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Modern Teaching as Islamic Tradition

  
 
Dr. Fred Mednick Founder: Teachers Without Borders
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Table of Contents
Our Children

Our Challenge

Background

Acknowledgments

A Code of Ethics

Mentoring Teachers

Allama Iqbal: The Poet in the Classroom

Chapter 1: Education for the New Millennium

Chapter 2: Teaching Methods

Chapter 3: Assessment Practices

Chapter 4: Culture for Understanding

The Road Ahead


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Let us begin with the child our precious gift. The child is the soul of a people, its
conscience, its future. Each individual, in Iqbals words, is a unit of force, an energy, a
will, a germ of infinite power, the graduate unfoldment of which must be the object of
human activity.

It is our duty to raise children in families that value the spirit and health of human life. It
is our duty to foster that childs commitment to family, to nation, and to Allah. It is our
duty to ensure that this child lives in peace within and in his/her surroundings, hopeful
about the future, and mindful of his/her obligation to the universal values of Islam.

In Pakistan, Quaid-i-Izam writes: We must not lose any opportunity to promote and
advance mass education so as to make elementary education universal and thus dispel
ignorance and darkness and bring light to millions of our countrymen1

He continues: The Holy Prophet had enjoined his followers to go even to China in the
pursuit of knowledge. If that was the commandment in those days when communication
was difficult, then truly Muslims, as the true followers of the glorious heritage of Islam,
should utilize all available opportunities. No sacrifice of time or personal comfort should
be regarded too great for the advancement of the cause of education. (Jan. 14, 1945)2

His words are compelling, as true today as they were sixty years ago: If we are to build
a safer, cleaner, and happier world, let us start with the individual, catch him young and
inculcate in him the scouts motto of service before self and purity in thought, word, and
deed. If our young people learn to be a friend to all, to help other people at all times,
subordinate personal interest to the welfare of others, eschew violence of thought, word,
and action, I am sanguine that the attainment of universal brotherhood is possible and
within our reach. (Dec. 22, 1947)3

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What does it mean to be a human being? What is the
life? How shall one live
ones life both as an individual and as part of a community? How does one conduct
oneself with ones spouse or children or the strangers we meet? How might live in such
a way that one feels connected to ones people, ones past, ones religion yet also
demonstrate a productive participation with the modern world? How do we solve
problems? How do we relate to, or participate in, the world beyond our village or town or
city? What is human character? How might we help young people believe in
themselves and a future of peace?

These questions, and the responses to them, have rested on the shoulders of teachers
since the dawn of recorded history. Entrusted with the noble and daunting task of
transferring a societys values to future generations, teachers everywhere have long
sought guidance and a framework with which they are comfortable, that stem from
beliefs, traditions, and core values that can give them strength in an increasingly
complex world.

The Muslim teaching community, worldwide, feels that complexity every day. Many
educators report feeling pressured to conform to a particular brand of modernity that
may disregard or demonize Muslims and Islam itself. Some swallow their pride and
acquiesce. Some actively reject their own faith. And others refuse to succumb to what,
they feel, may attenuate, subvert, or sanitize the Quran. We claim that these
responses represent ends of a spectrum, but reveal a widening gap nevertheless. This
manual seeks to help mentor teachers, in practical ways, to bridge this gap by making
two contributions.

, rather than run from, repress, or openly resist the perplexing questions of our day,
one can imbue everyday teaching practice with values that stem from Islam. Taken to
heart, one can be more than a Muslim teaching  any particular school; one can teach
 a Muslim in school.

 
, research on effective modern teaching practices is consistent with, and
enhanced by, Islam. Islam itself can contribute enormously to the quality of the teaching
profession.

 
, our work must stem from deep research. Scholars have an extraordinary
contribution to make to teachers, "Scholars should endeavor to spread knowledge and
provide education to people who have been deprived of it. For, where knowledge is
hidden it disappears."cc
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Together, these contributions are powerful. Why? Because teaching is a moral
endeavor. The methods we choose send messages and values, whether they are
apparent to us. Why else? Because such Muslim teaching methods defy the
stereotypes that have devastated and shamed our communities. Islam is a religion of
peace, of respect for all people, and of learning.
Education is the glue that holds society together. At 59 million, teachers constitute the
largest professionally-trained group in the world. Each teacher has access to dozens of
students. Good teachers know the families of the children they teach, and they live in
the very communities we seek to serve. Teachers are the ones most likely to know who
is sick and who is missing; teachers can identify those with special needs, the orphans,
the lost and lonely, and those who out of helplessness or desperation or coercion or
fear have been forced into cycles of despair and poverty, who are swept up in the
morass of human trafficking and the tragic dismissal of life so often characteristic of
gangs and extremist groups.

It is therefore incumbent upon us all and a priority of the Iqbal International Institute for
Research, Education, and Dialogue to take teachers seriously, especially those
teachers who become mentors. As true multipliers on the front lines in any society,
teachers are a development army.

It is only fitting that teachers  development should be a priority of any thinking

society, for we believe in Pakistan, the Muslim community everywhere, and all the
children of this earth. We seek, inshallah, to help teachers and to depend upon them for
what they do to help thirsty souls find water.

We invite you to join us on this journey in order that we may all slake our thirst. c
 
 
  
 



 
  
  











 (Quran, 39:9)c
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This manual, created by teachers and scholars in 23 countries, is not an end but a
beginning to the journey to improve ourselves as teachers. Just as we emphasized
that teaching is a moral enterprise, it is also a collaborative one. Teachers learn best
from each other. We need your feedback.

We shall take your feedback seriously, as would any good colleague. Just as we have
emphasized the importance of we interpret our past in order to live in the present,
and  we address fundamental questions in order to provide opportunities and
direction for our students, we must also emphasize that it is  one uses this manual
that counts. The scholarship of the last 1,500 years has revealed that there are several
methodologies in the study of the Quran, each leading to several, rich insights and
conclusions. Method does, 

, matter.

You may hold reservations even suspicions about our underlying theses. You may
feel as if our treatment of modern values and Islam is forced or tokenistic or superficial.
You may feel as if our attempt to connect modern teaching methods to Islam is
contrived, selective, or exaggerated.

Again, we invite your critique; in fact, we encourage it. The spirit of debate is at the
heart of intellectual growth and vitality. At the same time, we challenge you to take
responsibility as well, and to address your feedback in a constructive atmosphere that
opens the door for us to see things from a different perspective. This, after all, is good
teaching.

We consider this training manual more of a compass than a map to the territory. Should
this manual be reduced to a dry textbook to be memorized, we have failed, because (in
our opinion) the most durable, life-long learning emerges from inquiry, discovery,
struggle, and joy.

Such a joy of learning, the creation of an environment that respects all children and
provides meaningful, valuable, and creative experiences for them is the essence of 
Acknowledgements

The Iqbal International Institute for Research, Education, and Dialogue wishes to thank
Teachers Without Borders membership, whose collaboration on this project has served
as the backbone of this first manual, clearly a work-in-progress.

The Iqbal International Institute for Research, Education, and Dialogue is world-
renowned for their deep love of Islam. Its scholars have provided the depth of their
scholarship, without which this work would, indeed, be a casual treatment of a serious
matter. Our gratitude is boundless.

Since this Institute is not a non-governmental organization or a university, we depend

upon partners. We cannot list them all here, for by the time this manual goes to
publication, more will be added. We thank you all in total and we thank the countless
other, anonymous contributors of curriculum, good will and hard work. May you continue
with the fortitude and faith that has made the world a better place because of you.

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At the core of good teaching is an ethical framework, for teaching itself is a moral
enterprise.1 Such a code of ethics is consistent with the universal values of Islam.

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The teacher shall never use physical force, in
any situation, to discipline a child
The teacher should devote her/himself to the
task of assisting students to develop their
abilities and talents by creating a safe and
hospitable climate for learning. The truest
value a teacher can provide is that education
leads to hope, which is an ethical value in an of
itself
The teacher should be a model of honesty,
leadership, compassion, intellectual energy,
and hope, and should do nothing to contradict
these universal values.
The teacher must make it his/her mission to
reach all children, to ensure that all children
can reac, without exception.
Teachers should recognize that each child is
an individual and that teachers should make
every effort to alter their teaching for children in
order to further their students education.
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Show Compassion toward the child, kissing it
and embracing it UNESCO
Usama bin Zaid (ra) narrated: Allah Messenger
(saw) used to put me on (one of) his thighs and
Hasan bin Ali on his other thigh, and then
embraced us and said: "O Allah! Please be
Merciful to them, as I am merciful to them."
(Bukhari; Al-Jumuah Vol. 11 Issue 9)
"Acquire knowledge: it enables its possessor to
distinguish right from the wrong, it lights the
way to heaven; it is Our friend in the desert, our
society in solitude, our companion when
friendless- it guides us to happiness; it sustains
us in misery; it is an Ornament among friends
and an armor against enemies."
"In the name of thy Lord who created man from
a clot. Read: And thy Lord is the Most
Generous Who taught by the pen, taught man
that which he knew not."
(Quran, 96:1-5)
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1
Adapted from the Malta Union of Teachers - www.mut.org.mt/ethics.htm
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The teacher shall make every reasonable effort
to protect students from conditions harmful to
learning or to health and safety and ensure the
rights of ALL children.

As an example, the teacher should not

intentionally expose the pupil to
embarrassment or disparagement.

The teacher should recognize her/his obligation Some one asked the Prophet (pbuh): "Who is
to advance the causes of education and hence the biggest scholar?" He replied: "He who is
the causes of the teaching profession. S/he constantly trying to learn from others, for a
should work with kindness and sacrifice in scholar is ever hungry for more knowledge."
order to assist colleagues. As a role model, "Seek for knowledge and. wisdom, or whatever
the teacher should be responsible for her/his the 'vessel from which it flows, you will never
own actions. be the loser."
The teacher should recognize the obligation to
improve her/his effectiveness as a teacher in
every possible way, without thought of personal
gain.
Taking seriously this obligation, the teacher
should recognize her/his duty to manifest
responsibility, individual initiative, and integrity
in her/his teaching and other professional
actions within guidelines laid down for the
profession.

The teacher should recognize the right of a

parent to consult her/him, through proper
channels, on the welfare or progress of a pupil.
The teacher should recognize the right of a
parent to be consulted about any matter which
concerns the future development of a child.
The teacher shall do nothing to undermine
lawful parental authority
The teacher shall provide the conditions by
which parents are psychological safe with the
teacher. At the same time, the teacher must
be prepared to give advice which, in her/his
professional view, is in the best interest of the
pupil.

The teacher shall make every effort to

encourage parents to interest themselves
actively in the education and welfare of their
children.
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A mentor is more than a supervisor. At different times, the mentor may be a role model,
advocate, sponsor, adviser, guide, developer of skills and intellect, listener, host, coach,
challenger, visionary, balancer, friend, sharer, facilitator, and resource provider.2 The
responsibility is crucial to the benefit of society, and so mentors must be chosen
carefully and be engaged in a program of professional development that combines their
inate talent with their professional skills.

A climate of safety between mentor and teacher is indispensable for teacher

professional development. Mentors build relationships with teachers, just as
the teacher must nurture with students.

Mentors listen first and guide second. They simply need to hear what
teachers have to say. After deep listening, they need not to provide analysis
as well as a set of questions that teachers can digest. They need to keep it
simple as well. Too much information is overwhelming. The mentors
choices have to be clear and well-chosen

Mentors need to send a consistent message to teachers that they as

people are worth the intense work necessary to achieve excellence in the
profession. This means that mentors cannot abandon teachers, even when
there are moments of exasperation. Teachers, like children, need 100%
regard for who they are and what they are trying to accomplish. This is a
question of dignity.

Mentors must ensure that teachers know their subjects, and must find ways
of supplementing teachers mastery, if need be. We have found that if
teachers do not know their subject, no amount of pedagogical tricks or tools
will help. This issue is crucial, for it informs curriculum design, interactions
with children, pedagogical strategies, and assessment of effectiveness.

Mentors must be extremely well organized, for they must provide both models
and specific techniques for teachers. Mentors who help teachers with
organization can help them navigate a dizzying array of responsibilities and
student issues.

Mentors must provide models for teachers that encourage reflection so that
they may be able to critique their own work. Certainly a climate of safe
reflection is a prerequisite. Equally so, mentors must give teachers tools so
that they may be able to measure aspects of their teaching, including lesson
plans, relationships with students, and pedagogical techniques.

cccccccccccccccccccccccccccccccccccccccc cccccccc
2
Galbraith, M. W., & Zelenak, B.S.(1991). Adult learning methods and techniques. In M. W. Galbraith
(Ed.), 

(pp.103-133). Malabar, FL: Kriegerc
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 The mentor is an advocate for the teacher and so plays a role of motivator,
encourager, and counselor. The path of a teacher may be blocked by
setbacks (personal and professional), even a crisis of confidence in the ability
to achieve. The mentor is there to help teachers through such crises, just as
we would help a student through troubled times.

Mentors provide both support AND challenge so that teachers can build their
own vision. The responsibility of mentors is to embrace the journey of other
people teachers and to do so in a way that does not bring glory to the
mentor, but joy, satisfaction, and professional development for the teacher.
 
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Following upon the Code of Ethics, we have summarized Mohammed Hamid Alfendis
and Nabi Ahmed Balochs Islamic values, clearly universal and contemporary, and of
direct relevance to teaching in the 21st century.

Focus on life-long education: A believers belly never gets full with knowledge,; he
keeps on storing it until he reaches the end of his life.
Curriculum that integrates the spiritual and material needs of individuals
Moral and character education
Connection of knowledge and work, faith and morality with practical app..
Spiritually-harmonious atmosphere between instructor and disciples
The esteem of the teacher as a person of competence and dedication
The use of reason vs. thoughtless imitation in order to be seen as valuable in the eyes of
Allah
Focus on the unity of mankind and a cultivation of hope
The Muslim Alim (learned man) is humble yet also strives to utilize potential
The value of education and work as expression of faith in the cause of Allah
Rote learning is not an end unto itself, but a valuable method, to be combined with an
ability to reason, understand, and apply the Prophets (pbuh) traditions

The 21st century marks the beginning of some key changes in education and teaching
methodologies:

From regional views alone to

! cviews
From passive receipt of information alone to cinquiry
From a product orientation toca "
corientation
From compliance and competition to  !
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Here is what we mean: Education has often focused on one's own regional views. In a
society with no interaction with the outside world, this might suffice. However, in our
global society requiring different kinds of skills - an awareness of cultures, and
collaboration across borders - a regional view may not be enough. In fact, those regional
views may be pushed by the current power in charge.

It used to be, too, that if one mastered a body of material and memorized facts, one
would be considered a master as well. This view has held that there is a finite amount to
know, and the one who accumulates the most - succeeds.
An educated person, however, is more than the sum of facts; s/he is able to think, to
solve problems, to collaborate on new approaches. An educated person relies on
research and experience to  
new questions, rather than simply coverthe
material. This requires an active and imaginative mind, an appreciation for risk and
inquiry, and an ability to learn from one's mistakes.

We tend to think of these views by remembering the name of a person: %c&&.

Each letter stands for education that meets the needs of children and inspires learning:

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ciscovery: learning to uncover information
and use it
cisk: taking a chance and learning from
mistakes
camaraderie: the value of the group to
enhance learning and pool resources
ceal Tasks with Real Consequences:
opportunities to take on and be held
accountable to challenges
cut of the ordinary: moving beyond
passive seat time to active learning in the
community, out of doors, through one's
own exploration of interests
&ckills: connecting all curriculum to national
standards and educated competencies
&cervice: using education in a way that
meets the needs of one's society

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We make a distinction between traditional and tradition. Alfred North Whitehead made
this distinction clear. He defines traditional as the "dead ideas of the living." He defines
tradition as the "living ideas of the dead" - a nice distinction and a guide. No one wants
to eliminate the masterpieces of bygone eras or dismiss one's history for the sake of the
newest trend.

