This webinar features Dr. Christy Howard, Associate Professor in the Department of Literacy Studies, English, Education, and History Education at East Carolina University. She encourages us to be mindful advocates against inaccurate stories, images, and stereotypes about marginalized people.
Click Here to access.
As a follow up to her webinar, Brooke Hardin expands on her resources for using multi-modal writing responses to engage students in writing.
In twenty years of teaching English Language Arts, helping students discover their “writerly life” has remained a passion. To live a writerly life means that individuals write often and with a fair amount of ease, that they see their everyday ordinary lives brimming with writing topics, and that they can use writing to reflect their ideas and potentially gain new ones. In order to begin to live a writerly life, one must be motivated to write. As teachers, engaging students in writing tasks can often be a challenge, but certain elements increase both students’ motivation for writing and their efficacy for writing tasks. Student choice in topic, modeling of strategies and techniques, consistent time to share, give, and receive feedback on writing, and invitations to write in varying modes have all been identified as ways to more likely engage students in writing. This post serves to provide strategies related to the latter idea, using various modes for writing and how these modes might inspire students to write and deepen their knowledge of disciplinary content.
What is Multimodal Writing? What Might it Look/Sound Like?
Multimodal texts are print-based and digital texts using more than one mode or semiotic resource to present meaning; mode is defined as a socio culturally formed resource to make meaning (Kress, 1010; Serafini, 2015). Authors have been exploring multimodal response for over a decade and have seen its potential to engage students in personal response and critical analysis of literature, while also developing their appreciation of genres (Dalton & Grisham, 2013). Expanding students’ literacy palette to include the modes of image, video, audio, and writing offers them more choices for how to develop and express their thinking about reading. When readers write about, interpret, or respond in some fashion to their transaction with a text, a new text is produced as the reader-turns-writer; that is, a writer or creator who seeks to express that experience with the text (Rosenblatt, 1994). Writing in a poetic form or creating a digital design as an aesthetic response to the reading positions the reader-turned-writer to adopt an aesthetic stance in which the student’s attention is focused on the lived-through experience of the reading: the emotions, moods, intuitions, attitudes, and tensions connected to the ideas and characters embodied in the text (Rosenblatt, 1994). Thus, one of the benefits of multimodal writing tasks is their potential to deepen comprehension and/or content learning.
One strategy for multimodal writing is called a half-and-half portrait (see Image 1). To create this piece, a student would first “write” the portrait about themselves. The portrait is a visual representation of an individual done by drawing one half of the person’s face using physical features (i.e., hair style, eye color, nose shape) and then filling in the other half of the face with images, quotes, or other ideas that relate to the person’s attributes, interests, life experiences. Once a student has created a half-and-half portrait about themselves, they can apply the strategy to a character from text, historical or present-day figure, or any other person. For example, the physical side of the portrait is created using the features visualized by the reader based on descriptions in the text. The other half of the character’s face uses images and other ideas related to the character and inspired by evidence from the text. For example, students might read the middle grades novel Refugee by Alan Gratz, which portrays the refugee experience of three distinct, fictional adolescent characters. Students reading this novel could further explore and demonstrate their understanding of these characters through the creation of a half-and-half portrait (see Image 2).
Image 1: Personal ½ and ½ Portrait (created by author)
Image 2: Isabel from Refugee (created by author)
In addition to creating the portraits, students can also create video or audio recordings that explain the thinking behind their multimodal writings. Teachers might ask students to discuss both the materials used to create the portraits and the ideas represented in the portraits. In multimodal writing using a visual art form such as this portrait, selection of materials and images or quotes used should be as intentional as word choice is in written texts. An example of my explanation for my half-and-half portrait can be found using this link.
As with any new genre of writing, students need mentor texts they can reference for ideas and inspiration. Picture books, especially those that have been recognized for their illustrations, serve as some of my favorite mentor texts for multimodal writing with visual art (see Images 3 and 4).
