I have to admit, I hated poetry when I was in school. I hated having to figure out what an author was saying. Why couldn’t they just come out and say what they wanted us to see and hear? I remember reading ‘The Windhover’ by Gerard Manley Hopkins and being completely confounded. Understanding poetry was like trying to solve a jigsaw puzzle without having seen what the completed picture was supposed to look like.
In college I studied William Wordsworth and Langston Hughes. For the first time, I read poetry that was easy to understand and yet beautiful. Its simplicity did not detract from the beauty of form and content. Because I didn’t feel defeated from the start, I began to read other kinds of poetry, the kind that had turned me off to poetry while in high school. I wish I had come to a greater appreciation of poetry while in K-12. I had missed out on so much. But what had I missed out on? Why should children read and learn about poetry?
Poetry helps us to see the world through someone else’s eyes. We can do the same with essays, short stories and novels, but poetry is life and experiences in concentrated form; it doesn’t take long to read a poem, yet an author can concentrate emotions and feelings that would take pages to convey in a novel or poem. Teenagers with angst can find relief when they read a poem to find out others have shared their own experiences. Thus, poetry can be personal and powerful, but its impact can also be felt on a national or global level.
Just how powerful and impactful is poetry in the world of politics? It is so impactful that Stalin caused Anna Akhmatova to memorize and then destroy all her personal written poems, all so Stalin could not silence her poetic voice. Like painters, writers can stir the mind, but sometimes more importantly, they can stir the heart and passions, especially when rousing people to a cause. Students can come to appreciate the power of words, how a poem can rally people to a cause; there are poems of resistance, protest, and empowerment. Certainly students should be exposed to such words and ideas.
Poetry writing empowers students and builds their confidence. Writing an essay can be daunting for some students, but when they are introduced to and encouraged to write simple poems such as acrostics, they usually eagerly embrace the challenge.
Poetry helps students to appreciate the beauty of subtlety, how so much can be said indirectly. They can come to appreciate the power and beauty of words. It can build vocabulary and encourage abstract thinking. Poetry encourages students to analyze what they are reading. It exposes them to other cultures and beliefs.
Why study poetry? Poetry empowers, arouses. Poetry helps students to put ideas and feeling on paper.
Poetry can stimulate the mind, and it can help students to get in touch with their own feelings. One year, I had a student say the following to me in a letter. “I always thought poetry was for sissies. All my life I’ve suppressed my feelings, but this class has made me change my mind. I’ve come to understand that as a male I can embrace and express my feelings.” Those words were music to my ears.
Dr. Angela M. Cozart is a Professor Emerita in the Department of Teacher Education at the College of Charleston.
By: Hunter Thompson, University of South Carolina Pre-Service Music Educator
Teaching students how to read music is basically like teaching students how to be literate in another language. As you learn more and more of a language, the rules and guidelines for reading, writing, and speaking that language become increasingly complex. Music educators should approach teaching students music like they are preparing students to be literate in the complexities of music, and we all know how complex music can become (we’re all looking at you, Schoenberg). Music students should not only be literate in musical literacy, but they also need to be literate in traditional literacy, numeracy, communicative literacy, and even technological literacy to be successful in today’s music classes. Students must be literate to comprehend expressive markings such as accelerando or rallentando. The basis of teaching rhythm is contingent on the assumption that students are numerate, and we also use mathematical structures within music theory. Watching a conductor’s gestures and expressions requires students to be literate in the nuances of communication. The rising popularity of electronic music and the usage of online notation software requires students and teachers to be technologically literate. All of these forms of literacy converge in our music classrooms, so this means that we must adapt non-musical strategies for usage in our lessons.
Close Reading is a task that students are expected to do in essentially every class that they will ever take; however, it is a skill that is unintentionally not as well-developed and practiced outside of typical English Language Arts courses. Without clear guidelines for how Close Reading is applied to subjects like music, art, physical education, dance, and other classes that are necessary for educating the whole child, students will not be able to put these strategies into practice. Therefore, it is crucial that we, as music educators, make our approach to Close Reading essential to our lessons, and instead of relying solely on music-specific structures to achieve this, we should also model our approach off of existing structures. Although Close Reading is a strategy that was originally created for use in English language arts courses, Close Reading (with some minor adaptations) will help to engage students in a deeper analysis of music that they are performing and to which they are listening.
Wolsey and Lapp’s Approach to Close Reading for Traditional Print Texts
Close Reading strategies have historically been applied to print texts, but texts come in all sorts of shapes and sizes. There are two types of text: print and non-print texts. In a music classroom, an example of a print text could be a student’s individual part or a conductor’s score. Print texts have traditionally been the dominant of the two in classroom settings, but there is still an enormous amount of information that students can gain from working with non-print texts. With regards to music classes, an example of a non-print text could be a live or recorded performance.
Photo by Jamie Taylor on Unsplash
Thomas DeVere Wolsey and Diane Lapp outline Close Reading for traditional print texts like this. First, you must select a complex text for your students to study, and think about priming questions that you could ask your students before introducing them to the text. Next, have students complete an independent reading and annotation of the text. After that, complete partner sharing activities so that your students are able to hear a diverse range of perspectives. Following that, re-read the text (as an independent reading, student-led reading, or teacher-led reading) with specific goals in mind, and conduct a group discussion to reinforce particular ideas. Re-read the text as many times you deem necessary and conclude with a written extension, reflection, or explanation of the text that highlights a specific skill concept.
This approach to Close Reading has been highly effective in countless traditional literacy settings to help students gain a deeper understanding of complex print texts, but what does this process have to do with music? Close Reading, by definition, uses “text-based questions and discussion,” and “students are guided to deeply analyze and appreciate various aspects of the text” (Brown & Kappes 2012).
Close Reading Adaptations for Music Classrooms
Music teachers do these things on a daily basis, whether we realize it or not. Additionally, music teachers want their students to develop the skills necessary to perform and listen to complex pieces of music with much deeper analysis. It is extremely important to remember that this level of analysis will require multiple visits with the same text. With every close read, students will pick up on more nuances and important details which will ultimately lead to a greater understanding of the composer’s and/or conductor’s craft.
In music classes, we constantly ask our students to perform and listen at the highest level; therefore, students must develop a more advanced skill set to analyze complex works. Resultingly, I have adapted Wolsey and Lapp’s outline of Close Reading for performing music and listening to music. The adaptation for performing music is geared more towards a band, choir, or orchestra class while the adaptation for listening to music is geared more towards a music appreciation or music history class. However, they can be used in any music classroom with minor adjustments.