An educated person for the 21st century remembers and appreciates history, while
simultaneously embracing the present. In fact, anything sustainable protects the future
by grounding it in the past. Our courses reflect wisdom, whether that comes from the
villager relying on oral tradition, or the scholar relying upon the written tradition of text
and context.

We respect tradition and indigenous learning. We consider the cultural aspects of a

society as one of its pillars. We want to emphasize, therefore, the importance of the
contributions that come from societies that may not have a written language or
contemporary technological devices. A 21st-century education, therefore, should not be
substituted for "modern," "better," or "western." It follows that a 21st-century education
celebrates and enhances wisdom wherever and whenever it takes place.
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There is plenty of theory out there and you should know it. Great teaching, however, is
not about theory, but practice. Theory should inform what you do, but more than
anything else it should be integrated so that it is natural. Here is what we have found:

 ccc (cc$ %cccYou are not an expert in charge of giving students
the "pill" of knowledge. It does not work that way. In planning your lessons, think of what
they will do - how they will discover and use information - not how you will perform.

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%cccAs the saying goes, "It's  you know." The word
"education" comes from the Latin word


meaning "to grow and to rear." That is
what you are doing. The teachers and parents who know their children best are the most
effective. There is a big difference between just knowing about a child, and truly 
him. The difference is the gap between mediocrity and excellence. Your classroom, your
assignments, and your nature should give rise to the conditions that make knowing
children a priority.

 *cc %cccEducation is not about challenging the core of who one is, but
challenging ideas. No one can think when s/he is frightened. Your classroom and
environment must be free of intimidation. (As TWB has stressed before, if you ever strike
a child, you shall be removed from this course of study.) Many times, intimidation comes
from a remark that destroys a child's willingness to learn. Never embarrass a child in
public.

&)(c+c
%cccThere are many dimensions to this. Good writing, for instance,
describes a crisp fall day by providing images of crimson and yellow leaves, the warm
smell of bread baking, the crunch of snow under one's feet. Telling is "top down."
Showing is "bottom up." That's the theme here. In terms of teaching, show students
where they are going, what they need to accomplish. Then show them how to get there.
Provide examples. Model it. Use it. Make it clear and real what it is they need to know in
order to get there. Are you teaching physics? Then show them the principle at work;
show them the dynamics; get them to figure out "how and why," compare the figures
with the reality. Show it.

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%cccGreat teachers make the unfamiliar - familiar
again. Sometimes a concept is overwhelming. If that is the case, start with the
foundation and work your way up. People need to understand the story - where it starts,
where it is headed, and what it will look like in the end. It is important, then, to make
things clear enough in small chunks, so that people can put together the pieces of the
puzzle. Curriculum and teaching need a beginning, a middle, and an end. Get students
engaged, direct them towards understanding, and show them how the lessons are
valuable.


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% Many teachers believe that if they don't have all the answers, they're
worthless. No one has all the answers. If you answer a student with "I don't know,"
perhaps you can also extend it to "Let's find out." Guide your students to become
collaborators in their own learning. Invite them to be subject matter experts. Students
need authenticity, not awe.

 *cc  %cc In designing curriculum, find out what makes people relate to it.
Mathematics was invented for a reason, so describe a problem it can solve - a real one.
All great teaching makes complex ideas clear by tying the abstract to a human
enterprise.

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!
%cccGo for depth, rather than breadth.
Play with the important points by introducing different ways of going about understanding
the key issues. (More on this later, in "Learning Styles.") For now, focus on what, at the
end of the day, students can identify as the core of the lesson - what they will remember.
When all the hacking away at the clay has been completed, what is the elegant sculpted
piece that results?

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% Good questions require thinking. Nobel Peace
Prize winner Elie Wiesel is reported to have come home from school one day and to
have sat near his mother at the kitchen table. Instead of asking him "How did you do?"
or "What grade did you get?," his mother asked him, "Did you ask any good questions
today?" Questions probe. Answers come from study and should themselves be the
stimulus for even greater and more extensive questions.

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% We are not suggesting that you teach less, but teach more by talking
less. When you ask a question, don't dive in and answer it if you don't get something
back immediately. Cherish the thinking time. Listen. Pay attention to how students are
feeling, grappling with the material, treating each other.

'c c c""
 $cc % We all know this to be true: teaching is not
separate from learning. Since that is the case, let us not reserve teaching for teachers
alone. Allow opportunities for students to become experts in an area and to share their
expertise. Provide chances for older or more competent students to tutor younger or less
competent ones.

*c ! c)c c c c
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*%cccThe coach demonstrates what
s/he knows, explains the rules, gives the student an opportunity to practice, provides
feedback, and puts the student into real-life situations. So should a teacher. The artist
assembles materials, conceives of the piece, works at it in stages, and collects the work
for critique. So should the teacher. The athletic coach and the artist are non-traditional
teachers, and they have a great deal to offer all of us. Their techniques are the key to
many students who would otherwise not "get" the material from lectures, memorizations,
or handouts.


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'  To deepen your understanding of what makes for effective teaching.

1) List which concepts in the "Aspects of Good Teaching" section fit with your current
attitude towards and method of teaching. Next to each concept you list, write a phrase or
sentence that triggers a thought or anecdote (story) for you.

2) Choose one concept from your list and expand upon it. Write a paragraph describing
the situation - the learning moment - what happened when that concept was applied in
your own teaching or in observing another teacher in action.

3) From the list you've created, choose another concept and describe an example in
your own teaching or in observing another teacher that tells the story of what happened
when this concept was not applied.

4) Look at the original list of "Aspects of Good Teaching" in the previous two pages. Are
there any concepts you disagree with in part or its entirety. Explain why.

5) If you were to add 2 more "Aspects of Good Teaching" to the list, what would the new
titles be? Write a 2-3 sentence short description for each title/concept.

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Successful teachers, worldwide, differentiate between basic and advanced tasks and
use them appropriately. !

 
 
 

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Disciplinary - rules and punishments
Copying, drawing from the board
Repetition and rote learning/memorization
Silent reading
Repeating a demonstration
Skill drill

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Imaginative answers to problems

Collecting evidence, solving problems, reasoning, creating questions
Applying new knowledge to tasks; analyzing the tasks in order to ask new
questions.
Reorganizing ideas into new statements or relationships
Demonstrating knowledge through multiple intelligences
Developing skills in order to ask questions

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What emerges is a new classroom culture whereby:

The process of learning is important.
 The focus of our work is on a long-term design project.
Curriculum incorporates content, processes, and products.
Assessments evaluate students' new understandings.
We celebrate ourselves in our work, our classroom, and our community.
The teacher is the mentor and the facilitator of learning.
The student is a novice who is learning how to be an expert.
Interactivity, such as cooperative and collaborative learning, is essential.

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As teachers begin planning, they must ask themselves some essential questions
regarding concepts, processes, products, assessment, schedule, and lesson plans.
Some questions are as follows:

"
What are the big ideas in this set of lessons I am about to begin?

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What are the ways of knowing? c

Which of the following expert processes will you include: thinking, collecting data,
analyzing data, drawing conclusions, and representing knowledge?


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What product will the students design to demonstrate mastery of the content
and processes of the disciplines?

How does this product relate to the developmental needs and interests of
students?

How does this focus on a central, real-world issue or problem?

How can students document production, perception, and reflection - creating

footprints along the way?

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How will you know what students know?

What types of authentic and alternative assessments will you use?
What criteria will be used for assessing students' products?
What work will students be able to include in a portfolio?
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How will you use the block of time most effectively?

How might you creatively group students to learn?
How might you optimize students' and teachers' use of time?

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What will students do to learn?

What resources will you use?
How are these lessons related to students' interests?
How are these lessons related to students' needs?
What questions will you ask?

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the "content" of the course the answers to those questions. If you could design the entire
course around a question or questions, you might be surprised at what happens.

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rather than rote learning:

Use a reasonable number of questions (2-5) per unit of study.

Analyze the questions to avoid repeating them.
Make them open-ended and alive so that "yes" or "no" answers are avoided.
Derive your lessons from how and where students gain their answers.
Sequence your questions so that one naturally leads to another.
Post questions around your classroom so that everyone is reminded of them.
Make certain that students' notebooks address the central questions.
Ask students to provide ideas, notes, physical objects that help them during
the process of answering the questions.
Make certain that you provide time to ask and address questions so that
students know that questions are central. Please be mindful of student age,
experience, and other factors so that you don't expect too much or too little.
Provide instructions that demonstrate what a solid answer looks like - not the
answer itself - but the quality of the scholarship and inquiry.
Share your questions with the faculty at your school and celebrate the
questions and responses of your students.
 
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1. Set a clock or a timer for 35 minutes. Do not guess when 35 minutes is up. Keep track
of when you begin and at what time you must end.

During this 35-minute time period, you are going to do one thing continuously: make a
list of 100 questions. For 35-minutes, non-stop, you will write one question after another
in a long list. No statements. No prose writing expanding on your thoughts. No poetry.
Simply, write questions - one right after another in a list.

The questions can be on any topic - they might be personal, or political, related to
education or not; they might be philosophical or ordinary questions about the weather.
Do not "think" too much about your questions. The point is to make a list of 100
questions - all types of questions jumbled together - and to give yourself permission to
be messy and uncensored - to ask whatever comes to mind, and to put it on paper.

A list of questions might look odd when re-read because it covers a host of seemingly
unrelated topics. Give yourself permission to write a list of questions, completely
uncensored by the "editor" that might live in your mind - the part of us that filters out
what is "acceptable" and what is " not acceptable" to present to others or to ourselves.

A list might look as diverse as follows:

When will the rains stop?

Will Najib come home?
How can I not feel so tired at the end of the day?
Will I get to use Sita's bicycle?
Why is one side of a blade of grass smooth and the other side rough?
What will happen next?
What  
the world look like if I traveled on a beam of light?

It may be difficult to keep at it for 35 minutes, but stick with it. You do not have to write
fast. You can take your time. The less you "think" about it and let it flow freely, the more
surprises you might view later. Your list of questions might feel too private to share with
others. Rest assured. You do not have to share this list with anyone. The point is to
experience what it feels like to simply  questions, uncensored, for an extended period
of time.


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1) Please write 4 - 5 sentences reflecting on the process or experience of writing this list
of 100 questions. Re-read your list of questions. What do you notice? What surprised
you?

2) Imagine for a moment that a class of students generated these questions - not you.
What would be the content of a course that you could design that would address or
answer 1 of the questions on the list? or 3 or 4 questions on the list? or most of these
questions on the list? Give this new course a title and write a 6 - 7 sentence description
of the course including topics to be covered, assigned readings, activities, field trips, etc.

You might begin by putting your questions into groups and then giving titles to each
group, or you might simply re-read your list, think about what "your imagined students
are asking" and come up with a course title and write your 6 - 7 sentence course
description from there. You might simply choose one question and write the course title
and description from there. Approach it however you wish.


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Swiss biologist and psychologist Jean Piaget (1896-1980) is renowned for constructing a
highly influential model of child development and learning. Piaget's theory is based on
the idea that the developing child builds cognitive structures - in other words, mental
"maps," schemes, or networked concepts for understanding and responding to physical
experiences within his or her environment. Piaget further attested that a child's cognitive
structure increases in sophistication with development, moving from a few innate
reflexes such as crying and sucking to highly complex mental activities.

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Piaget's theory identifies four developmental stages and the processes by which children
progress through them. The four stages are:

1) &

c

 (birth - 2 years old) - The child, through physical interaction with
his or her environment, builds a set of concepts about reality and how it works. This is
the stage where a child does not know that physical objects remain in existence even
when out of sight (object permanance).

2)
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 (ages 2-7) - The child is not yet able to conceptualize
abstractly and needs concrete physical situations.

3) 
c"
 (ages 7-11) - As physical experience accumulates, the child

starts to conceptualize, creating logical structures that explain his or her physical
experiences. Abstract problem solving is also possible at this stage. For example,
arithmetic equations can be solved with numbers, not just with objects.

4) 
 c"
 (beginning at ages 11-15) - By this point, the child's cognitive

structures are like those of an adult and include conceptual reasoning.

Piaget outlined several principles for building cognitive structures. During all
development stages, the child experiences his or her environment using whatever
mental maps he or she has constructed so far. If the experience is a repeated one, it fits
easily - or is assimilated - into the child's cognitive structure so that he or she maintains
mental "equilibrium." If the experience is different or new, the child loses equilibrium, and
alters his or her cognitive structure to accommodate the new conditions. This way, the
child erects more and more adequate cognitive structures.
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   - Educators must plan a developmentally-appropriate curriculum that
enhances their students' logical and conceptual growth.


 - Teachers must emphasize the critical role that experiences - or
interactions with the surrounding environment - play in student learning.

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Psychoanalyst Erik Erikson describes the physical, emotional, and psychological stages
of human development, and relates specific issues, or developmental work or tasks to
each stage.

 c(Trust vs. Mistrust)

Needs maximum comfort with minimal uncertainty to trust himself/herself, others, and
the environment. It is essential to create an atmosphere of care - a sense that a child
feels as if s/he exists in the world and is valuable.


c(Autonomy vs. Shame and Doubt)

Works to master physical environment while maintaining self-esteem. Here, the toddler
wants to be a whole person, ready to take on the world and moves past immediate
rewards and punishments. This is the beginning of the child's realizing that s/he is a
person that has rights. It is essential, at this stage, to give some choices while ensuring
that rules are followed and that adults are in charge. The child will make some unsafe
gestures, so it is important for caregivers to be vigilant.


c(Initiative vs. Guilt)

Begins to initiate, not imitate, activities; develops conscience and sexual identity. S/he
realizes that s/he can begin an activity, not just be told what to do. The child begins to
make some sense of "right" and "wrong." It is important to talk with the child calmly and
with reason in the process of helping her/him develop a sense of moral judgment.

&1
cc(Industry vs. Inferiority)
Tries to develop a sense of self-worth by refining skills. A school-age child learns to
distinguish between himself and the others in terms of judgment. What am I good at?
How am I doing? It is here that the child begins to try different activities to test some
theories about who s/he is. It is important to provide an atmosphere of trust,
experimentation, and praise for accomplishments, while minimizing competition between
students where the result is lowered self esteem. Try to boost the confidence of ALL
students.

c(Identity vs. Role Confusion)

Tries integrating many roles (child, sibling, student, athlete, worker) into a self-image,
taking into consideration other adults and other adolescents. Around the world,
adolescence is not an easy task. It is a time of resistance against parents and teachers
in order to distinguish oneself. Risk-taking can be much more dangerous. The role of
identity is crucial, here, and it is important for students to see the consequences of their
behavior, rather than to protect them from life. At the same time, their intellectual abilities
are blossoming, and so it is quite important to respect the intelligences of adolescents.
Finally, provide them opportunities that stir their hearts - such as service. The results will
be a vital, active, interested young person who stands behind her/his beliefs and who
tries hard.

/ 
c c(Intimacy vs.Isolation)
Learns to make personal commitment to another as spouse, parent or partner. At this
time, college-age students are beginning to see who they are and what they can do.
They think about long-term commitments and about a "definition" for themselves. It is
important to listen carefully and, as a caretaker still, respect their ability to make their
own choices.

1
c c(Generativity vs Stagnation)
Seeks satisfaction through productivity in career, family, and civic interests.


c c(Integrity vs. Despair)

Reviews life accomplishments, deals with loss and preparation for death.


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Constructivism is the very powerful idea that learners can actually create construct
ledge for themselves. Each learner individually (and socially) builds meaning - as he or
she learns. Constructing meaning  learning. The dramatic consequences of this view
are two-fold:

1. We have to focus on the learner in thinking about learning (not on the subject/lesson
to be taught):

2. Knowledge is based upon the experience of, and constructed by, the learner, or
community of learners.

Though we will never know about the mystery of life itself, how it came into being, and
how it works, this approach helps us approach the material world by matching our
experience with knowledge created over generations. When it works correctly, it is
magical because the learning is deeper. This view promotes discovery and opens up a
world for both teacher and student to try new activities, with hands-on learning, with
opportunities to experiment and manipulate the objects of the world. We help the learner
understand the world, but we don't ask him to construct his or her own world.