Image 3: Illustrations made with stones in Stepping Stones: A Refugee FAmily’s Journey by Margaret Ruurs
Image 4:
Illustrations made with layered collage featuring book pages,
tattered book covers, neon paints, and cloth in How to Read a
Book by Kwame Alexander and illustrated by Melissa Sweet
Engaging Students in Writing with Poetry
Poetry is another genre that often engages students in writing tasks. Poetry is subjective and its structure can vary. Some forms, like haiku, have a particular form, but poetry can also be as simples as a collection of a person’s favorite words. The rules of writing become more relaxed in different types of poems, which allows students to tap into their creativity and use their voice to play with words, line breaks, and the appearance of the poem. Many poems are what I call “bite-sized;” thus, they are also less intimidating to write for more reluctant writers.
Definition Poems
Definition poems are a specific type of poetry that follows a form but also holds space for students to use craft moves and have agency with the writing. This form of poetry is inspired by some of the pages from the middle grade novel The Crossover by Kwame Alexander (see Image 5). Written in verse, the novel features several poetic styles, including definition poems, that might serve as mentor texts for students poetic writing. The definition poem invites students to engage in writing while also enhancing their vocabulary knowledge and using learned content to create something new.
Image 5: Definition poem from The Crossover
When teaching students to write definition poems, teachers should use the same principles they would use with teaching any other genre. Reference the mentor text, such as one of Alexander’s poems from The Crossover, and engage students in inquiry by asking them to take notice of how the author wrote the poem – that is, to think about and name aloud the “ingredients” used in the poem and what might be required for someone else to write the same style of poem. For example, teachers would point out how each stanza begins with “As in:” and how the vocabulary term is used in each stanza. Teachers might use a shared writing approach to co-author a definition poem with the whole class and invite students to co-author this kind of poem in pairs before they write one independently. Again, this kind of poem can be used with vocabulary from novels students read and to other content areas. See Image 6 for an example definition poem written about the math term parallel. As seen in the example, the poem offers students the opportunity to sustain their thinking about a word and its meaning and invites them to see how vocabulary terms are relevant to their lives. Additionally, these kinds of poems can serve as a piece of writing in a larger multimodal piece. For example, students might be invited to illustrate each stanza of the poem to add a visual layer.
Image 6: Example definition poem (created by author)
Golden Shovel Poems
Golden shovel poems are a poetic form created by Terrance Hayes and inspired by Gwendolyn Brooks’ poem, “We Real Cool.” To write a golden shovel poem, the writer must do the following:
Inspired by Terrance Hayes, Nikki Giovanni wrote the book One Last Word, which is a book of golden shovel poems about the Harlem Renaissance. Using two of the poems from this book as mentor text (see Images 7 and 8), teachers can help students see how the poem is written and gain inspiration for their own writing.
Image 7: “Storm Ending” from One Last Word
Image 8: “Truth,” a poem written by Nikki Giovanni using a line from “Storm Ending” by Jean Toomer
Teachers should immerse students in reading many different poems, invite them to bring in poems – including song lyrics – that they admire, to gain ideas and inspiration for writing their own golden shovel poems. Again, teachers may want to scaffold this kind of writing and co-author poems with students in a whole group setting before tasking students with writing one on their own. Golden shovel poems are complex but also provide students an opportunity to play with word choice, syntax, line breaks, and be creative in their writing. Inspired by a poem from Mary Oliver’s Dog Songs, I show students my own attempt at this poetic form (See Images 9 and 10).
Image 9: Excerpt from “Luke’s Junkyard Song” by Mary Oliver
Image 10: Golden shovel using the last two lines from “Luke’s Junkyard Song” (created by author)
Final Thoughts
No matter the strategy used, teachers must remember to embrace vulnerability and write alongside of students, both modeling the techniques and making the cognitive side of writing – word choice decisions, art medium choices, etc. – become evident and accessible for students. Writers need to see and hear other writers engaged in writing to discern the process and be inspired. Writers also need room for creativity. Each of the strategies offered here provides space for creativity and the opportunity for students to express themselves while also learning and showing their content knowledge.