Adaptation Chart of Close Reading for Performing and Listening to Music
Wolsey and Lapp’s Close Reading for Traditional Print Texts
A Close Reading Adaptation for Performing Music
A Close Reading Adaptation for Listening to Music
Select a complex text that relates to instructional purpose (use Lexile Levels to help with this)
Select a complex text that relates to instructional purpose (use state grade categorizations to help with this and resources provided by sheet music retailers)
Select a complex text that relates to instructional purpose
Provide priming questions: What are you thinking as you read? What words do you not know? What techniques is the author using? What is the author’s message? What is the impact on the reader?
Provide priming questions:What is the tempo? What is the key signature? What is the time signature? What is the pitch range? Are there any accidentals? Are there any difficult rhythms? What kind of signs, repeats, dynamics, and articulations do you see?
Provide priming questions: What do you hear? What genre is this piece? What is the instrumentation or orchestration? What is the structure of this piece? What style period is this piece from? What message or emotions is the composer attempting to convey?
Number the paragraphs.
Number the measures.
For listening with a score, number the measures. For listening without a score, segment the recording using time stamps.
Independent reading (use paragraph numbers to chunk text for greater analysis)
Independent sight reading (use measure numbers to note difficult and important sections in the music)
Independent listening with a score (use measure numbers to chunk the score for greater analysis)Independent listening without a score (use time stamps to chunk the piece for greater analysis)
Text annotation – writing on paper; using highlighters and/or pens to “mark” the text
Text annotation – writing on music; using a pencil to circle/star/box any notable parts of the music
Text annotation (with a score) – writing on the score; using colored pencils or pens to mark melodic lines and harmonic analysesText annotation (without a score) – write down notes about the piece with time stamps included
Partner sharing – discussion with language frames
Partner sharing – discussion with language frames
Partner sharing – discussion with language frames
Rereading (independent, student-led, or teacher-led) with analysis on how text was written and writer’s craft
Re-examining (independent, student-led, or teacher-led) with further analysis of sequences, modulations, intervallic relationships, and other patterns
Re-listening with a score (independent, student-led, or teacher-led) with analysis of compositional techniques and composer-specific musical idiomsRe-listening without a score (independent, student-led, or teacher-led) with analysis of how different time stamp segments are similar and dissimilar
Discussion to reinforce academic vocabulary and interpretation
Discussion to reinforce academic vocabulary and interpretation
Discussion to reinforce academic vocabulary and interpretation
Written extension, reflection, explanation of the piece, or demonstration of the skill concept through writing
Written extension outlining performance goals and practices and/or a summarization of elements of the composer’s style
Written extension (music critique or analysis), reflection, explanation of the piece
Will Close Reading Consume My Already Precious Class Time?
Believe it or not, you are probably already doing parts of activities like this in your classroom. However, it has not been made clear to students that these activities are part of the larger process of Close Reading. It is critical that we are intentional, from the very beginning, in choosing what texts we use, and for music, it is important to take into account the musical abilities of each student if you intend to perform a chosen text. Additionally, we must be purposeful in the strategy we use to teach the musical complexities that our students will encounter within the chosen texts.
You most likely are using some of these steps within your classroom, but Close Reading works best and benefits more students when the full process is completed for specific texts. If your wind ensemble is playing Holst’s First Suite in E-Flat for Military Band, it may prove wise for students to complete several close readings of their own part and several close readings of the score. Since this piece is public domain, you can find the score online from the International Music Score Library Project (IMSLP). If you are unable to provide each student with a conductor’s score, you could also use a document camera and projector to display the score during class for a teacher-led close reading of the text. Vision is the dominant sense, and many of our music students may be visual learners, so it could prove very beneficial to those students if they can see how their individual part is connected to other parts. If you are teaching a unit in a music appreciation course on dance rhythms, you could complete a close listening of Bernstein’s Symphonic Dances from West Side Story, which might be more recognizable and engaging to students than a Baroque dance suite. Remember, we could choose any school-appropriate text for our students to work with, but it is important that we know exactly what we want students to learn from that text and that we know exactly what strategies we will use to teach the text.
One concern about implementing a Close Reading strategy in your music classroom is that it will take a large amount of time from technique building and preparing for performances. However, Close Reading is a method of keeping students engaged with a text. If students simply go through the motions, rehearsing the same set of pieces day after day, then students will begin to lose focus while performing. If we take class time to purposefully implement Close Reading strategies into our routines, then it will help students to better understand individual and ensemble performance goals for that particular piece. Ultimately, a strong foundation of technique and fundamentals mixed with the implementation of Close Reading and other literacy strategies will set students up for musical success.
Adapting Other Literacy Strategies to Grow Students’ Music Literacy
Additionally, I urge music educators to avoid what Laura Sindberg refers to as “music teacher isolation” (Sindberg 2011). Look for ways outside of your school’s Fine Arts Department to adapt literacy strategies. Regularly ask your colleagues in the Science, Mathematics, English, History, and Foreign Language Departments about how they adapt traditional literacy strategies in their classrooms. Remember to talk to the other Fine Arts teachers in your schools who do not teach music as well, and do not forget to share your ideas too. Readers’ Theatre is a literacy strategy that requires small groups of students to create and perform a dramatic script based on a provided text. When adapted to a music appreciation class, you could assign small groups of students a recitative and aria or an ensemble song. Make sure the libretto of the assigned opera is translated for your students. Then, they can create their own script to perform their adaptation in front of the class. If you have enough groups and pick out key parts of the opera, your class will be able to summarize the plot of an entire opera with short scenes that they have created. When you have amassed your own stockpile of creative strategies, you will be able to impact a more diverse group of learners because of the numerous options from which you have to choose.
Just as students in an English class will not be able to comprehend William Shakespeare, Toni Morrison, Harper Lee, and Oscar Wilde if they cannot comprehend Dr. Seuss yet, students in a music class will not be able to comprehend the masterworks of great composers like Ludwig van Beethoven, Jennifer Higdon, Eric Whitacre, and David Maslanka if they cannot comprehend their beginner technique books. Literacy looks different in each discipline, and it is our job to make sure that our students can read, perform, listen to, analyze, and critique increasingly complex texts. This blog post is by no means a critique of the strategies currently employed in music classrooms, but in actuality, it is a call to broaden the literacy strategies we are using in our music classrooms. I encourage us to do what music teachers do best, and use our imagination to see what kind of ways we can incorporate creative adaptations of literacy strategies, like Close Reading, into our lessons.
References
Brown, S., & Kappes, L. (2012). Implementing the Common Core State Standards: A primer on “close reading of text.” Washington, DC: Aspen Institute.
Sindberg, L. (2011). Alone All Together—The Conundrum of Music Teacher Isolation and Connectedness. Bulletin of the Council for Research in Music Education, (189), 7–22. https://doi.org/10.5406/bulcouresmusedu.189.0007
Wolsey, T. D.V., & Lapp, D. (2017). Literacy in the Disciplines: A Teacher’s Guide for Grades 5-12. Guilford Press, a Division of Guilford Publications, Inc.