In many cultures, the history of learning never considered the learner. Islam has always
encouraged the creative mind to explore, especially the limitless world of science.
Rather than explain to children how the world works, we look towards all those
wonderful, individual living beings - the learners - each of whom creates his or her own
mode,l to explain nature. If we accept the constructivist position, we are inevitably
required to follow a pedagogy which argues that we must provide learners with the
opportunity to: a) interact with sensory data, and b) construct knowledge from the ground
of experience up.
This may be hard to swallow, and most of us constantly vacillate between the idea that
our learners will indeed construct meaning that we will find acceptable and our need to
construct meaning   them. We may appreciate the freedom this implies but, at the
same time, wish that they would simply memorize the truth. The tasks of mentors and
excellent teachers is to create a way for children to explore, within limits, so that they
can achieve.

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What are some guiding principles of constructivist thinking that we must keep in mind
when we consider our role as educators? Here is an outline of a few ideas, all predicated
on the belief that learning consists of individuals' constructed meanings:

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. In short, the learner needs to
something; learning
is not the passive acceptance of knowledge which exists "out there" but that learning
involves the learner engaging with the world. The learner needs to be busy with art,
with the world outside the classroom.

0%c "c
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%ccIf students are learning by discovery, they are
also learning about how to learn. Confusing? Think about it this way: when you are
playing a sport, you are learning the rules AND enjoying yourself. Learning consists
both of constructing meaning and constructing 
 of meaning. For example, if we
learn the chronology of dates of a series of historical events, we are simultaneously
learning the meaning of a chronology. Each meaning we construct makes us better able
to give meaning to other sensations that can fit a similar pattern.

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c 
cc % It happens in the mind.
Physical actions, hands-on experience may be necessary for learning, especially for
children, but it is not sufficient; we need to provide activities which engage the mind as
well as the hands (Dewey called this reflective activity).

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% The language we use influences learning. On the
empirical level, researchers have noted that people talk to themselves as they learn. On
a more general level, there is a collection of arguments, presented most forcefully by
Vygotsky, that language and learning are bound together.

3%c 

cc c c $%c Our learning is intimately associated with our
connection with other human beings, our teachers, our peers, our family, as well as
casual acquaintances, including the people before us or next to us. We are more likely to
be successful in our efforts to educate if we recognize this principle rather than try to
avoid it. Much of traditional education is directed towards isolating the learner from all
social interaction, and towards seeing education as a one-on-one relationship between
the learner and the objective material to be learned. Constructivism recognizes the
social aspect of learning and uses conversation, interaction with others, and the
application of knowledge as an integral aspect of learning.

4%c 

cc5 % We do not learn isolated facts and theories in some abstract
ethereal land of the mind separate from the rest of our lives - we learn in relationship to
what else we know, what we believe, our prejudices and our fears. On reflection, it
 becomes clear that this point is actually a corollary of the idea that learning is active and
social. We cannot divorce our learning from our lives.

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% It is not possible to learn something new without
having some structure developed from previous knowledge to build on. The more we
know, the more we can learn. Therefore any effort to teach must be connected to the
state of the learner, must provide a path into the subject for the learner based on that
learner's previous knowledge. The Brazilian educator, Paolo Freire, taught peasants to
read by teaching them words to match what they already knew. They had a frame of
reference and they grew from there.

6%cc *ccc
%ccLearning is not instantaneous. For significant learning to

occur, we need to revisit ideas, ponder them, try them out, play with them, and use
them. If you reflect on anything you have learned, you soon realize that it is the product
of repeated exposure and thought. Even, or especially, moments of profound insight,
can be traced back to longer periods of preparation.

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% Not only is it the case that motivation
helps learning; it is

for learning. This idea of motivation as described here is
broadly conceived to include an understanding of ways in which the knowledge can be
used. Unless we know "the reasons why," we may not become engaged in using the
knowledge that may be instilled in us, even by the most severe and direct teaching.

Brain-Based Learning & Neurosciencecc

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This learning theory is based on the structure and function of the brain. As long as the
brain is not prohibited from fulfilling its normal processes, learning will occur.

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People often say that everyonecanlearn. The reality is that everyone

 learn. Every
person is born with a brain that functions as an immensely powerful processor.
Traditional schooling, however, often inhibits learning by discouraging, ignoring, or
punishing the brain's natural learning processes.

The core principles of brain-based learning state that:

1. The brain can perform several activities at once, like tasting and smelling.
2. Learning engages the whole body.
3. The search for meaning is innate we simply desire to figure things out
4. The search for meaning comes through patterning we look for order
5. Emotions are critical to learning.
6. The brain processes wholes and parts simultaneously.
7. Learning involves both focused attention and peripheral perception.
8. Learning involves both conscious and unconscious processes.
9. We have two types of memory: spatial and rote.
10. We understand best when facts are embedded in natural, spatial memory.
11. Learning is enhanced by challenge and inhibited by threat.

When put into practice, these ideas can stimulate a great deal of achievement. They
may be hard to understand, but once again learning is doing. Try practicing three
 techniques associated with brain-based learning:

 c
 - creating learning environments that fully immerse students in an

educational experience. Here are two examples:






  

 



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 5c 
 - eliminating fear in learners, while maintaining a highly challenging
environment




  




  



 

 
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c- allowing the learner to consolidate and internalize information by
actively processing it.

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- Teachers must design learning around student interests and make learning
contextual.

 - Educators let students learn in teams and use peripheral learning. Teachers
structure learning around real problems, encouraging students to also learn in settings
outside the classroom and the school building.



- Since all students are learning, their assessment should allow them to
understand their own learning styles and preferences; students monitor and enhance
their own learning process.

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1. Feedback is best when it comes from reality, rather than from an authority figure. Let
the learning itself by a guide by having students test what they know

2. People learn best when solving realistic problems; avoid memorization whenver
possible

3. Allow students to struggle with problems by asking them questions about what they
notice, what they are discovering.
4. Because every brain is different, educators should allow learners to customize their own
environments. Some students can even suggest how they might want to learn the
subject

5. The best problem solvers are those that laugh! Classrooms should be joyful places.

Designers of educational tools must be artistic in their creation of brain-friendly

environments. Instructors need to realize that the best way to learn is not from the top
down, but from the bottom up. Students enjoy and achieve in realistic environments
that let them try new things safely.



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Learning is individual. It is a quality rather than a quantity. The learning styles theory
implies that how much individuals learn has more to do with whether the educational
experience is geared toward their particular style of learning than whether or not they are
"smart." In fact, educators should not ask, "Is this student smart?" but rather "%  is this
student smart?"

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The learning styles theory is based on research demonstrating that, as the result of
heredity, upbringing, and current environmental demands, different individuals have a
tendency to both perceive and process information differently. The different ways of
doing so are generally classified as:



and A!


 - Concrete perceivers absorb information through
direct experience, by doing, acting, sensing, and feeling. Abstract perceivers, however,
take in information through analysis, observation, and thinking.


and&


 
 - Active processors make sense of an experience by
immediately using the new information. Reflective processors make sense of an
experience by reflecting on and thinking about it.

Traditional schooling tends to favor abstract perceiving and reflective processing. Other
kinds of learning aren't rewarded and reflected in curriculum, instruction, and
assessment nearly as much.

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Learning styles, when applied, is capable of reaching all children. Successful teachers
who know about learning styles and alter their instruction in order to address different
styles experience a big upsurge in student achievement and satisfaction.



  - Educators must place emphasis on intuition, feeling, sensing, and
imagination in addition to the traditional skills of analysis, reason, and sequential
problem solving.
  
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- Teachers should design their instruction methods to connect with all four
learning styles using various combinations of experience, reflection, conceptualization,
and experimentation. Instructors can introduce a wide variety of experiential elements
into the classroom such as sound, music, visuals, movement, experience, and talking.

  

  
 




 

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- Teachers should employ a variety of assessment techniques focusing on

the development of "whole brain" capacity and each of the different learning styles.

 



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This theory of the structure and functions of the mind suggests that the two different
sides of the brain control two different "modes" of thinking. It also suggests that each of
us prefers one mode over the other.

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Experimentation has shown that the two different sides, or hemispheres, of the brain are
responsible for different manners of thinking. The following table illustrates the
differences between left-brain and right-brain thinking:

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Logical Random
c

Sequential Intuitive

Rational Holistic
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Analytical Synthesizing
 Objective Subjective

Looks at parts Looks at wholes

Most individuals have a distinct preference for one of these styles of thinking. Some,
however, are more whole-brained and equally adept at both modes. In general, schools
have favored left-brain modes of thinking while downplaying the right-brain ones. Left-
brain scholastic subjects focus on logical thinking, analysis, and accuracy. Right-brained
subjects, on the other hand, focus on aesthetics, feeling, and creativity.

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  - In order to be more "whole-brained" in their orientation, schools need to
give equal weight to the arts, creativity, and the skills of imagination and synthesis.


- To foster a more whole-brained scholastic experience, teachers should
use instruction techniques that connect with both sides of the brain. They can increase
their classroom's "right-brain" learning activities by incorporating more patterning,
metaphors, analogies, role playing, visuals, and movement into their reading,
calculation, and analytical activities.

 - For a more accurate whole-brained evaluation of student learning,

educators must develop new forms of assessment that honor right-brained talents and
skills.


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In this theory, behavior is inspired by what a person wants most at any given time:
survival, love, power, freedom, or any other basic human need.

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Responding to complaints that today's students are "unmotivated," control theorists say
that those students are not motivated to do their schoolwork because they view
schoolwork as irrelevant to their basic human needs. They may be afraid of the teacher
or classmates or afraid that they will be humiliated or embarrassed.

"Boss" teachers use rewards and punishment to coerce students to comply with rules
and complete required assignments. This works in the short term, but rarely in the long
term. In fact, studies have shown that learning does not last when students are afraid.

"Lead" teachers, on the other hand, avoid coercion completely. Instead, they make the
intrinsic rewards of doing the work clear to their students, correlating any proposed
assignments to the students' basic needs. Even the most unmotivated student can
achieve if he or she feels respected, is engaged in the tasks, is having fun. This is
where the most skillful teachers use play and creativity to bring out the best. Plus, they
only use grades as temporary indicators of what has and hasn't been learned, rather
than as a reward. Lead teachers will "fight to protect" highly engaged, deeply motivated
students who are doing quality work from having to fulfill meaningless requirements.

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  - Teachers must negotiate both content and method with students.
Students' basic needs literally help shape how and what they are taught.


- Teachers rely on cooperative, active learning techniques that enhance the
power of the learners. Lead teachers make sure that all assignments meet some degree
of their students' need satisfaction. This secures student loyalty, which carries the class
through whatever relatively meaningless tasks might be necessary to satisfy official
requirements.

 Teachers find ways (beyond tests) to help students demonstrate what
they know. Then, they find ways of helping students connect these new achievements
with the standardized tests they must take.

Experiential Learningcc
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Experiential learning extends constructivism so that students learn about themselves as

they involve themselves in the tasks at hand. They also learn about how to evaluate
themselves.

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1. Significant learning takes place when the subject matter is relevant to the personal
interests of the student.

2. Self-initiated learning is the most lasting and pervasive.

3. Learning proceeds faster when the threat to the self is low.

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Who we are and where we come from has bearing on a childs intellectual development.
We will discuss culture later, but for now it is through culture that children acquire
much of the content of their thinking, that is, their knowledge. The surrounding culture
provides children with the processes or means of their thinking. Culture teaches children
both   to think and to think.

Children learn through problem-solving experiences shared with someone else, usually
a parent or teacher, but sometimes a sibling or peer. Initially, the person interacting with
the child assumes most of the responsibility for guiding the problem solving, but
gradually this responsibility transfers to the child. Language is a primary form of
interaction through which adults transmit to the child the rich body of knowledge that
exists in the culture. As learning progresses, the child's own language comes to serve as
her primary tool of intellectual adaptation. Eventually, children can use internal language
to direct their own behavior. Internalization refers to the process of learning - and
thereby internalizing - a rich body of knowledge and tools of thought that first exist
outside the child. This happens primarily through language.

A difference exists between what the child can do on her own and what the child can do
with help. The term for this is called: "zone of proximal development."

Since much of what a child learns comes from the culture around her and much of the
child's problem solving is mediated through an adult's help, it is wrong to focus on a child
in isolation. Such focus does not reveal the processes by which children acquire new
skills. Interactions with surrounding culture and social agents, such as parents and more
competent peers, contribute significantly to a child's intellectual development.

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  - Since children learn much through interaction, curricula should be
designed to emphasize interaction between learners and learning tasks.


- With appropriate adult help, children can often perform tasks that they are
incapable of completing on their own. With this in mind, the teacher can continually
adjust the level of his or her help in response to the child's level of performance.

NOTE TO MENTORS:

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# .

- Assessment methods must take into account the "zone of proximal
development." What children can do on their own is their level of actual development
and what they can do with help is their level of potential development. Two children
might have the same level of actual development, but given the appropriate help from an
adult, one might be able to solve many more problems than the other. Assessment
methods must target both the level of actual development and the level of potential
development.

PRACTICE 3: Towards an Imagined Dialoguecc

' cTo deepen your understanding of the similarities and differences between
several of the theories and approaches to learning, and to do so in an assignment that
requires both the "right-brain" (imagination) and "left-brain" (cognitive) functions
together.

Please answer the following:

1) Which theories and approaches to learning fit with your current attitude towards
and/or method of teaching? (3-4 paragraphs)

2) Which theories and approaches to learning do you disagree with in part or whole?
Describe your reasons.

3) "The Imagined Dialogue" - Imagine a scene, situation, or setting in which three

characters in a short story, play, or myth meet. Have each of the three characters
represent a different theory/approach to learning or actually be the person who created
the theory. Through that character's words and actions in this imagined scenario, we will
come to know something of his/her point of view and theory. This work of fiction you are
creating may end up to be a serious, playful, learned, combative, funny, or all-of-the-
above encounter between these three characters.

To begin, you may wish to brainstorm the setting in which the three characters might
meet and what each of the characters is "fighting for" or wants to get from the encounter
(after all, most effective dramas include a desired outcome or something each character
wants to accomplish). You are welcome to add other characters if you wish, either
imagined, real, historic, or mythic to be active characters or those who simply "push a
broom across the stage." This fictitious meeting of these three characters (representing
each theory) may end up to be 1 page in length.

Be sure to type each of the characters' names first and tell which theory or approach to
learning he or she represents. Then, type the location or setting for the story, and tell
when it takes place. Follow this by writing the actual 1 - page story, play or myth.


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' cTo think about how you can apply what you have learned about theories and
approaches to learning to your classroom practice.

1) Which education theory are you most attracted to? Why?

2) Which theory are you able to apply to your classroom? Why?

3) Describe 3 concrete ways you can apply the theory to your classroom.

4) What kinds of support/resources exist in your school, or nearby schools to help you
carry out these 3 aims? (They may be in the form of people, programs, institutional
partnerships, monetary resources, internships, service projects, databases of
organizational resources available to you.) Describe some of these resources and the
concrete ways in which you can connect with them.
5) What challenges or obstacles do you face in applying the chosen theory in your
classroom?

6) What kind of help do you need to overcome these obstacles?


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'  To think about how you can apply what you have learned about theories and
approaches to learning to your school and/or larger community.

1) Utilizing the knowledge you've gained about educational theories and approaches to
learning, how would you characterize the educational systems in your community?

2) From your perspective, what positive changes in education are currently underway?
What changes are needed?

3) How are you catalyzing positive change or actively participating in the process?

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Is intelligence innate? Genetic? Fixed? Generally, intelligence is often viewed as a

quantity.

Recently, new views have emerged with enormous implications for education. This new
perspective asserts that intelligence can be measured in different ways, that it grows,
and it is more quality than quantity. It used to be that the question was asked: "Is s/he
smart?" New questions now ask: " % .