References
Kress, G. (2010). Multimodality: A social semiotic approach to contemporary communication. London, UK: Routledge.
Rosenblatt, L. M. (1994). The transactional theory of reading and writing. In R. Ruddell et al. (Eds.), Theoretical models and processes of reading (4th ed). Newark, DE: International Reading Association.
Serafini, F. (2015). Multimodal literacy: From theories to practices. Language Arts, 92(6), 412-423.
This webinar features Brooke Hardin and provides resources for using multi-modal writing responses to engage students in writing.
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.
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.
This webinar features Beth Shaver and provides resources for collecting Social Studies resources from multiple perspectives. Click here to access.
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:
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.
This blog is written by Tori Young and shows us how to scaffold written essays resulting in a video essay. Read more about Tori at the bottom of her post.
Have you ever caught yourself in the never-ending rabbit hole of online video essays? Conspiracy theories, movie plot analyses, theme park history and so many more topics are explained in a thorough manner with research and analysis weaving together ideas and backgrounds you never would have put together. Even if you have not stumbled into this online phenomenon, I can assure you that your students have. Whether hour long YouTube deep-dives, or short TikTok synopsis series, students are being presented with researched information about a wide range of topics even if they do not recognize it. After noticing this for myself, I asked “why aren’t more essays like this?”
Research papers and argumentative essays are the primary form of essay writing used in my history classroom. I want my students to know how to be informed citizens and communicate their ideas and beliefs in a way that is grounded in historical truth and facts. I typically scaffold this process throughout the year using activities based on the content. Typically, I start out with an exit ticket asking students to pick a side on a tough topic (no in between!) and tell me why they chose their stance. Nothing formal just to get them to practice how to take a stance. Slowly I will make them add facts from a document we read in class to back up their positions and eventually start teaching the research process by having them look for reliable sources of their own to support their side. Eventually, all that information can be used to organize and create a well-written paper for social studies.
The broad goals of this process are to teach students how to make informed decisions and communicate their ideas effectively. While a traditional essay is an excellent way to practice those skills, many teachers like me have seen the difficulties for students that come with that ultimate step of writing the paper. For many students, the formal language or length of the writing assignment can be daunting to approach, causing them to shut down before trying. But we look at them confused; they have already practically written the paper with their summaries and research. Why can’t they just fill in the gaps with just a few sentences?
I found myself asking these questions every year. When I asked my students to verbalize their answers, I got great insight and connections to the content from them. They know this content, in fact many of them get passionate about it when it is time for them to argue. As I pondered this, I concluded that most of my students will only share their research and findings about topics verbally in their futures. Why am I not adding a verbal layer of assessment to this process?
This is where the wonderful world of video essays came into play for me and my classes. A video essay takes on the same structure as an essay but uses visual aids and commentary to present the information. Just like a good historical essay, it begins with background information on the topic and a clear thesis. It is then followed by key points that are supported by examples. And lastly, the video concludes with the creator’s main idea and the topic’s historical impact. Video essays help students practice research skills, organizing ideas and examples, but instead of writing, they are practicing presentation skills!
An example of this in my high school US History classes is during our unit on the Antebellum era. There are a lot of names of important people during this period; abolitionists, women’s rights activists, and politicians. I let my students pick from a list of key figures to research to share their life story. I give loose parameters on the assignment, asking students to provide the background of the person’s life, their contributions to Antebellum America, and their lasting impact on the United States. Some students may need more guidance, so it may be helpful to provide examples of information you are looking for such as their birthplace, career, and writings to name a few possibilities. I then ask students to record a two-minute video using WeVideo or Screencastify to present their findings using media to support their discussion.
I have seen my quietest students speak without hesitation in these videos, presenting on topics with great care and speaking skills. The key is that I do not show them in front of the class. Once the fear of being judged by their peers is taken away, students become comfortable with the process. They also begin to get creative with their media. Many will create a PowerPoint to display and follow along with for their video. However, I have seen animations, skits, and eulogies come out of this assignment as students begin to find their creativity with this medium.