About the Author
Hunter Thompson is a junior at the University of South Carolina, where he is majoring in Music Education. He grew up in Hartsville, South Carolina, and he participated in his school band program beginning in sixth grade and continuing to his senior year of high school. He would like to thank several educators for the tremendous impact they had on him: His mother, Elizabeth Thompson, who will always be his biggest educational influence; his high school band director, Cameron Watkins, who always believed in his musical abilities; and one of his college professors, Dr. Jennifer D. Morrison, who provided him with an amazing opportunity to write about a subject that is very important to him.
Do motivated students engage in learning more often and/or at higher levels?
OR
Does active engagement result in highly motivated students?
Rhetorical questions? Maybe not! Because it’s every teacher’s desire to instruct highly engaged and motivated students, let’s look at how to achieve this outcome!
Human engagement begins at birth. Motivation to survive is instinctual; crying demands engagement. Survival is assured. John Bowbly writes that a newborn’s “need for attachment” motivates the demand for engagement. Engagement/attachment is achieved through proximity which fosters personal security. Similarly, Abraham Maslow theorizes that physiological and safety needs must be met prior to love and belonging needs. These are prerequisite for esteem and self-actualization to develop. Innate needs motivate engagement prior to high order needs.
If you have disengaged students, are they missing attachment, sustenance, safety, love, and belonging? And is it possible that Erik Erikson implies that instructional engagement as a result of motivation to learn stems from trust and autonomy needs being met?
Motivational factors: survival, protection, love, belonging – all before esteem and self actualization resulting from education
Engagement strategies: tears, proximity, physical contact – these preface acting out, poor academic performance, and feigned illness behaviors in students.
I’ve not told you anything that you haven’t already studied as educators; it’s just that the silo you live in has been built around the here and now. You may have lost access to vital background knowledge that enables you to discern students’ missing needs that stifle motivation and interfere with engagement. But it’s never too late to adopt new instructional practices and classroom language!
Dr. Timothy Shanahan says that challenging texts are motivating! Struggling students may be struggling readers who lack motivation as a result of “baby text” assignments that require no effort. Audio-visual instruction is passive learning; audio books are not a substitute for individual, independent, active reading. Students must be actively engaged in reading and writing to learn, retain, and apply content. Reading and writing processes require active engagement; changing groups every ten minutes is not active engagement.
Challenging, complex texts demand grit. Teachers who engage students with literacy process practices empower them to accept challenges, persevere, and experience success! Angela Duckworth says grit is the best indicator of future earnings and happiness – factors connected with success and a satisfying life. Accomplishments as the result of hard work are motivating! Participation ribbons are not. Carol Dweck says that the word ‘yet’ is amazing to motivate continued engagement in learning. When teachers believe that more is possible, striving students believe it as well!
My personal favorite way to engage students in challenging reading and writing assignments is with open-ended questions. Every answer has value as a way to shape discussion where the teacher wants it to go. There are no wrong answers! Teachers adapt, reframe, and ask additional leading questions. Each student can experience a place of belonging in an atmosphere that builds corporate knowledge.
“What do you know about…?” opens the discussion on a new topic or introduces a complex text.
“What do you recognize in this word…?” enables students to use visual clues to construct meaning from unfamiliar words.
“What did you read about?” paves the way for main ideas, details, and outlines.
“What happened?” is the foundation for summaries.
And when we follow-up with HOW and WHY questions, we lead students onto the path of critical thinking. “Prove it” is like a double-dare to students. “I don’t know; find out and tell us.” shows our humanness and need to continue OUR education as well. You will probably have to throw in bonus points as tangible reinforcement on the way to inherent satisfaction from learning.
Listen to yourself asking questions. I think you’ll find that “Does anyone know……” is the phrase of choice. This is not an open-ended question; it is binary. That begs a yes or no answer. Striving students and striving readers disengage from the lesson because their head voice says “no.”
Open-ended quick-writes such as bell-ringers and exit tickets allow students to become agents of their own learning:
“What was interesting to you about our topic today?”
“What was confusing?”
“How does today’s topic connect to our lessons earlier in the week?”
“What is something good about today?” “How did you spend your weekend?” “What are you looking forward to this weekend?”
Questions don’t always have to be about content! But they DO need to be thought-provoking, sincere, and unpredictable.
You see at the end of the day, ‘correct’ answers and written responses are not as valuable as an answer that a student can support from reading and then, communicate freely in a written response. Correct answers can be found online; students’ answers are found in their brains as a result of active engagement in learning, motivated by successful prior experiences.
And when all else fails, offer chocolate…..
References (in order)
https://www.simplypsychology.org/bowlby.html https://www.simplypsychology.org/maslow.html https://www.simplypsychology.org/Erik-Erikson.html https://shanahanonliteracy.com/publications/teaching-with-complex-text-1 Duckworth, A. Grit: The Power of Passion and Perseverance, 2016, Simon & Schuster Dweck, C. Mindset: The New Psychology of Success, updated edition 12/26/2007, Ballentine Books
About the Author
After 20 years of growing literacy in under-prepared college students, Charlene retired to focus on state-wide literacy initiatives such as LiD, 6-12 and her R2S approved literacy courses at College of Charleston. She lets her life speak by empowering teachers to have the confidence and competence to implement a literacy model of instruction in any content area and at every grade level. Her best Covid-19 memory is teaching her grandson Algebra 1 via phone calls, Zoom, text messaging, and FaceTime. It was online instruction at its best – synchronously and interactively.
By: Kim Ferrari, South Carolina High School English Teacher
“I hate reading.”
“I don’t read.”
“Books are boring.”
“I’d rather watch the movie.”
These are all statements that I have heard from my high school students throughout my time as an English teacher. At first, I would get disappointed when I heard a statement like that from one of my students, but now I smile and nod at them when they say that because I know that by the end of their semester with me, they won’t have such strong feelings against reading.
What once felt like pulling teeth now feels more like cheering. What is the secret to getting students to not hate reading and maybe actually even fall in love with it? Well, it’s not so much a secret and more just a matter of taking the time to help students find the right book for them. For some students this is done in a matter of minutes, while other students might take a little longer.
One of my favorite ways of helping students find books that interest them is by holding a book tasting (also known as a book pass or book speed dating). Early in the semester, I work with my media specialist to pull a wide variety of mostly YA novels in different genres: action/adventure, romance, realistic fiction, sci-fi/fantasy, dystopian, historical fiction, graphic novels/comics, sports, and mystery/thriller. We sort the books onto different tables by genre and students rotate through the stations. At each station, students choose one book to sample for 3 minutes, and they are instructed to read the front and back covers, the inside cover, and begin the first chapter. After the 3 minutes has ended, students decide whether the book is a yes, a no, or a maybe, and record it on their graphic organizer. They then rotate to the next table with the next genre and the process repeats.