The emphasis is on the various ways in which we demonstrate multiple intelligences,

rather than a single intelligence. The readings and practices that follow discuss multiple
intelligences, provide an opportunity for you to apply them, and a way of determining
how to assess students. Howard Gardner created a list of seven intelligences.

The first two are ones that have been typically valued in schools; the next three are
usually associated with the arts; and the final two are what Howard Gardner called
"personal intelligences."


c
 involves sensitivity to spoken and written language, the ability to
learn languages, and the capacity to use language to accomplish certain goals. This
intelligence includes the ability to effectively use language to express oneself rhetorically
or poetically, and language as a means to remembering information. Writers, poets,
lawyers, and speakers are among those that Howard Gardner sees achieving high
linguistic intelligence.
 
 1   c
 consists of the capacity to analyze problems
logically, carry out mathematical operations, and investigate issues scientifically. In
Howard Gardner's words, it entails the ability to detect patterns, reason deductively, and
think logically. This intelligence is most often associated with scientific and mathematical
thinking.

  c
 involves skill in the performance, composition, and appreciation of
musical patterns. It encompasses the capacity to recognize and compose musical
pitches, tones, and rhythms. According to Howard Gardner musical intelligence runs in
an almost structural parallel to linguistic intelligence. Bodily-kinesthetic intelligence
entails the potential of using one's whole body or parts of the body to solve problems. It
is the ability to use mental abilities to coordinate bodily movements. Howard Gardner
sees mental and physical activity as related.

&"  c
 involves the potential to recognize and use the patterns of wide
space and more confined areas.


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 is concerned with the capacity to understand the intentions,
motivations, and desires of other people. It allows people to work effectively with others.
Educators, salespeople, religious and political leaders and counselors all need a well-
developed interpersonal intelligence. Intrapersonal intelligence entails the capacity
to understand oneself, to appreciate one's feelings, fears and motivations. In Howard
Gardner's view it involves having an effective working model of ourselves, and to be able
to use such information to regulate our lives.

Howard Gardner treated the personal intelligences "as a piece." Because of their close
association in most cultures, they are often linked together. However, he still argues that
it makes sense to think of two forms of personal intelligence. Gardner claimed that the
seven intelligences rarely operate independently. They are used at the same time and
tend to complement each other as people develop skills or solve problems.

In essence, Howard Gardner argues that he was making two essential claims about
multiple intelligences:

1. The theory is an account of human cognition in its fullness. The intelligences provided
"a new definition of human nature, cognitively speaking" (Gardner 1999: 44). Human
beings are organisms who possess a basic set of intelligences.

2. People have a unique blend of intelligences. Gardner argues that the big challenge
facing the deployment of human resources "is how to best take advantage of the
uniqueness conferred on us as a species exhibiting several intelligences." Also,
these intelligences, according to Howard Gardner, are amoral - they can be put to
constructive or destructive use.

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Howard Gardner's theory of multiple intelligences has not been readily accepted within
academic psychology. However, it has met with a strong positive response from many
educators. It has been embraced by a range of educational theorists, and, significantly,
applied by teachers and policymakers to the challenges of schooling. A number of
schools have looked to structure curricula according to the intelligences, and to design
classrooms and even whole schools to reflect the understandings that Howard Gardner
develops.

The theory can also be found in use within pre-school, higher, vocational, and adult-
education initiatives. This appeal was not, at first, obvious. At first, this diagnosis would
appear to sound a "death knell" for formal education. It is hard to teach one intelligence;
what if there are seven? It is hard to enough to teach even when anything can be taught;
what to do if there are distinct limits and strong constraints on human cognition and
learning? Howard Gardner responds to these questions by first making the point that
psychology does not directly dictate education, "It merely helps one to understand the
conditions within which education takes place."

Even more: seven kinds of intelligence would allow seven ways to teach, rather than
one. In addition, paradoxically, constraints can be suggestive and ultimately freeing.
Mindy L. Kornhaber, a researcher at Harvard University, has identified a number of
reasons why teachers and policymakers have responded positively to Howard Gardner's
presentation of multiple intelligences. Among these are the fact that the theory validates
educators' everyday experience: students think and learn in many different ways. It also
provides educators with a conceptual framework for organizing and reflecting on
curriculum assessment and pedagogical practices. In turn, this reflection has led many
educators to develop new approaches that might better meet the needs of the range of
learners in their classrooms.

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As with all theories in education, multiple intelligences theory has its critics. Some
maintain that longitudinal studies still bear out the power of genetics and intelligence as
a fixed quantity. They argue that this theory apologizes for lack of intellectual
achievement. Others argue that the ability to measure or test for such intelligences
undermines its core assertions. In short, such critics claim: "If you can't test it, it's not
valid."

Dr. Gardner contests such claims of validity by arguing for a different view of
standardized testing that is not biased in favor of only one kind of intelligence at the
expense of others. He also notes the achievements of students in non-academic
settings and the tragedy of exclusion that results when whole segments of the
population are not served because their intelligences do not have the opportunity for
expression.

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In terms of culture it means support for diverse learners and hard work; acting on a
value system that maintains that diverse students can learn and succeed; that learning
is exciting; and that hard work by teachers is necessary.

In terms of readiness it means awareness-building for implementing multiple

intelligences. Building staff awareness of multiple intelligences and of the different ways
that students learn. Rather than using the theory as an end in and of itself, multiple
intelligences can be used as a Tool to promote high-quality student work It can foster
Collaboration - informal and formal exchanges - sharing ideas and constructive
suggestions by the staff. It allows for choice - meaningful curriculum and assessment
options; embedding curriculum and assessment in activities that are valued both by
students and the wider culture. It employs the arts to develop children's skills and
understanding within and across disciplines.

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GOAL: To apply what you have learned about Multiple Intelligences to one lesson plan
to be used in your classroom.

1. Choose a lesson you need to teach in the coming week. It could be a specific lesson
in math, social studies, literature, etc. Then, the intelligence that will be your central
focus for that one lesson. Why did you choose that intelligence?

2. What resources or materials will you need? What room arrangements will you
need? What other things do you need to consider?

3. Develop the activity keeping your chosen intelligence in the forefront of your planning.
Will students be moving, reading, drawing, acting, singing, talking to each other?

4. Is your lesson plan reaching those who are expressing this intelligence, but have not
had a chance to use it before?

5. Conduct the activity by spending more time watching and guiding students than
instructing them.

6. Provide feedback on the lesson. What plain observations did you make about
individual students, the class as a whole, interactions and happenings that occurred -
details you noticed, large actions? Make alist of 7 plain observations.

7. Choose any observation from your list, and write about it in 2 - 3 paragraphs.


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Please review the general characteristics of students who exhibit strengths in each of
the intelligences. You will need these to understand essential clues for your practice.

' : To apply what you have learned about Multiple Intelligences to your classroom
over an extended period of time.

1. Provide a general overview of what you plan to teach this next month:

2. Choose 4 "Multiple Intelligences." For each intelligence, describe 3 ways you will
apply that intelligence to your classroom.
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Since Howard Gardner's original listing of the intelligences in his book, 
 

(1983) there has been a great deal of discussion as to other possible candidates for
inclusion - naturalistic intelligence (the ability of people to draw upon the resources
and features of the environment to solve problems); spiritual intelligence (the ability of
people to both access and use, practically, the resources available in somewhat less
tangible, but nonetheless powerful lessons of the spirit); moral intelligence (the ability to
access and use certain truths).

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Even the most academically brilliant among us are vulnerable to being undone by
unruly emotions. The price we pay for emotional literacy is in troubled families, in
stunted social and work lives, in deteriorating physical health and mental anguish and,
as a society, in tragedies such as killings..."5

The best remedy for battling our emotional shortcomings is preventive medicine. In other
words, we need to place as much importance on teaching our children the essential
skills of passing national matriculation exams.

Exactly what is Emotional Intelligence? The term has five characteristics and abilities:

1. &1 )
c1 knowing your emotions, recognizing feelings as they occur, and
discriminating between them.

2. c 
 - handling feelings so they're relevant to the current situation
and you react appropriately.

3. &1  - "gathering up" your feelings and directing yourself towards a goal,
despite self-doubt, inertia, and impulsiveness.

4. c " $ - recognizing feelings in others and being aware of their verbal and
nonverbal cues.

5.  

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 " - handling interpersonal interaction, conflict resolution, and
negotiations.

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Research in brain-based learning suggests that emotional health is fundamental to
effective learning. Classroom environments should encourage:

Confidence
Curiosity
Control
Communication
Cooperation

Building emotional intelligence in children has a lifelong impact. Many parents and
educators, alarmed by increasing levels of conflict in young schoolchildren - from low
self-esteem to gang involvement, drug and alcohol use, and depression - are rushing to
teach students the skills necessary for emotional intelligences.


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' : To identify and describe a new intelligence derived from
observation and experience.ccccccc

1. If you were to think about a capacity you have seen in others - students, friends,
community members - or even in yourself, an intelligence that has not yet been identified
what name would you give it? For example, some people have talked about a 



an ability to function anywhere in the world. What do   think?

2. Once you've given a name to a previously unnamed intelligence, write a brief 4 - 5

sentence description of it.

3. Give evidence for this intelligence citing at least ONE example.


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What do students see, hear, taste, touch, smell when they enter your classroom? How
do they see something of themselves reflected in the classroom? Is there evidence of
student work on the walls? Interesting experiments in progress? Colorful posters?

Stand in your own classroom and, using this list as a starting point, carefully consider
the various aspects of your room as a space for teaching and learning:

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: How is student seating arranged? Do students sit alone, in pairs, or in
groups? How flexible is the seating arrangement? Can it be moved or re-arranged
easily? We suggest that some arrangements of the room lend themselves better for
effective teaching and other arrangements do not. If students are asked to listen to a
presentation, the rows might work. If students are to work on projects, their chairs and
the room should be arranged to meet these needs. In short, the physical space makes a
difference.


  : How easy is it to move around the space? Are there aisles? Which areas
cannot be reached? Where is the natural place to stand? Can everyone see? Can
students get to the teacher? To each other?



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: How much of your needed resources are in the room? How will
students have access to these resources? If there are resources, how many students
can use them? What teaching equipment do you have? Do you have electricity?

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c: Is it lit well or poorly? Is it hot in the summer? Can everyone hear?
How can you and other teachers use this space effectively?
 
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' : To make practical improvements in your classroom that also reflect your thinking
about Multiple Intelligences.

1. Describe your classroom in the following way Write a description by observing each
of the five senses - what do you see, touch, taste, smell, and hear when you're in your
classroom? (2-3 paragraphs)

2. In an earlier praftice, you were asked to incorporate some of the intelligences into
your course planning. Revisit this practice and review what you wrote. For each of the
four multiple intelligences you chose, discuss how you could improve something in the
physical setting of your class to enhance that intelligence goal. (1-2 sentences for each
of the four intelligences you chose.)


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' : To refine and gather your thoughts into one professional statement and vision.

Please prepare a Reflection Paper incorporating what you have learned in Course 1.
Follow the instructions for each part:

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Write a 1 - 2 page statement that responds to the following and includes these as topic
headings:

What I Believe
Why I Teach
What I Teach
How I Teach

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Please answer the following questions:

1. Kabir, once said, "Wherever you are is the entry point." Where are you now in your
teaching practices? Where would you like to be? How will you get from here to there?

2. What do you want to keep in your teaching practices and what do you want to throw
away. Why?

3. What are the challenges that lie ahead?

4. What in this course material has struck the most responsive chord in you? What idea
or ideas stand out for you and stay with you now?

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Imagine one day in the life of a student at your school in the year 2010. Using the
research from this course as a source for ideas, as well as futuristic thinking you carry
within your heart and mind, describe that student's day through his/her eyes from the
moment s/he wakes up until s/he goes to sleep (including, of course, time spent at
school and, specifically, in your class). (1-page)
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 /010 by Dee-Dickinson

When I imagine the best ways to educate children, I am always drawn to a vision of
communities built around the concept of learning at the very heart. It is a costly vision,
rich with ideals. But as caring for our youth as well as the need for lifelong learning
move higher on our social agendas, I know it can become a reality in the decades
ahead.

I know this because my vision is based on seeds being planted today at schools
throughout the world, seeds that are already bearing some fruit. In this vision, education
begins in the home, supported by early childhood/parenting centers.

These programs might be inspired by the pioneering Family and Intelligence projects in
Venezuela, the remarkable early childhood schools of Reggio Emilia in Italy, or Parents
as Teachers and other fine parent education and preschool programs in the United
States. Future community learning centers with supportive child/family services might
replace today's traditional schools, and "lighthouses of knowledge," inspired by those in
Curitiba, Brazil, might evolve from existing public libraries. New, low cost educational
technologies are already becoming more available throughout the world.

What follows then is my vision of the places, teachers, and technologies that will educate
our children and ourselves some 50 years from now. I'll start my tour with the newer
educational structures - for adults and parents - and then will move on to the childs
classroom of the future.


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Welcome first to a Lighthouse of Knowledge, a large, modern facility once known as the
local library but that has transformed into a community focal point. It is made of
transparent, shatterproof material. Like glasses that darken in the sunlight, the windows
here cut glare when the sun is shining, but otherwise let light pour in. As you can
imagine, when the lighthouses in all neighborhoods are lit up at night, the view is
inspiring. Open twenty four hours a day year round, Lighthouses are accessible to
everyone and many of the resources are free.

There is a library of real books (some people still like the feel and smell), databases of
electronic books, access to the Internet, satellite broadcast studios and receivers,
multicast facilities, rooms for shared resources related to finding information and turning
it into knowledge throughout life. There are also special classrooms used to connect
students to experts throughout the world. At the same time, there are opportunities for
learners to collaborate with each other.

Each lighthouse keeper is in charge of maintaining a resource of all the educational

resources in the community, as well as booking uses of the facility. Businesses and
individual entrepreneurs rent space for physical or electronic meetings or use the
technologies for specialty training and distance learning. Those fees support the facility,
and make space available for honest NGOs at low cost.

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In every neighborhood, early childhood/parenting centers have been created that are
free and easily accessible. The first years of life are critically important to healthy
physical, emotional, and mental development, as it is during these years that the
foundation of successful learning is laid. Because of this understanding, these centers
have become an essential part of the educational system and have resulted in more
children coming into school with the skills they need to learn successfully.

Prospective parents are urged through all the media to take free parent prep classes in
the centers, usually in the evenings. Neonatal and early childhood specialists offer
information and practice on the importance of nutrition, love, sensitive sensory
stimulation, exercise, and social interaction. In essence, parents and other caregivers
learn how to create optimal conditions for their children's healthy, happy development.
During the day, parents may visit the centers to observe children at various stages of
development as well as to participate in programs with their own children. Day care is
also provided, and for parents who have not been able to attend classes, there are daily
programs on interactive digital television that also provide access to databases of
relevant information and links to World Wide websites that offer on demand guidance.

Parents and other caregivers bring babies and toddlers to the centers periodically, to
learn the best ways to nurture and help them develop. Children with physical, cognitive,
or emotional challenges are identified early and helped through well integrated social
and health services on site. There are early childhood programs that prepare children
aged 3 to 5 to be successful academic learners, mostly through play and exploration.
Many of the centers are located near retirement homes, and that's a great source of joy
for both the children and the elderly. There is much loving care, active play both inside
and outdoors, dancing, music, storytelling, and other human interaction in stimulating,
multisensory environments. But because they might pose risks to rapidly developing
neurological systems, no screen technologies are used with the very young. These will
be introduced later.

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Over the years, there has been increasing demand by parents for more choice in the
kinds of schools available to their children. In our future scenario, this goal has been
achieved. Most children from age 6 to 16 attend community learning centers that take
many different forms. For example, some may be located in museums; others may be
connected to farms or greenhouses that produce healthful fruits and vegetables for the
centers. Some may be located in workplaces or near theaters or hospitals or connected
to churches. Some look like malls in the center of the community, to connect more
directly with its resources.