Students are still practicing all the skills I need them to learn for my goals, but by incorporating video essays I have seen higher levels of engagement with historical content. This is not meant to take away from the importance of formal writing. While not all our students will go on to university and academia, they will still need to write important emails and apply for jobs. Formal writing is an important skill, but if you also notice students needing an extra step in scaffolding the writing process in social studies then consider video essays. Students will even surprise themselves with how much they know!
Images courtesy of Pexels
This blog is written by Rebecca G. W. Mueller and is about the powerful effect of images as an instructional tool. Read more about Rebecca at the bottom of her post.
Let’s do a quick exercise.
Take a moment to revisit several recent blog posts.
How many blogs included visuals? What type of visuals? Did you pay much attention to the visuals as you read the blogs? Did you think about how the visuals interacted with the text and communicated their own meaning?
We are surrounded by visuals – from emojis and selfies to infographics and data charts. Visuals are an important communication tool that we must read just like we do text, but readers do not always bring the same critical eye to visuals as they do words. Readers often deem visuals as objective depictions of information and forget that, for example, a photographer makes many decisions about how to best capture a moment just as a speech writer carefully selects their words.
A key facet of literacy in social studies classrooms is strengthening students’ abilities to critically engage with visuals (Callahan, 2013; Roberts & Brugar, 2017). Because students’ worlds are often saturated with visuals, teachers may presume that students have the skills to read them, but one’s ability to select the most flattering filter does not necessarily transfer to considering a political cartoon’s symbolism. Critically engaging with visuals requires substantial vocabulary and background knowledge, particularly around symbols, artistic conventions, and statistics. Below, I introduce some tools teachers can use to scaffold students’ work with visuals and discuss how building this capacity supports disciplinary literacy.
Useful tools
The Stanford History Education Group (SHEG) has an extensive array of resources, lessons, and assessments that support content and disciplinary literacy. SHEG recently turned its attention to civic online reasoning and has developed materials that address skills necessary for sense-making in a visual-filled digital world, including evaluating photos and evaluating data. All visitors can view student-friendly crash course videos, but a free-account is required to access some resources (e.g., assessment tools, rubrics, sample responses), most of which are most appropriate for middle or high school students. Using the three-question scaffold Who’s behind the information? What’s the evidence? and What do other sources say?, students develop the disposition to encounter visuals with healthy skepticism.
Both the Library of Congress and National Archives have document analysis tools and support materials to guide students’ work with visual sources. Both sites provide a general guide and specific guides that are tailored for particular source types, including charts and graphs, maps, photographs, and political cartoons. For example, the Library of Congress’ basic tool prompts students to observe, reflect, and question. The analysis tool modified for use with political cartoons includes guiding questions such as What do you see that might be a symbol? What was happening when this cartoon was made? and What methods does the cartoonist use to persuade the audience? These documents, which include versions appropriate for different readiness levels, prompt students to utilize core literacy practices while also emphasizing the influence of form and function on how we create and read visuals.Project Zero’s Thinking Routine Toolbox includes an array of strategies suitable for various disciplines and ages. The Toolbox has identified strategies that are well suited to exploring art, images, and objects. One of my favorites is See, Think, Wonder because it stresses the importance of looking closely before drawing conclusions and identifying additional information that will strengthen those conclusions. This simple, flexible strategy demands similar practices as the scaffolds described above but with language accessible to all ages.
Retrieved from https://ourworldindata.org/literacy
See, Think, Wonder can be paired with Zoom In, which prompts students to consider increasingly larger portions of an image and revise their conclusions based on new information. In both cases, students build the dispositions to root conclusions in evidence, be open to revising conclusions based on new information, and reflect on how their personal experiences and biases may influence the way they interpret visuals.
Ford, E., photographer. (1957). Tennis talk Althea Gibson, U.S. and Wimbledon tennis champion, gives some pointers on the game which has brought her international fame. Some 500 students attended the tennis clinic yesterday at Midwood HS, directed by Murray Eisenstadt, varsity coach // World Telegram & Sun photo by Ed. Ford. New York, 1957. December. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2013650115.
