colleague and I would add links if we found a new site that would benefit student research. From an ELA and World History standpoint, we emphasized the importance of credible resources for research, especially when in seventh grade, Wikipedia is so convenient. Our students knew the ‘Research Resources’ section of Google Classroom as their one-stop shop. In an effort to not only conserve paper but also lessen the chances of lost materials, everything was digital. Students printed out their visual presentation text elements when constructing their museum board. As with Google Classroom, we could see student progress on the different parts and pieces of the project, so we could differentiate our instruction in our respective classrooms.

We know students always like to ask the question, “when am I going to use this outside of class?” We felt this project was the perfect opportunity to answer that question and put it to practice. Even though this was considered a history project at first look, the majority of the project was rooted in ELA. Without the Language Arts/writing skills, the students would not have been able to complete the project. The biographical essay that the students completed for their influential person aligned with the Ohio State Test Informative Writing Rubric, and used the research they completed in history class. In both classes, we expressed the importance of not just copying and pasting information from their research sources into their essay; they must use their personal voice. In doing so, not only did it save them from plagiarism, but it also proved to us that they understood the information. They read the information, processed it, decided how it fit into the boundaries of the project, then, put it in their own words. Historical research plus writing and grammar skills combined in these areas of the project: historical research outline, biographical essay, visual display title, biographical timeline, key facts, word cloud, and fake social media page. ELA standards also include goals for speaking and listening. Students fulfilled this standard by using points from their biographical speech to write a speech from the perspective of their historical person to deliver during the “Night at the Museum” event when someone came up to their station.

The culminating event took place during school hours, where our seventh-grade students dressed as their historical person, stationed in front of the visual display they created, celebrating and sharing their knowledge acquired in both history and ELA over the last months. This project proved that lines between curricula don’t have to be so definite. If we combine our areas of expertise as teachers, we can maximize student learning.

Miriam Necastro has 6 years teaching experience and is the 7th grade ELA & Reading teacher at Brookfield Middle School; Brookfield, Ohio. She is currently pursuing an M.Ed in Literacy from Clemson University.

Photo by Skye Studios on Unsplash

Using graphic organizers to help break down content into manageable chunks

Teaching

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

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

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

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

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

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

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

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

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

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

Cover Photo by Jess Bailey on Unsplash

How I’m Surviving The Earthquake of 2019

Teaching

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.