What is certain is that few look like the the schools of today. Each community learning
center has been designed in response to the needs, interests, and preferences of the
community it serves. The centers are part of a public, decentralized educational system
operated by neighborhood councils in collaboration with a coordinator for each.
Standards for all the centers, however, are set nationally, and most students meet or
exceed them. There are elementary programs for 6 to 12 year olds as well as a broad
variety of educational programs for teenagers, and children with special interests may be
accommodated even though they live outside the district.
As in the early childhood/parenting centers, there are support services on site to identify
problems early and provide intervention. Unlike today's fragmented support services,
health, social service, and welfare agencies have integrated their efforts through
collaborative, continually updated databases and websites, assuring continuity and
continuation of help as needed.

The centers are open 18 hours a day year round and have extended day programs for
both students and adults. Parenting groups meet regularly to learn about and discuss
the rapidly developing minds, emotions, and bodies of children age 6 through
adolescence, and how best to help them develop to their fullest potential. The centers
include job exploration and training programs, branches of social service agencies and
health clinics, and recreational facilities that may include theaters, galleries, art studios,
gyms, swimming pools, and ball courts. Income from adult or family use in the evening
and on weekends and holidays helps to support the facilities.

Consider a community learning center that is near their communities. Math and science
skills may be applied to home or community projects, business enterprises, or
environmental conservation. Writing and speaking skills may be applied to projects such
as news broadcasts to the community, communicating with learning partners locally or
abroad, or writing books for younger children. Working with the arts and a great variety
of materials and manipulatives will help make abstract ideas more easily
understandable.

Students in these centers gain knowledge in the humanities (including the history of
human beings with their arts and communication skills), sciences (including the history of
the Earth and its current state), math (including various methods of problem solving),
and physical education (including a variety of sports and physical exercise as well as
nutrition and health education). They learn these subjects individually as well as in
groups through inquiry based projects and broad themes that provide the context for
understanding and learning. Discussions of social, environmental, and economic issues
on both local and world levels often lead to personal or collective action. The supportive
environment plus powerful technologies and interactive learning make it possible for
students to master basic skills and knowledge and move on to using them in practical
and creative ways.

There is much emphasis on developing interpersonal skills, as students learn to work

collaboratively, and attention is paid to creating an environment that facilitates the
development of ethical, moral, and responsible behavior. Because students with different
abilities and disabilities learn together, they have rich opportunities to learn empathy and
compassion and an understanding of others. Challenges are often given that require
wise and responsible decision making in such activities as student government.

Learning specialists are held in high esteem in the community and are paid accordingly.
These are community experts with knowledge to share. They provide opportunities for
students to extend what they learn in school and for teachers to learn, plan, and share
ideas and materials. They emphasize learning in art studios or in museums, in gyms or
in gardens, in the wilderness or in the community itself. Students clearly have enormous
freedom and choice, but they also learn to take responsibility for their own progress.
The students may be at different levels in different subjects, and they are often with
students of different ages, including adults, who are welcome. The students move
through levels of expertise, from beginner to accomplished, and at any age, when they
are ready, they can advance. There are also many exchange programs in other
countries, and most centers have foreign students on similar programs subsidized by
foundations and businesses.

There are ongoing assessments that offer timely feedback to guide learners as well as
the specialists' instructional practice. The assessments are part of the curriculum, are
usually active demonstrations of achievement, and go far beyond assessing
memorization and recall to reveal whether students have understood and can apply what
they have learned. For example, a learning experience might culminate in a presentation
for the community, a multimedia report, a dramatic performance, or teaching other
students or even adults, as is often the case in introducing new technologies

There are still children with learning problems, but they can be helped by diagnosticians
skilled at observation, who may use such new technologies as advanced, low cost
magnetic resonance imaging devices that make it possible to observe the brain while it
is in the process of thinking. These tools assist the diagnostician in making
recommendations for appropriate help with tutors, remedial techniques in the learning
room, or innovative learning technologies. A great variety of intuitive, adaptive
technologies are also available for the physically challenged, including the sight or
hearing impaired. All community centers depend on trained community volunteers who
assist in remediation and help the learning specialists in many ways. Students have
mentors or advisors with whom they meet weekly.

All secondary students do volunteer work while they are learning. In the process, they
have opportunities to apply what they have learned as well as to develop other practical
skills. As part of a teen transition program, students do a research project in the
community or beyond to see what resources are available and what needs may be
unmet. With fellow students, or (enabled by the Internet) with peers in other countries
who have common interests, they design a project that may become a new resource for
the community or even a small business. These projects and the products or services
they produce must be approved as contributing to the health and well being of the
community they serve.


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These are not just dreams but a necessity:

Schools alone cannot meet the needs of students who have special needs.
Students of different social, cultural, economic, and educational backgrounds have
different ways of learning, so educators must expand their array of teaching methods
to reach all students effectively.
In this time, when rapid change affects every kind of work and every social
institution, education must become a lifelong process.
 As new technologies continue to connect our increasingly interdependent world, it is
critically important for students to develop technological know how and to have
steady access to the technologies.

Numerous crises have raised the level of urgency: violence in the schools, disconnected
communities, growing economic disparity, a pervading sense of helplessness over our
futures. Our challenges require intense, meaningful discussions of what it means to be
human, how to develop altruism and compassion, and how to foresee the consequences
of our actions.

All of these challenges bear directly on how best to educate and prepare young people
to become responsible, contributing members of society. There is now a call not just for
restructuring but for a real transformation of education.

We have all the knowledge and tools we need to create an effective system that can
help meet the needs of today's and tomorrow's students. In some ways, the community
learning centers that we imagine are not so different from some of the innovative
educational systems emerging today. We have already seen many new interactive
technologies along with a renaissance of the arts in education, hands on projects, inquiry
based learning, cooperative learning, internships, and community service projects that
deeply engage students and result in academic achievement.

Educators are beginning to pay attention to the importance of the first three years of life,
new research from the neurosciences, and studies in human development. Instructors
are learning how to individualize learning to address different learning styles and
intelligences. More educators are beginning to understand as well that emotional
intelligence is even more important to success in school and in life than IQ, and they are
not only discussing but learning how to include the spiritual in education. In essence,
they are beginning to focus on how to create a system that engages students
emotionally, cognitively, physically, socially, and spiritually in a humane environment.

Finally, our world now has a telecommunications infrastructure that can support a
quantum leap in learning and collective intelligence, and more of us have learned that
we can work together as a global community of learners.

How we use these powerful new tools will determine the course of the future. Now more
than ever, parents and communities must work together with educational systems to
create the vision and means for present and future generations to live in a healthier,
more peaceful, wiser world. "And at the end of all our exploring," wrote T. S. Eliot, "will
be to arrive where we started and know the place for the first time."

 
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 (1902 -1987) had much to contribute about effective education
and group work. He wrote a great deal about the following principles in dealing with
children. c


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cPerhaps the most basic of these essential
attitudes is realness or genuineness. When the teacher is a real person, being what she
is, entering into a relationship with the learner without presenting a front or a faade, she
is much more likely to be effective. This means that the feelings that she is experiencing
are available to her, available to her awareness, that she is able to live these feelings, be
them, and able to communicate if appropriate. It means coming into a direct personal
encounter with the learner, meeting her on a person to person basis. It means that she is
!
herself, not denying herself.

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There is another attitude that stands out in those who are
successful in facilitating learning I think of it as prizing the learner, prizing her feelings,
her opinions, her person. It is a caring for the learner, but a non possessive caring. It is
an acceptance of this other individual as a separate person, having worth in her own
right. It is a basic trust a belief that this other person is somehow fundamentally
trustworthy What we are describing is a prizing of the learner as an imperfect human
being with many feelings, many potentialities. The facilitators prizing or acceptance of
the learner is an operational expression of her essential confidence and trust in the
capacity of the human organism.

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A further element that establishes a climate for self

initiated experiential learning is emphatic understanding. When the teacher has the
ability to understand the students reactions from the inside, has a sensitive awareness
of the way the process of education and learning seems  


, then again the
likelihood of significant learning is increased. [Students feel deeply appreciative] when
they are simply 


not evaluated, not judged, simply understood from their
 point of view, not the teachers.

Rogers believes that we cannot teach another person directly; we can only facilitate his
learning. The structure and organization of the self appears to become more rigid under
threat; to relax its boundaries when completely 

  


The educational situation which most effectively promotes significant learning is one in
which 1) threat to the self of the learner is reduced a minimum, and 2) differentiated
perception of the field of experience is facilitated.

The danger in this is, of course, of underestimating the contribution of 'teaching'. There
is a role for information transmission. Here Carl Rogers could be charged with
misrepresenting, or overlooking, his own considerable abilities as a teacher. His
apparent emphasis on facilitation and non directiveness has to put alongside the guru
like status that he was accorded in teaching encounters. What appears on the page as a
question or an invitation to explore something can be experienced as the giving of
insight by participants in his classes

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UNESCO asks us: As you think about curriculum, lets consider some questions and
reflect upon them:3

What is curriculum?
What are you expected to cover in the curriculum?
Why is curriculum one of the biggest challenges to inclusion?
Why is it that some learners are not considered able enough to be using the
same curriculum?
Is it appropriate to reduce the curriculum?
How do you perceive curriculum and its transaction in the classroom?
What factors influence curriculum?
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Scaffolding is a term that one would normally associate with buildings - the structure
outside, allowing workers to crawl around and construct the building. It is also a way of
providing these same workers with materials so that ropes and ladders can haul building
materials to higher and higher levels. Without a proper scaffold, the building is faulty,
subject to collapse from its own weight or from a natural disaster. In short, the building
will not last.

We must think about education in the same way. For lessons we teach, we must create
a scaffold - a set of steps, a structure, a set of tasks and expectations, a way of
determining if we are on the right track and if the structure is sound and strong, and
requires that we feed that structure with the materials and resources we need. In
designing a lesson, we should think about a scaffold. Scaffolding not only produces
immediate results, but also instills the skills necessary for independent problem solving
in the future.

(1) Will students see what this building will look like? If so, can the students see it? Are
the directions clear so that students can imagine that they will be able to climb that
scaffold? Teachers should provide a model of what the project should look like, just as a
builder creates a model from the design. The example model should not be so ambitious
or impressive as to give the students a feeling that they could not accomplish something
similar themselves.

(2) Is the project motivating? Will students WANT to climb that ladder?

(3) Will students have guidance along the way so that the scaffold is strong enough to
hold everyone? In other words, is it focused enough so that students will not feel lost?

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(4) Will the students know how they are doing along the way? Will assessment of
progress be available? Can students discuss their progress? Get feedback? Remain
engaged in the task? Find ways of correcting themselves if things are not going well?

(5) Will students know WHERE to find answers? Will they have to rely ONLY on the
teacher or can they arrive on themselves or books or the Internet or outside experts?

(6) Will the scaffold design ensure some level of success? If, after all, the students are
putting so much work into the project, is it possible for them to feel confidence and
competent? Otherwise, students will be greatly disappointed. SO, in other words, have
you designed this project so that students will learn more than when they started? Will
students be able to show their results with pride? Will their "building" look like the model
you presented?

(7) Will students be able to accomplish this task within a reasonable amount of time?
Otherwise, they will feel failure if they are not able to see the results day by day.

(8) Will students ALSO learn about how to learn? Will students gain new skills as a result
of this project - skills that they can apply to new problem-solving situations?

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This section is a practical guide to classroom management techniques that can make
your job easier.

Here are some simple, yet, effective management techniques to establish on the first
day of class:

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Teach your students a hand-clap pattern or some other visual or auditory aid that will let
them know that you need silence and eyes on you. Practice it to make sure they know it.
Use it frequently n the first day of school and thereafter.

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Teach your students the "Say Back" game. It's simple: after you or any student has
spoken, ask the class: "Raise your hand if you can now "say back" what I just said (or
what student x has just said)". Note what percentage of hands are in the air and simply
say to your students, "I notice that approximately 60% of your hands are raised. Our goal
during the course of the year is to get 100% "say back" - maybe not every time, but lose
to it. We're learning how to listen when others are speaking."

This simple "Say Back" tool will increase the students' awareness of how often they are
listening to you or others when you speak and how deeply. It does it in a way that does
not put any one person on the spot to have to actually "say back" what was said. It does
let the class know that you're all working towards deep listening no matter who is
speaking. It also give students the confidence to know that when they speak, their voice
will be heard. This is important for creating an environment in which students can feel
safe to share their thoughts.
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Just as we discussed the value of theme-based learning, there can also be "theme-
based" classroom management. What is meant by this? If you say to the students that in
addition to listening to one another, we "Care" for one another then you have established
"Care" as a theme or behavioral expectation. When a student is disruptive you can ask
them, "Are you showing care for what we're doing?" Or if a student misuses resources,
you can ask the student: "Are you showing care for the tools we use in the classroom?"
It's a gentle way of "enforcing" what you value in your classroom: care for one another,
care for the classroom environment, and care for your resources.

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Effective classroom management can be summed up in three words: firm, fair, and
friendly.

Firmness implies strength, organization, resilience, and leadership, rather

than rigidity.
Fairness implies equal respect for all kinds of learners and learning styles.
Friendliness implies a readiness and joy of learning and association with
knowledge, engagement with the process, and appreciation of each other.
These three words - firm, fair, friendly - speak volumes and can serve as a
mirror to behavior. But what gets in the way?

Three other words are important here too: fear, flight, and fight. You can recognize them
when you see them:


- We are referring to fear of the material, of the teacher, of fellow students.

Students express it in various ways; it is up to the teacher to read the signs. A climate of
fear can be created - fear of being struck; fear of being embarrassed; fear of being
excluded. Our responses are simple: children should never be hit - under any
circumstances.


 - The students you do not remember, or the ones who cower in fear are the ones
that suffer the most in social situations. They know how to hide or leave difficult
situations. They are the ones who take it all out on themselves and who are impossible
to arouse to learn if they are ignored. The effect of creating a welcoming learning
atmosphere for all students, regardless of background, cannot be overestimated.


 - Disruptive students intimidate their teachers. They are often attacked
themselves, either at home in their community, and this is often all that they know. They
withdraw their effort as a way of getting back or taking control. Often, the reaction of the
teacher - if it is anger and punishment - makes the situation worse.
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Students who are bored will frequently look around the room. The source of their
boredom is that the work is too easy or too hard, or it lacks relevance. To help the
situation, position yourself where you can see most students. Learn how and why this is
taking place; re-envision (or, "revise") the PRACTICE.



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For students who are frustrated, often the work is too difficult and others can do it easily.
They usually are silent and make no contribution. One thing you can do to help the
situation is to move about the work area; create groups of students with different
abilities; give praise or support; ask questions you believe struggling students are afraid
to ask.

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The origin of low self-esteem is many past failures. You'll notice students shut down. To
help, ask good questions; support individual students; and spend extra time with
students.

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Limits are the way in which we make classrooms safe and productive. We set limits in
order to explain choices and consequences simply, clearly, and calmly.

$ccc - To help a person better understand their present circumstances and
guide him/her toward constructive behaviors. Limits empower the individual, allow the
person to "save face," and help us to avoid physical confrontation. Setting limits is a first
step in teaching a person to solve problems.

When We Do It - When an individual is unable to identify choices and consequences for

him or herself, but may still be able to understand and utilize information when it is
presented.

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1. Acknowledge the person's feelings and point of view.
2. Ask for cooperation first.
3. State reasonable and enforceable actions.
4. Pay attention to behavior spoken or unspoken.
5. Focus on the positive.
6. Set up limits within the school's rules and the individual's rights.
7. Assess whether or not the limits were heard and understood.
8. Allow time for the person to think and make a decision.
9. Follow through with consequences.
 
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' : To reflect upon your current classroom management plan to inform any
modifications you may wish to make for the future.

Please provide a classroom management plan along the lines of the following:

1) How is your room set up for the best possible student behavior?
2) How do your students know about limits?
3) What is your plan for disruptive students?
4) How do you reduce fear, fight, and flight?
5) How do you create firmness, fairness, and friendliness? Give 3 examples.


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In teacher training college, you were taught how to make lesson plans. With the
information you have learned, plus your experience, and finally this new course material,
please create a lesson plan.