After students have rotated through all the genres, I pull aside anyone who still needs help finding a book and work with them to look for options that might interest them. Before we leave the media center, students check out one book, though I always have several students asking if they can check out more than one. Depending on how long your class periods are and how many students you have in each class, you can modify how this is set up, but I have found that exposing students to different genres helps them to realize that just because they don’t like a specific type of book doesn’t mean that they don’t like all books.
The Importance of Modeling
Modeling reading for students is important, so while they are reading, I spend the first few rounds circulating the room and “tasting” books. After a few rounds though, I start to look for students who have yet to find a “yes” book and use what I already know about them and what they have rated the books they have already previewed to help me suggest titles at their next station.
Once students all have books to read, we begin every class with independent reading. The first few days are usually a bit of a struggle as students learn the procedures and expectations for this part of class, but after a week or so, independent reading becomes a regular part of our daily schedule and students know what is expected of them. Our daily schedule is built around independent reading to ensure that no matter what, we have time to read. While students are reading, I walk around the room reading my book. This allows me to model independent reading for them because they can see all the different books I read and it allows me to quietly redirect students who may be off-task or distracted. Modeling reading for students helps to encourage them to read and motivates them to continue reading. Because I am reading when my students are reading, I am able to read a lot of books every year, which helps me recommend titles that I think students will enjoy based on their interests. Independent reading is a skill that needs to be developed over time, so we begin with reading for 7 or 8 minutes and build up to around 15 minutes as students’ stamina increases. The more students are engaged in their books, the longer they will read for, which is another reason helping students find books that interest them is so important. If I notice a student appears to be disengaged with their book, I keep an eye on them and if a day or two later, they’re still not engaged, I have a conversation with them and recommend a different book.
Making independent reading a priority in my classroom has led to increased reading stamina, higher engagement with books, and significantly fewer groans when I announce it’s time to read. At the end of each semester, I ask students to reflect on their experience and every year, there are positive comments that remind me why I put so much effort into helping students find the right books and making independent reading such a focus. Students share that this is the first time in years that they’ve finished an entire book, that they found themselves looking forward to independent reading each day, that they didn’t know reading could be fun, and that our independent reading time gave them a chance to relax. Some students even come back after they leave my class asking for book recommendations or if they can borrow one of my books, so I get to continue to foster their love for reading. When students come back to me years after graduating high school and tell me about the books they’ve read lately, I know I have done my job of creating lifelong readers, which to me is the ultimate goal.
About the Author
Kim Ferrari is an English Teacher at Manning High School in Manning, SC. She received her Bachelor of Science in Secondary English Education from the University of Maine at Farmington and is working on her Master’s in Literacy from Clemson University.
“Schooling is the process by which you institutionalize people to accept their place in a society… Education is the process through which you teach them to transform it.”- Dr. Jeff Duncan-Andrade
What’s in a name?
This is a very common and loaded question. Asunción Cummings Hostin, Euphemia LatiQue Sumpter, Uzoamaka Nwanneka Aduba, and Antoinetta Jamika Rogers prove there is always a story behind a name.
Asunción Hostin is an American lawyer and a very intelligent, articulate, and charismatic cohost of the Daytime Emmy Award winning talk show The View. She is commonly known as Sunny Hostin. During an interview with People Magazine, Sunny stated that when she began working on Court TV with Nancy Grace, the famed legal commentator, she had a difficult time pronouncing her name. Acknowledging that Sunny was indeed quite talented, Nancy Grace feared that because most people may find it difficult to pronounce her name that she shorten it to make it easier to pronounce. So, instead of Asunción Hostin, Sunny Hostin is the famous household name. Euphemia LatiQue Sumpter is an American actress. Known for her flair, fortitude, and fascinating role on the highly acclaimed series Tyler Perry’s The Haves and Have Nots, she mentioned in an interview that although she was beautiful and talented the name Euphemia just was not “it.” So, instead of Euphemia Sumpter, Tika Sumpter is the famous household name.
Uzoamaka Nwanneka Aduba is a dynamic, vibrant, and effervescent, Nigerian American actress who is best known for her roles in the Netflix series Orange is the New Black and the film Miss Virginia. She is commonly known as Uzo Aduba. A video surfaced of Uzo stating that she hated her name. The hate seemed to stem from other people having a difficult time pronouncing it. Growing up in a small New England town, she explained that there were not a lot of Nigerian Americans. Uzoamaka means “The road is good.” What was quite noticeable in her candid oration was the visible mentioning of teachers finding it difficult to pronounce her name. One day upon returning home from school, she casually asked her mom to call her Zoey. Her mom simply stated that if people can learn to say Tchaikovsky, people will and would learn to pronounce Uzoamaka.
So, what does an English teacher from a small rural town in South Carolina have in common with the aforementioned Hollywood stars? Antoinetta Jamika Rogers is my name. Nobody calls me by my first name Antoinetta, instead I go by Jamie. Antoinetta has ten letters, four syllables and is often pronounced as (An-tw-un-Et) instead of (An-tw-un-Et-Uh). So, growing up Jamie was more adaptable and easier than Antoinetta. It became my nickname. Nicknames are convenient, but seldom created as a courtesy or in favor of the person in which the shortened name is given. What’s in a name? Absolutely everything! A person’s name is a huge and important part of a person’s cultural identity; therefore culturally responsive teaching is very imperative and quite a necessity to say the least in an ever changing and evolving world.
Culturally Responsive Teaching is the practice of teaching cultural competence. States and school districts already have educational standards and curriculums established that are usually adjusted and molded according to society’s norms. However, in the classroom it is so important that teachers make it a norm to not only teach, but practice cultural competence. Cultural competence is the ability to understand, communicate with, and effectively interact with people across cultures. One’s own awareness of cultural competence includes developing positive attitudes towards cultural differences and gaining knowledge of cultural practices and world views. I realized that regardless of the demographics of students I teach, classrooms should be increasingly diverse with diverse teaching materials, methods, and strategies. If the demographics are all the same, this does not mean that cultural competence and sensitivity should not be inclusive. All students should feel welcomed into a learning environment that celebrates diversity and multiculturalism. Most curriculums and lessons include an aspect of diversity, but it should be woven into the atmosphere of the classroom.