Visual literacy as civic literacy
Researchers affiliated with SHEG’s Civic Online Reasoning project have argued that “the health of a democracy depends on people’s ability to access reliable information” (Breakstone, et al., 2021, p. 505). Because so much of the information we encounter is visual, building students’ visual literacy is fundamental to civic literacy. Utilizing the tools discussed above strengthens students’ awareness of the constructed nature of visuals and their ability to apply disciplinary sourcing practices to better understand how context and intention influence the way we create and read visuals.
References:
Breakstone, J., Smith, M., Wineburg, S., Rapaport, A., Carle, J., Garland, M., &
Saavedra, A. (2021). Students’ civic online reasoning: A national portrait. Educational Researcher, 50(8), 505-515.
Callahan, C. (2013). Analyzing historical photographs to promote civic competence.
Social Studies Research and Practice, 8(1), 77-88.
Roberts, K. L., & Brugar, K. A. (2017). The view from here: The emergence of
graphical literacy. Reading Psychology, 38, 733-777.
This post is written by Jenelle Williams. You can read more about Jenelle at the bottom of this post.
I have served in public education since 1999, and I can attest to the fact that this school year has been a doozy. I have served as a middle school and elementary teacher, an instructional coach/coordinator, and now I am serving as a consultant. Working both regionally and across the state of Michigan with secondary teachers, building principals, and central office administrators, it’s easy for me to get lost in all of the challenges. Despite this reality, I have been lucky enough to witness positive momentum in the schools and districts I serve across Oakland County, Michigan. Working as a secondary literacy consultant for the 28 individual school districts in my county provides me with endless variety–though my area of focus is adolescent literacy, each district within my service area represents a wide array of contexts, sizes, strengths, and needs.
Working with other content-area colleagues, we developed a plan of support around disciplinary literacy in our region for this school year. As is the case with most educational contexts, we began planning while still in the midst of the previous school year, so there were many unknowns. Would we experience another surge of COVID? How would districts navigate large teacher turnover? Would educators even be ready to re-engage with a shared professional learning focus? Despite the unknowns, we built a service plan based on the following beliefs:
What can this look like? In one district, the “tight and loose” construction has looked like having multiple professional learning sessions for all educators throughout the year–use of district professional learning days and staff meetings has provided opportunities to bring middle- and high-school teachers together, both in disciplinary and interdisciplinary groupings. The Essential Instructional Practices in Disciplinary Literacy (2019), originally drafted by Dr. Elizabeth Moje at the University of Michigan and refined over the years by statewide experts, is a foundational document that has provided this district (and all districts in our network) with possible areas for professional learning. After gathering teacher perception data and engaging in data dialogue conversation, leaders in this district decided to begin professional learning with a focus on Essential Instructional Practice 2, which calls for the development of abundant, diverse disciplinary texts and reading opportunities.
The loose part in this district’s implementation involved optional Study Group sessions on other Essential Instructional Practices in Disciplinary Literacy, with an opportunity for participating educators to share their learning with staff later this Spring. For a more in-depth discussion of how professional learning can allow for a shared focus AND teacher autonomy, we recommend Investigating Disciplinary Literacy: A Framework for Collaborative Professional Learning by Christina Dobbs, Jacy Ippolito, and Megin Charner-Laird (2017).