Name of the Lesson:

Subject:

Grade Level:

Length of time for the lesson:

Why the lesson is important:

Information/Skill to be learned:

Describe the lesson in three ways:

c $c How will you determine how much they know BEFORE you begin to teach
them? How you will introduce the students to the assignment? It is important to note
that great teaching is not a map (with all the steps laid out), but a compass (a sense of
direction and structure and order, but without relying on memorization alone). In short,
what will you do to prepare students for this assignment? Will you model the behaviors
and academic achievements? Will you use any media to show, rather than simply
tell, the students what they can learn? Will you ask them to discuss the issues first?

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: What will be going on? How will students be engaged? What student
behaviors you expect to see throughout the lesson (Do not focus on obedience, but
rather how students will act). '"#
 of such behaviors may include:

Behavior that shows the ability to stay focused on the task

Behavior that shows the ability to work in groups
Behavior that demonstrates a new way of solving problems
Behavior that shows creativity
What you have done to establish a productive learning environment

 
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goals? Since you know what they knew before, how will you know what they
know now?

How you will ensure that each student has made a contribution:
Your criteria for "successful" achievement
How you will reward the group

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We have devoted an entire course to the issue of evaluation. For now, we have
provided you with some basic information here.


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' : To reflect on your lesson planning and classroom management activities.

1) Keep a journal over the course of the week and write down what you notice on
a daily basis.

2) End the journal with a reflection of 4-5 paragraphs touching on any or all of the
following issues:

The level of engagement and interest of your students

The kinds of questions that inspire students to think
The appropriateness of the content
The teaching techniques
The use of resources
The areas of challenge
What you would do to enhance or improve this project next time
What information you need in order to grow professionally in this area

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Thematic instruction is the organization of a curriculum around "themes." Thematic

instruction integrates basic disciplines like reading, writing, math, and science with the
exploration of a broad subject such as communities, rain forests, river basins, the use of
energy, etc. In short,

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Thematic instruction is based on the idea that people acquire knowledge best when
learning in the context of a coherent "whole," and when they can connect what they're
learning to the real world. Thematic instruction seeks to put the teaching of cognitive
skills such as reading, mathematics, science, and writing in the context of a real-world
subject that is both specific enough to be practical, and broad enough to allow creative
exploration.

Thematic instruction usually occurs within an entire grade level of students. Teachers in
the various disciplines in that particular grade work together as a team to design
curriculum, instruction methods, and assessment around a pre-selected theme.

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1) 

-Themes often involve a large, integrated system (such as a city or
an ecosystem) or a broad concept (such as interconnectivity or weather). Instructors
often strive to connect the theme to the students' everyday lives. In some cases,
students participate in choosing the theme or themes.

2) ,




 - The teachers involved must organize the
learning objectives of their core curriculum (both process skills and content knowledge)
around the theme. In the study of a river basin, for instance, math might involve
calculating water flow and volume; social studies could look at the nature of river
communities; science might study phenomena like weather and floods; and literature
could study books and novels that focus on rivers, such as the works of Mark Twain. The
initial design requires considerable work on the part of teachers. Again, sometimes
students help design the curriculum.

3) ,

  - This usually involves making changes to the class
schedule, combining hours normally devoted to specific topics, organizing field trips,
teaching in teams, bringing in outside experts, and so on.
4) ' #

 


!  - Because thematic instruction is often
project-oriented, it frequently involves students giving collective presentations to the rest
of the school or the community. Plus, students commonly create extensive visual
displays.

Thematic instruction can be a powerful tool for giving life to curriculum. It requires a lot of
hard, initial design work, plus, a substantial restructuring of teacher relationships and
class schedules. In short, school leaders must give teachers time to work with each
other.
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Cooperative Learning is an instructional technique that uses positive interdependence

between learners in order for learning to occur. Research shows that both competitive
and cooperative interactions are a healthy part of a child's repertoire of behavior. By
second grade, however, urban children have effectively extinguished their cooperative
behavior and persist in competition, even when it's counterproductive. By deliberately
developing cooperative techniques, educators aim to correct the unconscious societal
and educational bias that favors competition.

Patterns for student interaction are called "structures." Together, teachers and students
develop a repertoire of these structures. When the teacher announces that the class will
use a particular exercise to explore today's lesson topic, students know what type of
interaction to expect.

For example, when the teacher says the class will use the "Think-Pair-Share" exercise to
study African wildlife, students know they will work independently to write down their
thoughts on elephants or lions, then find a partner, share their ideas with their partner,
and probe each other for complete understanding.

It is up to the instructor to integrate the interactive exercises with the specific lesson
content. The teacher must give careful thought to who should collaborate with whom and
why; how to manage the classroom while unleashing cooperative activity; and how to
balance the attention to both content and cooperative skill-building.


Features of Cooperative Learningcc

Cooperative Learning is most successful when the following elements are in place:

1. Distribution of leadership
2. Creation of heterogeneous groups
3. Promotion of positive interdependence and individual accountability
4. Development of positive social skills
5. Empowerment of the group to work together


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": All students can be leaders. They can also surprise you
with their ability to rise to the occasion.


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 ": You can either randomly place students in groups
counting off by 1s, 2s, 3s, 4s, or 5s and putting all of the "1s" together, the "2s" in
another group, and so on. Another way to do it is to review the learning styles and create
groups that reflect different kinds of learning.
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upon each other and work cooperatively. They need to know their roles, what they are
expected to achieve, how to value their piece of the puzzle, and how to demonstrate that
it benefits the group. In this way, materials are shared; group members create one
group-product group members are given common tasks; and roles are rotated amongst
the members.

& c&*: Discussion, observation, and understanding is key. From time to time, the
atmosphere in the class must be such that time is set aside to examine what is going on;
how people feel; what could be the best way of going about conducting the business of
learning.

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or settle arguments. The teacher suggests solutions and promotes social skills by having
the group itself come to a fair conclusion.

Cooperative Learning depends upon several variables:

1. The teacher's sense that the class can take this on.
2. Just enough structure and just enough freedom. Keep it simple in the beginning.
3. Make certain that everyone knows what is going on.
4. Make certain that methods are clear - explaining how the group will work.
5. Make certain that each individual is engaged.
6. Make certain that groups do not exceed 5 people.
7. Arrange the room so that the environment works well with a group.
8. Students need to know there is a reward and celebration for working together, rather
than sorting themselves as winners and losers.


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1. Groups of 4-5 students are created.

2. The teacher describes each role (below), and either the teacher or the group assigns
a responsibility/role to each member of the group:
Reader - Reads the written instructions out loud to his/her group.
Time-Keeper - Periodically, tells the group how much time is left for the
activity.
Scribe - Takes notes and writes down each person's response.
Includer - Actively encourages each person to share ideas in the discussion.
Reporter - Organizes the presentation and shares the group consensus.

3. Each group is given a current event, for example. The Reader reads the written
instructions out loud to his/her group.
4. The group decides how it will provide a response to the current event by
demonstrating: a) what the event is - for example, crime in the neighborhood; b) why
they think it may be occurring; c) what the current plan is for dealing with the problem; d)
advantages and disadvantages of that plan and why; and e) what they would do, and
why it is better than another plan.
5. Each student in the group is given the task of exploring all of the issues above (a-e).
Those responses are shared within their group. The Includer makes sure each person's
voice is heard and encourages every member of the group to participate. The Scribe
writes down all of their responses. The Time-Keeper keeps track of time.
6. Each group reaches a consensus on the response to present to the other groups.
7. The group decides how the information will be presented.
8. The group makes a presentation. The Reporter might present the consensus, or set it
up so that several people in the group present.
9. The group conducts an evaluation of performance.

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1. Teacher must not "judge" the group or berate individual members.
2. All positions are respected, whether or not the rest of the class agrees.
3. No one may force anyone else to agree with their answer.
4. No negative comments about oneself or others are allowed.
5. Teacher praises with description, rather than evaluation. In other words, spend your
time focusing on what good things students did, such as giving specific examples of their
courtesy and support. Avoid statements such as "You did a good job" or "Your group
was better than the first group."

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' : Plan and put into practice a Cooperative Learning activity that extends
over a one-week period. We are focusing on Cooperative Learning as a
framework because it is the single-most transformative element of educational
success.

To help with this week-long lesson planning:

Review the " Basic Planning" section at the beginning of Course 2.
Review "How it Works" section, steps 1 - 9.

Students may fill in a sheet answering the following about their group and
themselves:

(Group)
Our group did well on our social skills because:
Our group did well on our academic skills because we learned:
 Our group's presentation was effective because:

(Individual Student)
What did you notice about your role or participation during this activity?
What did you notice about other people's roles/participation?
How can you use this information to help your own learning in the future?
How can you use this information to help your group's learning in the future?

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This a process by which students can reflect upon a situation, their learning, or group
dynamics in a way that takes stock of all of the assets and positives of a situation.

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1) Pose a question such as: "What is an example of a great team experience you have
had either in or outside of school?"

2) Students tell their "peak" team experience stories.

3) Ask the students what these stories have in common; what qualities made each of
these teams successful or effective?

4) From these qualities and stories a rich metaphorical image might arise. You might
even help students to "see" the metaphorical image such as, "I think the way we're
describing our peak team experiences is like a grove of aspen trees. The trees look like
distinct units, but really underground their roots are interconnected and the grove is
really one living organism." From there you could talk about the strengths that each
student brings to your learning environment that effects the whole. Take inventory of
these strengths. List them on the board.

5) Whenever students need to work out a challenge or reflect on how they best learn as
a group, they can use the "aspen grove" metaphor (or whatever metaphor arose) and
apply it to the new learning moment at hand.

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We often begin by asking "What's the problem?" When you do that, you focus energy on
what we want less of and work to "fix" things. Appreciative Inquiry is about focusing on
what you want more of; knowing that what you want more of already exists; and
amplifying what strengths and assets a group already has.

With Appreciative Inquiry students are heard, seen, and appreciated. It also enables
students to be active participants in the thinking process and encourages them to
amplify what strengths or qualities they already possess towards their learning or class
environment.

How might you apply Appreciative Learning to your classroom experience?

 
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Using the Lesson Plan format as a model (see PRACTICE 2), please create a design for
a one-week activity using  of the methods below:

Thematic Learning
Cooperative Learning
Appreciative Inquiry



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This curriculum method revolves around developing "good character" in students

by practicing and teaching moral values and decision making.

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Character Education assumes that schools don't just have the responsibility to
help students get "smart"; they also have the responsibility to cultivate basic
moral values to guide their students in their behavior throughout life.

Character Education teaches students to understand, commit to, and act on

shared ethical values - in other words, "know the good, desire the good, and do
the good." Typical core values include: respect, responsibility, trustworthiness,
fairness, caring, and community participation.

Schools committed to Character Education tend to:

Emphasize how adults model values in the classroom as well as in their

everyday interactions.
Help students clarify their values and build personal bonds and
responsibilities to one another.
Use the traditional curriculum as a vehicle for teaching values and examining
moral questions.
Encourage moral reflection through debate, journals, and discussion.
Encourage values in action through service and other community involvement
strategies.
Support teacher development and dialogue among educators on moral
dimensions of their job.
The influence of Character Education is evident in the outcomes of many
school districts emphasizing qualities such as "contributor to the community,"
and "ethical global citizen."


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Neuro-Linguistic Programming (NLP) studies the structure of how humans think
and experience the world. Obviously, the structure of something so subjective
does not lend itself to precise, statistical formulae but instead leads to models of
how these things work. From these models, techniques for quickly and effectively
changing thoughts, behaviors, and beliefs that limit you have been developed.

Successful teachers in classroom management exhibit the following:

Create an inclusive classroom in order to prevent unnecessary conflict and

reduce physical and emotional violence.
Engage in hands-on, experiential activities focused on prevention and
intervention.
Re-commit to the process and joy of stimulating young minds and building
positive long-term relationships with learners.
Discover strategies to "create a space for listening" to increase students'
sense of belonging and connection.
Help students re-evaluate their behaviors in relation to their own goals for
creating inclusive classroom communities.
Understand the importance of conveying "high expectations."
Develop skills for "welcoming" and sending "positive invitations."
Develop a model discipline plan appropriate for the age of the students and in
sync with educational philosophy.
Develop strategies for implementing the model discipline plan.
Develop appropriate rules, procedures, and routines for the classroom.

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Research in recent years has shown that learning improves significantly if

students are able to think about their thinking, or, in other words, learn about
their learning. Teaching methods that inspire this kind activity and take the time
to engage in exercises in which students do reflect upon the learning process
results in consistently higher performance.

5 "*

Ask students orally or in writing what ideas they are bringing to the lesson or the
problem they are asked to solve. In other words, get them to think about the
lesson, rather than march through it.

Write the students' responses on the board so they can all see them.

Ask students to draw circles or maps that help them put ideas together. A
circle with one idea that intersects with another circle - is one way - the Venn
diagram.
Ask students to explore what they have discovered and to link it to other
ideas or issues they have been studying.
Refer to the old ideas for comparison to determine value and weight.
 Ask students to talk about their new ideas or to explain why an idea of theirs
has changed.
When students complete a project or activity, ask them to reflect upon the
process of doing it - either in writing or orally.

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Here are two ideas to help students develop their "muscle" for "thinking about thinking":

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After you do a Cooperative Learning activity with your students or some type of group
work, you might ask the students to answer the following questions:

What did you notice about your role or participation during that lesson/activity?

What did you notice about other people's roles/participation?

How can you use this information to help your learning?

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Steps:

1. Go out of the classroom with your students; ask them not to talk to one another and to
stay at least ten-feet apart as you all walk into nature. They are there to simply, quietly
!

. Let them know ahead of time that when they return to the classroom, they will
write about one thing they noticed while oberving nature - a brief sentence or two about
what plain observation they made. ("I saw a tree," is not enough. Invite them to say
more: "I noticed a tree whose branches grew straight up towards the sun," or, "I noticed
a black bird on a cliff landed ten feet from another bird, and after a few seconds, both
birds took off together in the same direction." Simple observations in an expanded
sentence.)

2. After being outside for 10 minutes in silence, motion with your hand for students to
come back with you in silence; re-enter the classroom and ask the students to write
about the one thing they noticed. Have them write in silence.

3. After 5 minutes, ask each student to simply 


out loud
" what s/he has
written - no verbal additions, comments, or further discussion; simply go around the
room and have each students read what they have written.

4. Repeat steps 1-3, every day, for a week (or longer). Ask the students to write their
simple observations in a "notebook". Call this their !
 2 .

5. After a period of 1-4 weeks of keeping an Observation Journal, ask your students to
re-read each of their own observations to themselves, and to write in a different
"notebook": "What do you notice about what you notice?" This book is called a
 
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' : To generate and put into practice several ways that you can engage students to
think about their own learning process.

1) What 2 specific things can you do to help your students "think about their thinking" -
learn about their learning? Write 3 - 4 sentences for each idea explaining how you will
provide an opportunity for students to question and reflect upon their own learning in the
coming week.

2) Write about what happened when the students reflected upon their own learning.
What did you notice? (2 - 3 paragraphs)

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The next few pages are challenging. They may require that you go back and re-read
what you have read to fully take in what is being said. You may even wish to take notes
as you go along and/or ask questions at the TWB Learning Cafe to dialogue with your
global colleagues.

The idea of curriculum is hardly new - but the way we understand and theorize about it
has altered over the years, and there remains considerable dispute as to meaning.
Curriculum has its origins in the running/chariot tracks of Greece. It was, literally, "a
course." In Latin curriculum was a racing chariot; the word, currere , was "to run."

Here, curriculum can be seen as: "All the learning which is planned and guided by the
school, whether it is carried on in groups or individually, inside or outside the school."
This gives us some basis to move on - and for the moment all we need to do is highlight
two of the key features:

1) Learning is planned and guided. (We have to specify in advance what we are seeking
to achieve and how we are to go about it.)

2) The definition refers to schooling. (We should recognize that our current appreciation
of curriculum theory and practice emerged in the school and in relation to other
schooling ideas such as subject and lesson.)