According to the Center for the Professional Education of Teachers (CPET), school practices currently reflect the norms of monolingual, white, middle class students, which often excludes students who come from diverse cultural and linguistic backgrounds. Students who are excluded from these norms are often viewed through a deficit lens. South Carolina College and Career Ready Standards are the standards that I am required to use as a certified classroom teacher. So, the overall goal is for students to be prepared to enter an institution of higher learning, the workforce, and/or the military. Not only should students be academically prepared, but students should be culturally prepared as well. Thus, a simple yet complex task of accepting and pronouncing an individual’s name can possibly have an everlasting positive impact.
Society has a habit of associating certain sounding names with certain races and ethnicities. According to the National Bureau of Economic Research Issue No. 9. “Employers’ Replies to Racial Names,” a job applicant with a name that sounds like it might belong to an African-American – say, Lakisha Washington or Jamal Jones – can find it harder to get a job. Despite laws against discrimination, affirmative action, a degree of employer enlightenment, and the desire by some businesses to enhance profits by hiring those most qualified regardless of race, African-Americans are twice as likely as whites to be unemployed and they earn nearly 25 percent less when they are employed. Pronouncing an individual’s name correctly and accepting that the name may have cultural attachment to it is important for the advancement of society.
I make sure that I pronounce a student’s name correctly as well as the student’s peers in my class because names represent a heritage, a lineage, and a legacy. This is also common courtesy and a sign of respect. A name is a representation that we should be proud of and not something that anyone, in this case specifically students, should have to worry about changing or shortening in the future, because we live and exist in a society where certain names make people uncomfortable for a quick minute or two. If teachers discuss or present this topic in the classroom and really show and teach through experiments, instructional strategies, and projects, this can begin to turn the tide and become the norm therefore possibly preventing society from having a perception of “racial names.”
The world is a colossal entity that embodies diverse, multicultural, racial, ethnic, and linguistic backgrounds. If students are taught to be culturally competent and responsible people, then as the world continues to progress and move forward, teachers will be a major part of molding and shaping well- rounded culturally aware individuals. Awareness promotes respect and acknowledgement. In foresight, these individuals will not haste to say names such as Asunción, Euphemia, Uzoamaka, and Antoinetta because of their phonetic pronunciation, but make embracing and sharing the importance of all names and all things that represent heritage, culture, and diverse backgrounds the standard.
About the Author
Antoinetta J. Rogers has seven years of teaching experience and currently teaches Secondary English at Richland Northeast High School.
Dear reader, I ask you to consider these two questions: How can I create a digital classroom? And Why should I?
Six months ago, technology was a component of my methodology, but not the primary platform for my instruction. That all changed when COVID-19 brought my in-residence teaching to an abrupt halt, and I decided to use Zoom as a digital classroom. The platform allowed my students and their families to present an artifactual literacy project we began before my school’s closure. Pivoting from the traditional classroom to online allowed my families to participate from any location, share a broader range of documents, and feel more at ease in a low-anxiety environment because they presented from home. By using a digital medium, families shared in powerful ways that would not have been possible had we remained in a traditional setting. If you seek to make your classroom more inclusive but have not found an appropriate way of doing so, you should consider the impact a digital platform can have on your students’ education.
In my ten years of teaching, I have experienced the struggle of working around schedules to invite relatives into the school. Getting time off from work can be challenging for parents- though they want to show up for their student, sometimes, it just is not possible. Using a digital classroom helped families bypass such hindrances for school participation. To join our class from any location, parents simply logged in using the access code I sent through our school email system.
I recognized how impactful an online space is when a student’s mother joined us during her 15-minute break in a hospital room from where she worked. The student was at home with her grandparents, who also made an appearance on screen. It was moving to watch this mother share pictures and videos using her phone from a separate location than her child and parents. The reality that she could still participate in her daughter’s educational experience while never leaving her workplace made me realize that I need to use a digital platform when school resumes; doing so will provide more flexibility for my families.
Artifacts Online
Initially, I feared that the details and significance of my students’ artifacts would get lost through the screen. However, they far surpassed my expectations for presenting. They found new and inventive ways to share their research, interview transcripts, and artifacts. Some students transitioned their hard copy documents into Google Slides or PowerPoint presentations by scanning their records and creating PDF formats that they could insert into a more extensive online collection. Other students made a digital compilation of images and videos with the use of video editors and screen recorders. Because students were at home, they could share an extensive range of objects that otherwise would have been impossible to bring to school, like the portrait of a student’s ancestor hanging in her living room.
The emotional component of the artifacts and stories came through the screen and the wide use of technology astounded me. I was proud of how the students took ownership of their stories and challenged themselves by transitioning tangible objects to digital relics.
Standing in front of a group of people is never easy; speaking about personal stories that bring forth emotions is even more difficult. My students’ literacy projects asked parents to do just that, be vulnerable, and share intimate details of their past. Had we remained in the traditional classroom, I doubt parents would have felt as comfortable to speak openly in a conversational manner about their lives. However, meeting online made parents feel more at ease during the presentations because they were at home in a familiar and safe space.
The effect of speaking online led parents whom I had not met all year to participate with their child because of the convenience and low-anxiety environment. Two separate families talked about adoptions that were unknown to me before this project. One student shared about the loss of her dear mother, and another student spoke about leaving his native country to come to America. With families logging in from home, our conversations felt more like our class was sitting in a family’s living room, and they were telling us stories as if we were all old friends.
A Missing Link
To circle back to my original questions of how to create a digital classroom and why you should, I would recommend testing several digital platforms to see which one will work best for your needs. Zoom worked for my class while we were in this transitional period. The students had no issues with logging into the digital meeting and using the program’s screen-sharing and recording features. Creating a digital space was as easy as setting up an account and sending out a link with an embedded password through my school’s email system. Parents, who had never owned a computer, were able to access our classroom from their phones with ease. As to why you should invest in creating a digital platform, I hope that by sharing my students’ literacy project, you can see how impactful technology was for my families to be able to connect in meaningful ways outside of the traditional classroom.
About the Author
Hannah Kottraba has ten years of teaching experience and recently graduated with a M.Ed. in Language and Literacy as a Literacy Coach from The University of South Carolina. She is creating a new literacy lab program for the 2020-2021 school year at Thomas Sumter Academy in Sumter, South Carolina.
By: Salena Davis, South Carolina High School Social Studies Teacher
It’s spring, and I have to say that I’m missing the spring sounds of school—you know, prom chatter… concerts and plays…baseball… Instead, I’m sitting at home in my “new normal” pjs with every commercial reminding me about these “times of uncertainty” while I try to figure out how they are going to put fewer kids on busses, how it will affect my class sizes and will the students be able to take off their masks, if they end up eating in my classroom? Yes, I am way past sensory overload.
It has, however, helped me appreciate how difficult e-learning has been for my students. My daughter told me this week that she had over 1,300 school emails in her inbox—800 of them she never even opened. (We agreed that “delete” is an awesome button, and we could go look through the trash if there really was an email she desperately needed.)