Keeping our core beliefs at the forefront of our thinking, my colleagues and I created a predictable structure for network meetings. We asked participating districts to select a month when they would like to host the meeting. One of us acted as a point of contact, gathering necessary information about the location and communicating with the network. Each network meeting would last for three hours, and hosting districts could select whether to hold the meeting in the morning or afternoon. This structure made it more possible for all participants to attend due to time constraints and a lack of substitute teachers. Each district could select its team–some started with just a few central office administrators, some came with representatives from all levels, and some consisted of one instructional coach. All were welcome. Meetings always began with introductions and agendas, norms, and a connector. Especially at the beginning, we used the connectors as a way to build relationships across districts. As we moved through the year, one of the most popular portions at the start of the meeting was our District Spotlight–the planning team would intentionally reach out to one of the districts with a specific ask, such as, “Can you tell the network about how you’ve been engaging in instructional rounds?” Next, consultants would lead the group in shared learning around portions of the School-Wide Practices for Disciplinary Literacy. Areas of focus were selected based on the time of year and the types of decisions that districts make at those times. For example, as we moved into Spring, it made sense to focus on School-Wide Practice 7, which outlines systemic approaches to evaluating instructional materials. Perfect timing as central office leaders begin making budget decisions! Finally, each meeting ended with at least one hour of team time. Each district was assigned two consultants who would serve as points of contact for any necessary support. Finally, though the planning team had absolutely no expectations in this area, we started to find that each hosting district was excited to outdo the others–specifically as it related to food! In one district, food service employees created a magnificent spread of snacks. The next month, the hosting district asked their Foods teacher (and his students) to create an array of tasty treats. What a way to highlight teacher (and student) excellence!
As I think back, I am sure there were many more beliefs guiding our plan for supporting these participating districts, but the ones described above have been a driving force throughout the year. So what have we learned after engaging with this network since September 2022? And why am I so encouraged? First, we have learned that you don’t have to be a “perfect” district or school in order to get started with this work. What is necessary is a shared vision, passion, and commitment to the work. In one district, nearly all central office administrators are new this year. They have certainly had quite the learning curve as they become familiar with the strengths and needs of their district. However, they have committed to attending network meetings, along with individual consulting sessions with me, to craft a multi-year plan that fits their context. More importantly, we are seeing positive changes: teachers are talking with department colleagues about instruction, staff are using common terminology around disciplinary literacy, and building leaders are seeing the value in having a shared goal across multiple buildings.
We have also learned that despite everything they have experienced over the past few years, educators are just as interested in honing their craft as they have always been. In fact, some are even more concerned than ever before–they want to shake up their approaches in order to engage all learners. Even more heartening is that when provided the chance to invite colleagues and leaders into their classrooms to observe and debrief their practice, middle- and high-school teachers have been willing to open their doors. Debrief sessions from these observations highlight just how reflective and growth-minded classroom teachers continue to be.
The future is bright as we begin service planning for the upcoming school year. Participating districts are overwhelmingly positive about continuing with this work in year two, and several additional districts have expressed interest in joining in the work. We have an incredible array of resources to offer–most importantly, we will continue to make space for the most important resource–each other.
References
Hubbard, W. G., & Sandmann, L. R. (2007). Using diffusion of innovation concepts for improved program evaluation. Journal of Extension, 45(5), 1-7.
Dobbs, C. L., Ippolito, J., & Charner-Laird, M. (2017). Investigating disciplinary literacy: A framework for collaborative professional learning. Harvard Education Press.
Michigan Association of Intermediate School Administrators General Education Leadership Network Disciplinary Literacy Task Force. (2019). Essential instructional practices for disciplinary literacy: grades 6 to 12. Authors
Michigan Association of Intermediate School Administrators General Education Leadership Network Disciplinary Literacy Task Force. (2020). Essential school-wide practices In disciplinary literacy: Grades 6 to 12. Authors
Jenelle Williams is a Literacy Consultant within the Leadership and Continuous Improvement unit at Oakland Schools, an intermediate school district supporting the 28 districts in Oakland County, Michigan. She joined the organization in 2017 following 18 years of experience in public schools at the elementary, middle, and high school levels. She has served as a classroom teacher, IB Middle Years Programme Coordinator, teacher leader, and educational technology coach. An IB Educator and Examiner since 2013, Jenelle leads professional learning workshops and marks e-assessments for the International Baccalaureate Organization. She holds an Education Specialist in Leadership degree and a Master’s degree in Reading and Language Arts through Oakland University. In addition, Jenelle serves as an Adjunct Professor in Grand Valley State University’s Graduate Program and a co-editor of The Michigan Reading Journal, a publication from the Michigan Reading Association. Jenelle is passionate about supporting teachers, building leaders, and central office administrators in the area of secondary literacy, and she is especially excited to be able to support Michigan’s work around disciplinary literacy through her role as Co-Chair of the statewide Disciplinary Literacy Task Force. She can be reached at jenelle.williams@oakland.k12.mi.us, and on Twitter at @JenelleWilliam6 and @GELN612Literacy.