In what follows, we are going to look at 4 ways of approaching curriculum theory and
practice:

1. Curriculum as a Body of Knowledge/Product

2. Curriculum as Process
3. Curriculum as Praxis (practice)
4. Curriculum as Context


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Many people still equate a curriculum with a syllabus. "Syllabus" originates from the
Greek, and it basically means: a concise statement, the contents of a treatise, the
subjects of a series of lectures. In the form that many of us are familiar with it is
connected with courses leading to examinations.

Where people still equate curriculum with a syllabus, they are likely to limit their planning
to a consideration of the content or the body of knowledge that they wish to transmit.



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It used to be that there were certain skills to master and facts to know. Knowledge was
seen as something similar to a product that is manufactured. Generally, one starts
knowing nothing, is taught, and one transmits that knowledge to action. For the most
part, this point of view worked for quite some time, as it organized learning quite neatly.
There were a series of steps leading to the product, and curriculum could be designed
accordingly. Those steps were:

Step 1: Diagnosis of need

Step 2: Formulation of objectives
Step 3: Selection of content
Step 4: Organization of content
Step 5: Selection of learning experiences
Step 6: Organization of learning experiences
Step 7: Determination of what to evaluate, and the ways and means of doing it.

One problem with the product orientation is that students are generally left out of
the picture. The product model, by having a pre-specified plan or program, tends
to direct attention to teaching. For example, the focus is on: how the information
is given.



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By contrast, if we look at curriculum as "Process" the learners in this model are not
objects to be acted upon. They have a clear voice in the way that the sessions evolve.
The focus is on interactions. This can mean that attention shifts from teaching to
learning.

It need to be emphasized that "Curriculum as Process" is not a physical thing, but rather
the interaction of teachers, students, and knowledge. In other words,  
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What we have in this model are a number of elements in constant interaction. Teachers
enter particular situations with an ability to think critically; an understanding of their role
and the expectations others have of them; and a proposal for action that sets out
essential principles and features of the educational encounter. Guided by these, they
encourage conversations between, and with, people - out of which may come thinking
and action. They continually evaluate the process and what they can see of outcomes.
Lawrence Stenhouse (1975) produced one of the best-known explorations of a process
model of curriculum theory and practice. He defined curriculum tentatively: "A curriculum
is an attempt to communicate the essential principles and features of an educational
proposal in such a form that it is open to critical scrutiny and capable of effective
translation into practice."

He suggests that a curriculum is rather like a recipe in cookery. A curriculum, like the
recipe for a dish, is first imagined as a possibility, then the subject of experiment. The
recipe offered publicly is in a sense a report on the experiment. Similarly, a curriculum
should be grounded in practice. It is an attempt to describe the work observed in
classrooms. Finally, within limits, a recipe can be varied according to taste - so can a
curriculum.

Stenhouse shifted the ground a little bit here. He was not saying that curriculum is the
process, but rather the means by which the experience of attempting to put an
educational proposal into practice is made available.

When we come to think about this way of approaching curriculum, a number of possible
problems do arise. The first is a problem for those who want some greater degree of
uniformity in what is taught. This approach to the theory of curriculum, because it places
meaning-making and thinking at its core and treats learners as subjects rather than
objects, can lead to very different means being employed in classrooms and a high
degree of variety in content. As Stenhouse comments, the process model is essentially a
critical model, not a marking model.

The major weakness and, indeed, strength of the process model is that it rests upon the
quality of teachers. If they are not up to much, then there is no safety net in the form of
prescribed curriculum materials. The approach is dependent upon the cultivation of
wisdom and meaning-making in the classroom. If the teacher is not up to this, then there
will be severe limitations on what can happen educationally.

There have been some attempts to overcome this problem by developing materials and
curriculum packages that focus more closely on the "process of discovery" or "problem-
solving", for example in science. But there is a danger in this approach. Processes
become reduced to sets of skills - for example, how to do this and how to do that. When
students are able to demonstrate certain skills, they are deemed to have completed the
process. The actions have become the ends; the processes have become the product.
Whether or not students are able to apply the skills to make sense of the world around
them is somehow overlooked.



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First, this notion holds that practice should not focus exclusively on individuals alone or
the group alone, but pays careful attention to the way in which individuals and the group
create understandings and practices, as well as meaning.

For example, in sessions that seek to explore the experiences of different cultural and
racial groups in society, we could be looking to see whether the direction of the work
took people beyond a focus on individual attitudes. Are participants confronting the
material conditions through which those attitudes are constituted, for example?

Second, we could be looking for a commitment expressed in action to the exploration of

educators' values and their practice. Are they, for example, able to say in a coherent way
what they think makes for human well-being and link this with their practice? We could
also be looking for certain values - especially an emphasis on human emancipation.

Third, we could expect practitioners committed to praxis to be exploring their practice

with their peers. They would be able to say how their actions with respect to particular
interventions reflected their ideas about what makes for the good, and to say what
theories were involved.



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Curriculum is a social enterprise. Many educationalists believe that curriculum, as

practice, cannot be understood adequately or changed substantially without attention to
its setting or context.

Curriculum is contextually shaped. Of special significance here are examinations and the
social relationships of the school - the nature of the teacher-student relationship, the
organization of classes, tracking, and so on. These elements are sometimes known as
the hidden curriculum.

The learning associated with the "hidden curriculum" is most often treated in a negative
way. It is learning that is smuggled in and serves the interests of the status quo. The
emphasis on regimentation, on time management, and on tracking are sometimes seen
as preparing young people for the world of capitalist production. What we do need to
recognize is that such "hidden" learning is not all negative and can be potentially
liberating.

By paying attention to the social context, we learn about how important the spaces
between lessons really is; we can begin to get a better grasp of the impact of structural
and socio-cultural process on teachers and students. Many problems in schools are due
to the inability of teachers or school leaders to see the powerful factors behind learning.
Economics, social structure, family dynamics, power struggles, and the rest contribute to
the learning process.


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' : To reflect on Curriculum as Body of Knowledge/Product, as Process, as

Praxis, as Context through the use of a tool known as "Focused Freewriting."

We have examined 4 ways of approaching curriculum theory and practice:

* Curriculum as a Body of Knowledge/Product
* Curriculum as Process
* Curriculum as Praxis
* Curriculum as Context
1) Find a sentence or phrase within any of the previous few pages that captures
your attention. Re-type that sentence or phrase; put it in quotation marks; and tell
which section it came from: Curriculum as Body of Knowledge/Product, as
Process, as Praxis, as Context. Now, use that sentence or phrase as a trigger to
Write 2 - 3 paragraphs in length.

In Course 2 we have explored a great deal:

Instructional theories
Approaches to curriculum (knowledge/product, process, praxis, context)
Creating the context for students to think about thinking; and to safely learn
via classroom management

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1) From your new perspectives, discuss the educational systems in your community. Is
there anything in common with what you have learned so far? What might be different?

2) From your perspective, what positive changes in education are currently underway in
your community? What changes are needed?

3) How are you catalyzing positive change or actively participating in the process?

4) What kind of support/resources exist in your school, or nearby schools to help you
catalyze positive change in the two areas you've selected? (They may be in the form of
people, programs, institutional partnerships, monetary resources, internships, service
projects, databases of organizational resources available to you.) Describe some of
these resources and the concrete ways in which you can connect with them.

5) What challenges or obstacles do you face regarding the two topics you've discussed
in questions 1-4?

6) What kind of help do you need to overcome these obstacles?

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Reading 1: Classroom Management Tips

 
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Teacher control in the classroom has long been regarded in our national schools as a
characteristic of a competent teacher. This belief has led to the misuse of this control in
fear of giving the students a say in what goes on in the classroom for fear that the
students may feel reluctant to learn what the teachers want to teach them. However, this
strong teacher control policy is but the result of the teachers lack of knowledge of other
means (than control) to creating an environment that encourages learning.

Hence, follows a number of tips and suggestions for successful classroom management,
which guarantees classroom order and encourages students to be independent learners
who are self motivated.

Most important to successful classroom management is putting down a consistent

classroom routine and system. We, as teachers, must have clear expectations from our
students and these expectations should be explained and known to the students to help
them act in the different classroom situations. If a student is accustomed to a particular
system they usually carry out whatever tasks are required from them successfully.
Therefore, it is necessary that teachers should plan and design behaviour routines and
rules, with the help of their students, tasking into consideration classroom space as well
as their own classroom management style (see Classroom management style).
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In applying this routine the teacher should consider the following:

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How do students go into and out of the classroom? Each teacher can devise
their own system or follow the schools rules in this respect
How do you organise your seating order? Do you choose an order that
facilitates moving around and about the classroom; an order that allows
student interaction and an easy access to monitor students as they work in
groups?c
How do you expect the students to act when you ask them to work in groups?
Do you have a system that organises group forming activities?c
How do students meet their needs starting from sharpening their pens to
getting their material and tools? Does the student know what he has to bring
with him to class through a daily schedule? Does he know where to find the
material required for the activities? Does he know the system required to get
permission to move around? Does he need passes or does he raise his

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Many of the discipline problems arise from because of over punishment. This
is why it is recommended that teachers used reinforcement of positive
behaviour rather than punishment. Focusing on positive behaviour offers a
variety of modes of good behaviour that makes the student feel positive about
himself, the teacher and the classroom. c
Shortsightedness in choosing the punishment has a negative impact on the
classroom behaviour and the punishment system. For example, a
punishment like if you do not stop taking then all students will stay in for the
break is more likely to have a negative impact on those who have not talked
and discourage them from keeping order on other occasions.
If you were forced to punish a student, in order to correct his behaviour, it is
best to deprive this student of some privileges, the fact that leads you to the
question: Do my students have any privileges?c
Consistency is the best policy for reward and punishment. If you give a dead
line for collecting homework assignments, what will happen if you break this
deadline to enable students who have not handed in their work on time to
finish their assignments?
Do you know your students well? Another could perceive what a student
considers a privilege as a punishment. A bookworm my consider an extra
library hour a great privilege and attending the school basketball tournament
a punishment. Where an athletic student would feel terribly devastated by
rewarding him with an extra library hour. It is important that you do not punish
whom you want to reward and reward whom you need to punish.

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What do your students do while you take down their attendance?c'cDo you
start your lesson right away by putting an exercise for them on the board to
work at while you record their attendance?
What policy have you developed for students to get passes or permission to
go to the toilette?
Have you developed a reward system that encourages students to participate
in classroom activities?
What rewards and systems have you developed to encourage your students
to keep classroom discipline and tidiness? A teacher has suggested starting
the first day of class by involving students in developing a policy that
guarantees discipline and tidiness as well as classroom cleanliness. The
teacher brainstorms the kids as to what they can do to change this class into
a pit of dirt and disorder and jots down every singe suggestion. The teacher
then asks the students to make suggestions as to what they can do to
prevent this from happening and gradually helps them to form classroom
 rules for discipline and tidiness to which they all are committed.


 
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Do you show students work regularly on an exhibit board and reward those
whose work has been exhibited?
Are the sounds coming from the classroom filled with those of ideas being
generated? Idea generation is the key to developing student interest and to
stimulating student thinking.
What are the systems and mechanical procedures have you developed for
distributing and gathering material? Do you have a student appointed on the
head of each table for the job? How do you store your materials and mats so
that students can have access to them? c
Do you have assistant students to help you with the daily classroom
procedures?
Do you give the students a daily timetable in which you mention the books
and materials required for every activity?
Do you regard yourself and your physical existence in the classroom as an
effective classroom management tool?
Do you move freely around the classroom? The teacher should be difficult to
locate as the teacher is working with students at various positions throughout
the classroom. This method allows the teacher to help and encourage
students individually.
The teacher's voice should be respectful, genuine, warm and not controlling
or patronizing. The tone of voice is an important communication device.
Do you vary your tone of voice to maintain student attention and cast away
boredom?
Do you use eye contact effectively in eliciting what is going on in the students
minds and for checking their involvement in what takes pace in the
classroom?

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If you have all your materials and activities well organised and lined up, it is only natural
that transition from one activity to the other take space smoothly.
Do you plan your transitions carefully as to be coordinated with themes or units, they can
call for particular behavior or they can simply be an enjoyable way to pass the time.
Have in mind a goal for the transition - behavior, content or enjoyment - so that
appropriate behavior is encouraged.
Do you give clear instructions and break them down at the beginning of each activity in
order to avoid confusion and chaos?
Do you use body language to imply or usher the start of a new activity?
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Do you appoint roles to your students in each work group? Do you explain
what these rules imply and what you expect of each student? For example
one to gather the work while another chairs the discussion etc. c
Do you redistribute students roles to allow for rotation of jobs?
Do you write job descriptions for each job and give them appropriate position
names? (e.g. paper distributor etc..)
What are the rules you have established for distributing these jobs?
Do you aim at creating a healthy atmosphere of classroom communication
and interaction? Do encourage students to talk to each other ? Students
should address one another directly when discussion complicated issues with
the emphasis being on thoughtful dialogue.
Do you encourage group work and plan for it so as to enforce different skills
and foster the strong points of different students?

Good classroom management is not limited to designing a number of control and

discipline plans to prevent disorder, problems and organize relations between students
and transitions between activities. The learning process is a complex process and that is
why classroom management should also reflect the nature of this process. This requires
the teacher to be trained and practised in a number of strategies that creates a suitable
environment which provides the students, not only with learning opportunities, but also
with a healthy psychological and affective atmosphere that helps develop their
personalities.

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a- Sending Skill

Exchanging information is more effective when it takes place on the spot with
no delay.
Talk to your students directly instead of talking about them
Talk to your students with respect and sincerity
Express your full responsibility for what you say by using the personal
pronoun "I"
When dealing with a behavioural problem do not ask questions but address
the student in direct and straightforward sentences.c

b- Receiving Skill:

Use eye contact and be aware and experienced in using body language
effectively. When listening, use body language to express your thoughts and
feelings. (E.g. nodding or making facial expressions). cc
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 Despond by rephrasing what you have just heard from the student to ensure
him that you have been listening.

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To avoid misbehaviour in the classroom think deeply what causes this

misbehaviour to take place.
Examine the classroom quickly to spot the possible problems and avoid
them.
Take the initiative of enforcing active and positive communication through
praising good behaviour.
Deal quickly with misbehaviour that can hold the class back in order to leave
a positive spirit among the students. ccc
Remind your students of the rule they are breaking and emphasis that by
breaking the rules they are but choosing the logical consequences for their
actions. c

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Do you involve your students in evaluating their own work and your teaching?
Do you give the students a study guide to help them organize their thoughts
and focus their efforts while studying?
Do you vary your teaching approach and presentations to meet different
students' needs according to their different learning styles?
Do you choose suitable teaching materials, which are authentic and related to
your students' daily life, in order to motivate your students and guarantee
maximum participation?
Are you active, capable of arousing your students interest? Do you use
activities that attract the learners' attention and increases motivation? (Do not
forget that student involvement is the golden rule to discipline and good
classroom behaviour).
Reading 2: Bringing Classroom Rules to Life
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If we want children to get better at a musical instrument, what do we tell them?

PRACTICE! If we want them to get better at reading or math or spelling, what do we tell
them? PRACTICE! But if we want them to get better at developing self-control and
responsibility, then what do we tell them? BE GOOD! The step we too often miss is
PRACTICE! Children need opportunities, under the caring guidance and support of
adults, to practice these essential skills, over and over again, without criticism or
judgment.

Just because children can articulate the rules does not mean they will follow them. Far
from it. Elementary and middle school students are just beginning to learn self-control,
effective communication, responsibility, empathy, and the myriad other skills needed to
live and learn peacefully with others. To be successful, they need lots of
encouragement, support, and practice in applying the rules to a wide variety of
classroom situations.

Two key ways for students to practice the rules are (1) modeling and
(2) role-playing.

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If we expect students to walk when moving around the room, put away the sports
equipment, show interest when a classmate is speaking, or settle into their seats quietly
when they come to class late, we have to show clearly and directly what these actions
look like. Modeling is a good technique for doing this. It typically includes five steps:

&"c The teacher names the expected behavior and connects it to a classroom rule.