Even the youngest among us are not immune. My elementary son brought me his school Chromebook this morning with at least ten tabs opened trying to figure out what was due today. It’s Monday…10:00am. I’m pretty sure I didn’t schedule our mental meltdowns until at least Tuesday afternoon this week.
Literacy during Covid-19
Many of our educational challenges have been logistic—do my students have a computer? Internet access? Printer? This week’s packet? If those were our only challenges, we would be doing pretty well. Unfortunately, it’s not that simple. I would argue that our most significant challenges have been directly tied to literacy.
Literacy is more than defining terms and understanding of syntax. Literacy is first communication. Communication is easier when we are with our students. They can decode our messages through our expressions, animation and feedback. Our proximity and interaction help keep their minds focused and in sync with the material. With distance learning, they lose the audible, tangible, visual aspects of communication and have only the words to process—a skill which requires more mental focus and more self-discipline.
Comprehension occurs in the quiet of the mind. Students flit from texts to Instagram to Snapchat to whatever else pops up on their screen. They need a teacher (or parent) to actively keep them focused in order to understand what they are learning, especially if it is a skill they don’t necessarily desire of their own accord. It would be interesting—perhaps horrifying—to know when they last sat quietly and did one thing—whether that was playing an instrument or reading a book or painting a picture.
What can we do to help students with these literacy challenges as they navigate their own trauma?
Now add a layer of COVID-crisis—with parents losing jobs, and social distancing, and caring for siblings, and worrying they may catch the virus… No wonder they’re struggling. They have lost their normalcy and much of their support network. We need them to discipline their minds and create routines, yet many of them have never done so without the structures of school and don’t know where to start.
Ask them how they are doing. Many of them they need the encouragement of knowing that someone cares before they are willing to do the hard work. (ex. https://bit.ly/2zemIjb )
Give them options. In a time when people lose control in some aspects of their lives, the ability to make a choice can help alleviate discomfort. (ex. https://bit.ly/3cz2cYU )
Limit communications. This may seem counterintuitive, but remember those 1,300+ emails in my daughter’s inbox? When people are feeling overwhelmed, less can be more. Consider doing one post with all of the assignments. The visual impact of having one new item in Google Classroom can be less discouraging than five new items for each class each week.
Encourage students to make a hand-written checklist or calendar to organize their assignments. Tabbing through multiple screens adds anxiety to students who are already feeling overwhelmed.
Remember they may be facing more hardship with fewer coping mechanisms. One of my students has not turned in any assignments, but she did fill out my “Checking In” Google Form. She told me she’s been a little busy—her grandmother, who was her only guardian, passed away. Maybe social studies isn’t going to be at the top of her list right now.
I believe this experience gives us the opportunity to reevaluate our goals for our students. While we may be in a temporary period of coping with COVID, the lessons we are learning can help us re-commit to our literacy goals for our students. When we go back this fall and get to hear those beautiful sounds of school again, let us continue to help our students learn how to find the sweet spot of their minds where they can focus, engage, learn, persevere and grow.
About the Author
Salena Davis has taught social studies and communication courses for 26 years on the elementary, middle, high, and post-secondary levels. She holds three Masters degrees in Secondary Educational Leadership, Political Science with a Comparative Government emphasis, and Dramatic Productions.
Toward the end of 2019, I was invited to write a column on the theme of teaching in troubled times. Sitting down to write that piece, I felt overwhelmed. I write often about the complexity of trauma in K-12 schools and the kinds of relationships, witnessing, and advocacy that difficult life experiences demand in literacy classrooms. So, it is not as though I hadn’t written about hard times before. But, that day, given all that had been and was occurring in the US, the troubles felt too heavy, the inequities too stark, the governmental accelerations of injustice too horrific to convey in words on a page. I think back to that time and try to reabsorb the explicit, violent, and policy-driven racism, xenophobia, and economic precarity that was already impacting so many youth and families. Trauma, inflicted by human-created systems, was all around us (while, whiteness, once again, like it always does, shielded me). Eventually, I moved my fingers across the keyboard and got some words on the page for that column about seeking hope and justice in teaching during troubled times. That was just a handful of months ago. We had no inkling of what was coming for us.
Now, here we are, and how do we even begin to approach the idea of trauma in a pandemic that is wreaking havoc on our communities, states, nation, and world? Trauma is always a complicated term that defies singular definitions. But, now, as teachers, students, and families face the emotional, financial, and physical devastations and anxieties of COVID-19, considering trauma is all the more crucial and all the more complex.
Literacy educators will need to think together about questions such as: What varied kinds of challenges are students bringing to their learning? How do we acknowledge and harness the pandemic as a shared experience, while recognizing the very different impacts it has inflicted? How is trauma both personal and political and how does that help us think about issues of justice in our classrooms, schools, and larger educational systems? How can we craft classroom communities that center compassion and care? How are teachers being positioned in discussions of students’ trauma during this time of crisis?
Positionality of teachers in discussions of students’ trauma
These are all questions I’m anxious to consider with fellow literacy educators over the coming weeks and months. For this post, though, I’ll turn to that last one, as I feel its importance in my bones as this crisis unfolds and see it in teacher colleagues’ eyes in our conversations on my screens.
By virtue of living through this time, teachers are facing overwhelm, fear, and anxiety. In addition, many are facing loss, grief, and financial upheaval. So, when we ask how teachers are being positioned in discussions of trauma and schools right now, teachers’ own humanity has to be integral to that question. One thing we know about many approaches to trauma-informed schooling is that teachers are often positioned as healers and helpers.
Being deemed a healer implies that it is students who are the wounded. We, of course, know this is a false dichotomy. We know through our own lives and our friends’ and colleagues’ experiences that teachers bring pain, sorrow, fear, and struggle to our work. It couldn’t be any other way. No one goes through life unscathed.
But, teachers are often told that trauma is something students bring to school. No wonder it can be hard to shake the idea that, as teachers, we are expected to convey only that we are fine, we are well, and our sole vigilance is toward students’ lives and learning. No wonder the focus on trauma can and does exacerbate pathologizing narratives about students. It is not that those messages of needing to be attentive to students’ traumas are false, but it is that those messages are simplified and incomplete. Indeed, the healer vs. wounded ethos surrounding teaching and trauma is so entrenched, in part, because so many teachers are so committed to supporting students that acknowledging one’s own struggles can feel self-indulgent or inappropriate. But, I believe we have to wrest free of that dichotomy because it is harmful for anyone, teacher or student, to be stuck on either side of it. We can embrace a more reciprocal approach to what it means to witness one another.
So, how might teachers reframe how they position themselves and students in relation to trauma?