Photo by Felicia Buitenwerf on Unsplash
This post is written by Jennifer D. Morrison. Read more about Jennifer at the bottom of this post.
Over the past twenty years that I have served as an instructional coach, staff development specialist, teacher educator, and National Board candidate mentor, it has been clear to me how important it is to engage in being not only a reflective practitioner but also a professional capable of clearly unpacking my practice. Zeichner and Liston (2014) point out that excellent teachers, and by extrapolation excellent educational leaders, are often not aware of what they have learned and how they enact their practices. They have “tacit knowledge” that is known but not articulated; enacted but not explained. While it may be acceptable for teachers and educational leaders to operate in day-to-day spaces with this tacit knowledge, it does not foster growth of the self or others. If leaders cannot clearly understand and articulate the curricular, instructional, pedagogical, and relational decisions they are making as well as provide the rationale for those decisions, they cannot effectively serve in the leadership capacity needed to facilitate change within a school environment.
Burch (1974) developed a model of the Four States of Competence to help explain the processes in which an individual engages as s/he learns new skills.
As preservice teachers, we are unconsciously incompetent — we don’t know what we don’t know. We stumble through our teaching, not knowing what we should be doing, if we are doing it right, or even what questions to ask. As we begin to acknowledge our lack of knowing, we move into being consciously incompetent; we now know exactly how little we understand about the subject. It then becomes our mission to learn more, try more, figure out what works and what doesn’t in our attempts to improve. As we seek answers and help, practice, make adjustments, and are acutely aware of our growth, we shift to conscious competence. We know what we are doing and why we are doing it. We have grown; we now know things, and it shows. When these practices gain a level of automaticity — where we no longer have to think about every little action we take and why — we become unconsciously competent. “Right” is now a feeling, a sense that has developed with thought and practice. Any time we move into a new learning space, such as being a literacy coach or administrator, we begin the process again.
This is usually where discussion of Burch’s model ends. However, I advocate for another step. In all my leadership roles, it has been necessary for me to step back into the conscious competence space. Why? Because when I am coaching a teacher in how to differentiate a lesson or teaching adult students about implementing a literacy strategy, it is not enough for me to say: “Yeah, I just do it, and it’s right. Here, watch me.” That does not encourage growth in those with whom I am working. I have to unpack what I am able to do automatically and make it transparent. I have to show that what I am doing is not by accident but the result of many years of experience, lots of reading and reflecting, and lots of corrected mistakes. I have to be able to say: “This is how you do it, and this is why it works.” If I am unconsciously competent, I am not able to provide that form of instruction; and afterall, effective leaders are ultimately teachers. My ability to consciously understand my competence assists others in their moving from incompetence to competence. In order to be reflective teachers and effective literacy leaders, it is important for us to deconstruct the places where we are unconsciously competent. We must be able to understand what we are doing, why we are doing it, how we can improve it, and what might happen if we did it differently. We need to look at what we do automatically with the eyes of an outsider, “making the familiar strange” (Mills, 1959).
What might this look like? This means first, reflecting on our processes and how we engage with literacy learning ourselves. Early in my teaching career, I was assigned an SAT/ACT prep class. My students overall did not do well on the reading comprehension sections of tests. At the same time, I was preparing for the GRE exam to apply for graduate school, and I regularly rolled out near perfect scores on the reading comprehension. For me to better help my students, I had to step back into conscious competence and metacognitively consider what exactly I was doing in my reading of these passages and in my answering of comprehension questions that led me to a successful outcome. How was I engaging with the text? What was I thinking as I read? What kinds of predictions was I making? How did I process the questions? What did I do with vocabulary I didn’t know? Where was I rereading, where was I paraphrasing, and why? Once I unpacked my own process, I could then effectively convey to my students what I did and why through think alouds and walking through examples.