In my book on centering trauma as powerful literacy pedagogy, I share an analogy related to this question that I have found helpful in my own thinking and teaching. I’ll share a version of it here.
At times throughout my life, I’ve had a chance to be around recently hatched baby chicks. And when invited to hold one, I don’t hesitate—I didn’t as a 5-year-old and I don’t now. I step up and hold my hands out, cupped and ready to cradle the tiny, fragile, cheeping ball of yellow fluff. My heart leaps a little with what it will require—care, gentleness, keen attention. It is a moment suffused with responsibility. Yet with some coaching and support from those who surround me, even 5-year-old me can step up, willingly, and nurture, not harm. And given the chance, I could do that every day. Each time would require the exact same measure of care and attention. But it would, at the same time, become more familiar, something I could come to expect and assume as part of my everyday experience.
At this point in my description of this metaphor, I need to be clear: students in our classrooms are not the baby chick. The chick is the difficult experiences, the traumas, that anyone in the classroom community carries into that shared space. To position students as the fragile creature is central to the problem of how students and teachers are often positioned in relation to trauma. Viewing students as the chick implies an adult as the only participant with agency; an adult who, in this metaphor, is not only the strong one, but also looms largest as the protagonist in the story. One reason I include my child self in this image is to emphasize students as active subjects in reciprocally sharing and witnessing the kinds of hard stories that will accumulate for them and their teachers during this crisis. In being allowed to witness teachers’ vulnerability—their stories of challenge, fear, grief—students will know those stories belong in school and that their experiences will matter in how they are seen, heard, and valued in the classroom. The students, and the teacher, are the hands that gently, but without trepidation, cradle those stories in their classroom.
In being allowed to witness teachers’ vulnerability—their stories of challenge, fear, grief—students will know those stories belong in school and that their experiences will matter in how they are seen, heard, and valued in the classroom.
In whatever capacity teachers and students are together next year, everybody that enters the literacy classroom or accesses a screen will be bringing stories that require critical care and humanity. Some of those stories will be shared in explicit ways through discussions, writing, art, digital creations, one on one connections with between students and teachers. Other stories will be shared through an empty desk, a bowed head, a missed login, a quavering voice or trembling hand, a simmering sense of rage. And, as we know, some stories from students’ lives are shared and circulated in schools in ways beyond a students’ view or control. As literacy classrooms fill with stories of this crisis, let’s ensure that teachers’ experiences are present too—as signal of reciprocal witnessing, as opportunity and invitation to bring lived knowledge to school literacies, as source of connection and humanity, as acknowledgement that it can be hard to focus when feelings are overflowing, and as reminders of the far-from-equitable impacts of this crisis.
About the Author
Elizabeth Dutro is professor and chair of Literacy Studies at University of Colorado Boulder and former K-12 classroom teacher. She collaborates closely with teacher colleagues and youth in her research on the intersections of students’ lives and literacy classrooms, particularly critical approaches to trauma, and issues of justice and equity in K-12 classrooms, teacher education, and policy. She is the author of the recent book, The Vulnerable Heart of Literacy: Centering Trauma as Powerful Pedagogy (Teachers College Press). She would love to connect at Elizabeth.dutro@colorado.edu; elizabethdutro.com; or @lifeasstory on Twitter.
An English teacher friend of mine who plans to retire at the end of the year with 40 years texted me: “School closed. My career might end like this !”
Wait! End like what? What just happened? Suddenly, nothing is normal, and there is no assurance that it will ever be again.
So I emailed my graduate students, “What’s going on?”
About 15 years ago, I left the high school classroom to teach in the ivory towers of higher education. A few years ago, my wife and I joined the University of South Carolina where I reside in the virtual ivory tower of on-line learning. I’ve been practicing “social distancing” living vicariously through my graduate students who are all teachers and administrators in real classrooms… at least they were until a few days ago. So… let me share what they’ve been telling me and you can think about how their stories compare to your situation.
From a teacher up in Maryland: “So far, absolutely nothing is occurring in my school district… along with what I assume is the rest of the state. We have been given explicit directions not to communicate with classes, issue assignments, or post grades. We may have one-on-one communication with students via Canvas, but classroom instruction in any manner cannot occur because the school district is afraid of violating FAPE. Our schools are closed until 4/24.”
This was a recurring theme. Teachers told me they’ve been instructed to focus on remedial learning rather than introducing new material. This is to buy districts and states time to bring the new learning situations into compliance with the laws regarding the rights of students with exceptionalities.
One South Carolina special education teacher expressed her passionate concern: “We place a greater emphasis on the accountability than we do on the lessons that life provides.” She was not the only respondent to say how much she missed her students. I’m sure they miss her too.
Literacy is not a stand-alone skill; it is a practice that is always situated in a context, and this time, the context changed literally overnight.
There has always been a disconnect between what the public thinks teachers do and what they actually do: Teachers spend all their after-school time on Facebook, sharing brownie recipes (with pictures). One parent scornfully asked on Facebook: “Are teachers still getting paid?”
We can forgive parents in their time of frustration, but the responses I have received these last few days tell the true story: Both administrators and teachers are… well… overwhelmed. It merely went from “barely bearable” to “impossible.” More than one teacher used the word “triage.”
An administrator in Florence, SC acknowledged this when she reported: “I work at our central office and we have been working tirelessly to support teachers who are working 10 or more hours each day preparing, grading, and holding a minimum of four office hours to answer students’ questions. Those were the guidelines for week one. In week two, add teacher created videos at least once per week. It is definitely harder this week, not just for teachers creating and executing these magnificent virtual lessons but also for our students who are definitely missing their teachers and friends.”
From Pennsylvania comes this teacher lament: “Ineed a break from education things. With the distance teaching, I feel I’m on call 24/7 and [constantly] feel obligated to check on my students.”
Another teacher wrote: “You know, when I first got your email I felt a little bit like ‘one more thing.’ However, when I started [writing], I couldn’t stop. It was an outlet I didn’t realize I needed. It was a lot like writing in a diary and very cathartic.”
She went on to talk about how her district (as of March 30) “… has been assigning Chromebooks to students (yesterday and today) and Comcast is offering 2 months of free WiFi. Now, the teachers have been told by our association that we must have Chromebooks in case we are ever subpoenaed for something relating to Special Education. There aren’t enough Chromebooks! I don’t even know about the WiFi. Some teachers, like myself, don’t want to go out to the school and risk getting sick to get a Chromebook. In this case, I wish someone would have just promised some sort of protection. … I’m in charge of making sure my department of 16 understands protocols for reporting child abuse and adhering to legislation concerning special needs students. The last text I sent them was at 10 pm last night and the first was at 6:30 am. Our central office updates us as much as they can but they are doing triage as well.”
In the last couple weeks, literacy practices have gone way beyond the technology of pen and paper, and may never return. How does a parent go about contacting Comcast or AT&T Mobile or Spectrum? What are the restrictions? What are their rights? Obviously, for such dramatic concern, people are recognizing that on-line learning is not quite the same as its cinder block counterpart.
Teachers are discovering there is a whole new set of literacy skills that needs to be learned to make this work, and that takes time and more than a bit of self-confidence. By now, all of us have had to confront the reality that there’s more to moving on-line than merely having the equipment.
An Orlando science teacher makes the following observations:
1) A common concern of teachers has been “how do we stop the students from just Googling answers?!?” My thought has often been “why are we asking students questions that have answers that can be found on Google?”
2) Another common barrier teachers have found is “How will students learn without a face to face lesson and me explaining the information to them?”
3) My personal greatest barrier transitioning online is how to generate effective, authentic, and meaningful dialogue in an asynchronous online course. How can we get students to engage, debate, revise their own understanding of content, and push the knowledge base of the collective whole forward in an online course?2) Another common barrier teachers have found is “How will students learn without a face to face lesson and me explaining the information to them?”
An upstate South Carolina STEM teacher talked via video about the “pressure teachers are now putting on themselves to mimic their synchronous, daily lessons and pedagogy in an asynchronous, virtual space.” He states that what he intends is not to be the “content giver,” but rather his plan is to provide his students with activities, including those provided by web applications such as, The Physics Aviary, during which he can “go in and comment multiple times, giving feedback [during the process].” Scott prefers “open world” simulations that are not as linear as other platforms that are more prescribed and restrictive.
He talked about his future plans of investigating the multimodal options that digital literacy offers. This is an important literacy topic that deserves its own blog, hopefully in the near future on this site. If this caught your attention and you want to know more, check out this article.
What Scott and several of the other teachers have in common is that they are in the first generation of “digital natives” who are now of an age in which they are no longer novice teachers. Digital natives, those born into the digital age, never had to learn the required technical skills that are now so much in demand as we are forced headlong into cyberspace. Digital natives merely acquired this form of 21st Century literacy by living it. We older folks have had to learn it, much like having to learn a new language. Learning is a whole lot harder and more time-consuming than acquiring, but it can work just as well in the end.
So what might this look like in practice? Teachers are incredible problem-solvers; there are no limits to what you can create when presented an impossible situation.
Here are a few more things teachers couldn’t wait to tell me about:
A middle-school ELA teacher is using The Diary of Anne Frank as model for their own diary/journal/memoir, much like a pastiche. “For my seventh grade ELA classes, I modified an idea from Kelly Gallagher. Students are reading Anne Frank: The Diary of a Young Girl as a text and using Google Slides to write daily journal entries to record this historical event from their perspective. Their creativity has been endless. They are writing poetry, posting links to news stories and videos, sharing acts of kindness, creating videos, and inserting pictures, selfies, and memes to the entries. I am hoping they find therapy in this opportunity for self-expression.”
This teacher clearly recognizes and encourages her students’ expanded repertoire of literacy practices that transcend the traditional definition of literacy:
As we go into more social isolation, you might write reviews of movies, television shows, podcasts, video games to share with your classmates.
Post pictures that you find in the media and/or your personal photos that share your experience.
Respond to any seed about the crisis you find interesting. A “seed” can be an article, a broadcast, a Ted Talk, a tweet, a photograph, a podcast, a film, an Instagram (or another online) post, a TikTok video, a political cartoon, a photograph—anything that spurs some thinking about the crisis.
An urban social studies teacher offered a litany of apps she had to master over a weekend: “Students are expected to use email, the school website, Canvas, and Google Classroom to submit assignments and [for teachers to] deliver instruction. We use various apps such as Remind, Flipgrid, Zoom, Loom, Screencastify, etc. that allow teachers and students to interact in real-time. I’ve had to learn to use flipgrid, commonlit, zoom, Edpuzzle, Newslea and make sure I understand how to do audio/video via Schoology.”
A South Carolina administrator wrote: “My daughter is writing short plays for theater class and selecting musical pieces for band based on the scores. She is learning to read difficult pieces of music and is looking forward to a Google hangout practice session next week. I find it ironic that most of her writing takes place in theater and hardly any in her English and social studies classes at the moment.”
Hmmmm….
Several teachers wrote about the boredom their own children are enduring. From the Atlanta suburbs, a middle schooler amused herself (and now us) with her own artistic creation.
Teachers seem to love tapping into students’ creative energies. A North Carolina high school art teacher joyfully exclaimed, “I’m LOVING this!” She went on to gush about her students “…experimenting with abstract forms of art production to produce compositions of still life items at home. [One class is creating ‘altered books’ [as an example of an] interesting approach to literacy… which requires students to use visual literacy as well as your normal reading and writing. This project also requires sequencing which is yet another form of literacy. They turn their third story in tomorrow through a video platform and the entire finished project in two weeks. I can add you to my digital class so you can see their work if you’d like…”
Yes, I think we’d all like that…
She then alluded to the elephant in the room: What about THOSE kids: “We have been required to provide 8 weeks of online and ‘pencil and paper’ packets of instruction in 2-week blocks [for students without Internet access]. The packets should be as similar as possible to the electronic lessons and allow for the same learning goals to be achieved… Students with no internet pick up packets at a drive-through at the school and every two weeks come to school to pick up more work and drop off what they have completed in a dropbox. Paperwork must be quarantined for 2 days before teachers can [touch] it…”
A high school social studies teacher added: “The district had to set up a plan to distribute food (breakfast and lunch) in grab-n-go methods…”
As responses keep trickling in, it’s clear that there’s been more than one elephant sheltering in place in our classrooms. Students who refuse to comply have been set free. They’re out there some place, and they might not come back: “I have had 3 of 90 students submit/complete any assignments on a daily basis. No more than ten of the 90 have yet logged into the system.”
I suspect it’s more about Herb Kohl’s “I Won’t Learn from You” than Shakespeare’s “… whining school-boy, with his satchel and shining morning face, creeping like snailunwillingly to school.” It’s a critical literacy issue that we (including you) will need to take up on this page sometime soon. We can’t end like this.
About the Author
Todd Lilly has over 40 years of teaching experience, the majority of which was invested in middle and high school ELA and theater classes in and around Rochester, NY. Over the past 10 years he has served on undergraduate and graduate faculties in Wisconsin and currently at the University of South Carolina. He earned his Ph.D. in Curriculum and Instruction at the University of Wisconsin-Madison. His research interests include out-of-school literacy practices and the stories of marginalized, disenfranchised students. He is married to Dr. Catherine Compton-Lilly who holds the John C. Hungerpiller chair in the College of Education, University of South Carolina.