The same can be said when working with preservice and inservice teachers. In workshops or professional learning sessions, it is not enough to provide the formula of how to do a particular technique or strategy; it is imperative to also provide the theoretical reasons and reflective process that undergird the strategy. For example, I often begin my courses by having students complete a literacy autobiography, an activity they can easily enact in their own classrooms. While we do the activity, however, I also parallel the steps with rationales and explanations for what we are doing and why. I walk them through the assignment by modeling my own autobiography first. I show not only what my literacy experiences have been but also how they have shaped me as an individual now. This includes delineating my resultant strengths, challenges, and biases. As we work through their autobiographies, I model for them the unpacking process. What was it like for them to read and write in different subjects when they were younger? Who influenced their literacy habits and preferences? What life experiences influenced their literacy habits and preferences? How have these experiences impacted their views of literacy now? How do these preferences, or reticences, impact the way they interact with literacy now? How can they move beyond the fear, shame, or negative feelings that might have accompanied literacy experiences? How might their experiences impact interactions with students who do or don’t view literacy in the same way they do? For individuals with literacy affinities, the questions help them to see why they have positive dispositions toward reading and writing and to unpack the tacit literacy knowledge that has become automatic. This is important because not only can they better recreate some of the experiences for their students, they are also better able to see the correlation between their experiences and how they view reading and writing, and why other people, including many of their students, may not have the same perspectives. I share with them that Bourdieu (2013) argues our habitus shapes our understanding of the world, our ways of knowing (epistemologies), and the attitudes/beliefs/biases we carry into relationships with others and our teaching spaces. In order to be able to teach children, we have to know where we come from, why we believe what we believe, and consider how we can interrupt the transmission of our unconscious biases, which can be done through engaging in conscious competence and reflexivity. Otherwise, we can inadvertently create environments filled with microaggressions toward particular students, which can deeply impact student learning.
Stepping back into conscious competence and engaging in reflection is, in many ways, emancipating (Zeichner & Liston, 2014). By engaging in thoughtful, conscious teaching and leadership, we free ourselves, our teachers, and our students from the blind following of established routines, policies, and plans. It gives us the freedom — and responsibility — to question, to wonder, to consider, to criticize, to advocate, and to defend. Thinking is a political action, and “teaching is a subversive activity” (Postman & Weingartner, 1971). Reflective teaching and conscious competence empower us to be change agents within our own educational spheres, whether that is in our classrooms, schools, districts, or at home with our own children. We learn to be critical consumers of curricula and policy, and we find our voices to change the status quo. This is how we change the currently negative national narrative for our profession — one child, one classroom, one teacher at a time.
Bourdieu, P. (2013). Outline of a Theory of Practice. Cambridge Press. DOI: https://doi.org/10.1017/CBO9780511812507
Burch, N. (1974). The learning stages model. Solana Beach, CA: Gordon Training International.
Mills, C.W. (1959). The Sociological Imagination. New York: Oxford University Press. (40th anniversary edition, 2000).
Postman, N. & Weingartner, C. (1971). Teaching as a Subversive Activity. Delta Publishing.
Zeichner, K. & Liston, D. (2014). Reflective teaching: An introduction. Second edition. Erlbaum.
Dr. Jennifer D. Morrison is a Clinical Assistant Professor at the University of South Carolina and a National Board Certified Teacher in AYA/ELA. She earned her Ph.D. from the University of Nevada, Reno, in Language, Literacy, and Culture. She worked as a middle and high school English teacher and instructional coach for 19 years. Her research agenda focuses on teacher induction, literacy attainment (particularly digital and multimodal), and teacher inquiry processes. She has been published in such journals as English Journal, Journal of Adolescent and Adult Literacy, Talking Points, Principal Leadership, and Educational Leadership.
Cover Photo by Lindsay Henwood on Unsplash