"We said that in our class we would respect people," Mr. C. says to the second grade
class. "One way to show respect is to listen attentively when someone speaks."

&"c0 The teacher (or a student) demonstrates the behavior.

Mr. C. has arranged ahead of time for Kesha to help with todays modeling. Now he says
to the class, "Kesha is going to talk about something that will be happening after school
tomorrow. Ill be the listener. Notice what I do."

Kesha makes an announcement about a dress rehearsal for a school play. Mr. C. listens
attentively.

&"c The teacher asks students what actions and expressions they noticed.
"What did I do to show that I was listening to Kesha?" Students respond, "You looked at
her," "You didnt move around," "You nodded your head," and "You smiled when she told
about the dog being on stage."

Mr. C. then asks students to reflect on the impact of his behavior. "How do you think
Kesha felt when I showed I was listening to her?"

"It probably felt good to her," "Like you really cared," "Like it mattered what she had to
say," students answer.

&"c2 The teacher asks for students (or additional students) to demonstrate.

Randy volunteers to share. Another student, Ariela, volunteers to be the listener. The
class watches Ariela as Randy shares. Afterwards, students tell what they noticed.

&"c3 The whole class practices the behavior.

"Lets all practice attentive listening now," Mr. C. says. "Ill share something with you and
you can all show how you listen."

After the practice, Mr. C. reflects with the class. "What did we do well? What might we
work harder at?"

Mr. C. lets students know that in the days to come hell be paying attention to how they
practice respectful listening as they go about classroom life.

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Role-playing is useful for practicing appropriate behavior in more complex social

interactions where students must choose from a wide range of possible behaviors. Good
topics for role-playing include sharing materials, including classmates in activities, and
supporting someone who makes a mistake. Role-playing allows the teacher to
acknowledge the complexity of these situations and give students practice in making
responsible choices. Heres an example:

&"c The teacher brings up a situation, connecting it to classroom rules.

Ms. B. says, "One of our classroom rules says to help each other learn. Lets talk about
what we might do or say to live up to this rule when someone makes a mistake."

&"c0 The teacher describes a scenario.

"Heres a scene," Ms. B. says. "A teacher is about to read a book about a famous
musician. But first she asks, Does anyone know who (this person) was?

"A student well call him Sashi - shoots his hand up. When the teacher calls on him, he
says, He was one of the first astronauts to go to the moon.
"Then another boy well call him Myles - yells out, No, its not this one, its that one!
Everyone in the class bursts out laughing."

Ms. B. asks the class, "How do you think Sashi would feel?"

"Terrible, embarrassed, really stupid," students answer.

Ms. B. also allows a brief exchange about where Myles might be coming from - maybe
he got excited because he doesnt often know the answer - and why the rest of the class
might have burst out laughing.

&"c The teacher starts the action, freezes it before the negative behavior occurs,
and asks for suggestions of positive behaviors.

"Lets act this out," Ms. B. says. She takes the role of Myles. One student volunteers to
be Sashi and another to be the "teacher."

The acting begins. Just after "Sashi" gives his incorrect answer and before "Myles" yells
out the correct one, Ms. B. says, "Freeze!"

With the action poised at this critical juncture, Ms. B. asks students what Myles and the
rest of the make-believe class could do to support Sashi.

"Myles could raise his hand and wait to be called before he says anything," "He could
say, I think you might be thinking about the famous musician. (Name) was a trumpet
player," and "He could use a calm voice, not yell or make a face," students suggest.

"Okay, lets act that out," says Ms. B.

&"c2 The actors act out students suggestions.

The actors rewind and act out the scene with Myles saying the suggested line calmly.

Ms. B. then asks, "What about the rest of the class? What could they do to be
supportive?"

One student suggests that the class should resist laughing even if Sashi himself starts to
laugh. The idea is acted out.

&"c3 The class role-plays the same issue using a different scenario.

If time allows and students continue to be attentive, Ms. B. might have students act out
another "mistake" scenario, such as someone misreading a word in front of others or
missing a catch in a kickball game.

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Will practicing the rules guarantee that students will live by them? No. There will still be
times when children forget or choose not to follow the rules. But when teachers allow
students time to think about and practice the rules, students pay more attention to the
rules. It sounds simple, but its true. Practice is as important to social learning as it is to
academic learning. As teachers, one of our greatest services is to be a "practice coach"
for learning and for life.

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Early in the year, the teacher and students name their hopes and dreams for school
that year. The students then come up with rules that will allow everyone to realize their
hopes and dreams. The teacher helps students frame these rules in the positive ("Use
kind words" instead of "No name calling," for example) and consolidate all their rules
into a short list of three to five easily remembered global rules.


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Through modeling, role-playing, and other techniques, the teacher helps students see
what the rules look, sound, and feel like in everyday classroom life. The teacher
constantly supports the rules with effective reinforcing, reminding, and redirecting
language.

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When students break the rules, one of the ways teachers respond is with logical
consequences. Logical consequences are nonpunitive. They help students recognize
the effects of their actions and fix any problems their actions may have caused.
Logical consequences are respectful of the student, relevant to the mistake, and
reasonable for the teacher to implement and the student to carry out.

 
 


 
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Reading 2: What Is the Collaborative Classroom?c

M.B. Tinzmann, B.F. Jones, T.F. Fennimore, J. Bakker, C. Fine, and J. Piercec
North Central Regional Educational Laboratory

Effective communication and collaboration are essential to becoming a successful

learner. It is primarily through dialogue and examining different perspectives that
students become knowledgeable, strategic, self-determined, and empathetic. Moreover,
involving students in real-world tasks and linking new information to prior knowledge
requires effective communication and collaboration among teachers, students, and
others. Indeed, it is through dialogue and interaction that curriculum objectives come
alive. Collaborative learning affords students enormous advantages not available from
more traditional instruction because a group--whether it be the whole class or a learning
group within the class--can accomplish meaningful learning and solve problems better
than any individual can alone.

This focus on the collective knowledge and thinking of the group changes the roles of
students and teachers and the way they interact in the classroom. Significantly, a
groundswell of interest exists among practitioners to involve students in collaboration in
classrooms at all grade levels.

The purpose of this article is to elaborate what classroom collaboration means so that
this grass-roots movement can continue to grow and flourish. We will describe
characteristics of these classrooms and student and teacher roles, summarize relevant
research, address some issues related to changing instruction, and give examples of a
variety of teaching methods and practices that embody these characteristics.



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Collaborative classrooms seem to have four general characteristics. The first two
capture changing relationships between teachers and students. The third characterizes
teachers' new approaches to instruction. The fourth addresses the composition of a
collaborative classroom.

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In traditional classrooms, the dominant metaphor for teaching is the teacher as

information giver; knowledge flows only one way from teacher to student. In contrast, the
metaphor for collaborative classrooms is shared knowledge. The teacher has vital
knowledge about content, skills, and instruction, and still provides that information to
students. However, collaborative teachers also value and build upon the knowledge,
personal experiences, language, strategies, and culture that students bring to the
learning situation.

Consider a lesson on insect-eating plants, for example. Few students, and perhaps few
teachers, are likely to have direct knowledge about such plants. Thus, when those
students who do have relevant experiences are given an opportunity to share them, the
whole class is enriched. Moreover, when students see that their experiences and
knowledge are valued, they are motivated to listen and learn in new ways, and they are
more likely to make important connections between their own learning and "school"
learning. They become empowered. This same phenomenon occurs when the
knowledge parents and other community members have is valued and used within the
school.

Additionally, complex thinking about difficult problems, such as world hunger, begs for
multiple ideas about causes, implications, and potential solutions. In fact, nearly all of the
new curricular goals are of this nature--for example, mathematical problem-solving--as
are new requirements to teach topics such as AIDS. They require multiple ways to
represent and solve problems and many perspectives on issues.
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In collaborative classrooms, teachers share authority with students in very specific ways.
In most traditional classrooms, the teacher is largely, if not exclusively, responsible for
setting goals, designing learning tasks, and assessing what is learned.

Collaborative teachers differ in that they invite students to set specific goals within the
framework of what is being taught, provide options for activities and assignments that
capture different student interests and goals, and encourage students to assess what
they learn. Collaborative teachers encourage students' use of their own knowledge,
ensure that students share their knowledge and their learning strategies, treat each
other respectfully, and focus on high levels of understanding. They help students listen
to diverse opinions, support knowledge claims with evidence, engage in critical and
creative thinking, and participate in open and meaningful dialogue.

Suppose, for example, the students have just read a chapter on colonial America and
are required to prepare a product on the topic. While a more traditional teacher might
ask all students to write a ten-page essay, the collaborative teacher might ask students
to define the product themselves. Some could plan a videotape; some could dramatize
events in colonial America; others could investigate original sources that support or do
not support the textbook chapter and draw comparisons among them; and some could
write a ten-page paper. The point here is twofold: (1) students have opportunities to ask
and investigate questions of personal interest, and (2) they have a voice in the decision-
making process. These opportunities are essential for both self-regulated learning and
motivation.

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As knowledge and authority are shared among teachers and students, the role of the
teacher increasingly emphasizes mediated learning. Successful mediation helps
students connect new information to their experiences and to learning in other areas,
helps students figure out what to do when they are stumped, and helps them learn how
to learn. Above all, the teacher as mediator adjusts the level of information and support
so as to maximize the ability to take responsibility for learning. This characteristic of
collaborative classrooms is so important, we devote a whole section to it below.

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The perspectives, experiences, and backgrounds of all students are important for
enriching learning in the classroom. As learning beyond the classroom increasingly
requires understanding diverse perspectives, it is essential to provide students
opportunities to do this in multiple contexts in schools. In collaborative classrooms where
students are engaged in a thinking curriculum, everyone learns from everyone else, and
no student is deprived of this opportunity for making contributions and appreciating the
contributions of others.

Thus, a critical characteristic of collaborative classrooms is that students are not

segregated according to supposed ability, achievement, interests, or any other
characteristic. Segregation seriously weakens collaboration and impoverishes the
classroom by depriving all students of opportunities to learn from and with each other.
Students we might label unsuccessful in a traditional classroom learn from "brighter"
students, but, more importantly, the so-called brighter students have just as much to
learn from their more average peers. Teachers beginning to teach collaboratively often
express delight when they observe the insights revealed by their supposedly weaker
students.

Thus, shared knowledge and authority, mediated learning, and heterogeneous groups of
students are essential characteristics of collaborative classrooms. These characteristics,
which are elaborated below, necessitate new roles for teachers and students that lead to
interactions different from those in more traditional classrooms.

 
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Teachers must define their roles in terms of dialogue and collaboration. While mediation
has been defined in different ways, we define mediation here as facilitating, modeling,
and coaching. Most teachers engage in these practices from time to time. What is
important here is that these behaviors (1) drive instruction in collaborative classrooms,
and (2) have specific purposes in collaborative contexts.

  
involves creating rich environments and activities for linking new information
to prior knowledge, providing opportunities for collaborative work and problem solving,
and offering students a multiplicity of authentic learning tasks. This may first involve
attention to the physical environment. For example, teachers move desks so that all
students can see each other, thus establishing a setting that promotes true discussion.
Teacher may also wish to move their desks from the front of the room to a less
prominent space.

Additionally, teachers may structure the resources in the classroom to provide a diversity
of genres and perspectives, to use and build upon cultural artifacts from the students'
homes and communities, and to organize various learning activities. Thus, a
collaborative classroom often has a multiplicity of projects or activity centers using
everyday objects for representing numerical information in meaningful ways and for
conducting experiments that solve real problems. These classrooms also boast a rich
variety of magazines, journals, newspapers, audiotapes, and videos which allow
students to experience and use diverse media for communicating ideas. In Video
Conference 1, for example, students were shown investigating science concepts using
everyday materials, such as paper and straw, found in their neighborhoods.

Facilitating in collaborative classrooms also involves people. Inside the classroom,

students are organized into heterogeneous groups with roles such as Team Leader,
Encourager, Reteller, Recorder, and Spokesperson. Additionally, collaborative teachers
work to involve parents and community members.

Another way that teachers facilitate collaborative learning is to establish classrooms with
diverse and flexible social structures that promote the sort of classroom behavior they
deem appropriate for communication and collaboration among students. These
structures are rules and standards of behaviors, fulfilling several functions in group
interaction, and influencing group attitudes. Particular rules depend, of course, on the
classroom context. Thus, teachers often develop them collaboratively with students and
review or change them as needed. Examples of rules are giving all members a chance
to participate, valuing others' comments, and arguing against (or for) ideas rather than
people. Examples of group functions are: asking for information, clarifying, summarizing,
encouraging, and relieving tension. To facilitate high quality group interaction, teachers
may need to teach, and students may need to practice, rules and functions for group
interaction.

Finally, teachers facilitate collaborative learning by creating learning tasks that

encourage diversity, but which aim at high standards of performance for all students.
These tasks involve students in high-level thought processes such as decision making
and problem solving that are best accomplished in collaboration. These tasks enable
students to make connections to real-world objects, events, and situations in their own
and an expanded world, and tap their diverse perspectives and experiences. Learning
tasks foster students' confidence and at the same time, are appropriately challenging.

 Modeling has been emphasized by many local and state guidelines as sharing
one's thinking and demonstrating or explaining something. However, in collaborative
classrooms, modeling serves to share with students not only what one is thinking about
the content to be learned, but also the process of communication and collaborative
learning. Modeling may involve thinking aloud (sharing thoughts about something) or
demonstrating (showing students how to do something in a step-by-step fashion).

In terms of content, teachers might verbalize the thinking processes they use to make a
prediction about a scientific experiment, to summarize ideas in a passage, to figure out
the meaning of an unfamiliar word, to represent and solve a problem, to organize
complicated information, and so on. Just as important, they would also think aloud about
their doubts and uncertainties. This type of metacognitive thinking and thinking aloud
when things do not go smoothly is invaluable in helping students understand that
learning requires effort and is often difficult for people.

With respect to group process, teachers may share their thinking about the various roles,
rules, and relationships in collaborative classrooms. Consider leadership, for example. A
teacher might model what he or she thinks about such questions as how to manage the
group's time or how to achieve consensus. Similarly, showing students how to think
through tough group situations and problems of communication is as invaluable as
modeling how to plan an approach to an academic problem, monitoring its progress, and
assessing what was learned.

A major challenge in mediating learning is to determine when it is appropriate to model

by thinking aloud and when it is useful to model by demonstrating. If a teacher is certain
that students have little experience with, say, a mathematical procedure, then it may be
appropriate to demonstrate it before students engage in a learning task. (This is not to
say that the teacher assumes or states that there is only one way to perform the
procedure. It is also important to allow for individual variations in application.) If, on the
other hand, the teacher believes students can come up with the procedure themselves,
then he or she might elect to ask the students to model how they solved the problem;
alternatively the teacher could give students hints or cues. (See below.)

Coach Coaching involves giving hints or cues, providing feedback, redirecting students'
efforts, and helping them use a strategy. A major principle of coaching is to provide the
right amount of help when students need it--neither too much nor too little so that
students retain as much responsibility as possible for their own learning.

For example, a collaborative group of junior high students worked on the economic
development of several nations. They accumulated a lot of information about the
countries and decided that the best way to present it was to compare the countries. But
they were stymied as to how to organize the information so they could write about it in a
paper, the product they chose to produce. Their teacher hinted that they use a matrix--a
graphic organizer they had learned--to organize their information. When the group
finished the matrix, the teacher gave them feedback. In so doing, he did not tell them it
was right or wrong, but asked questions that helped them verbalize their reasons for
completing the matrix as they did. The principle the teacher followed was to coach
enough so that students could continue to learn by drawing on the ideas of other group
members.

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Students also assume new roles in the collaborative classroom. Their major roles are
collaborator and active participator. It is useful to think how these new roles influence the
processes and activities students conduct before, during, and after learning. For
example, before learning, students set goals and plan learning tasks; during learning,
they work together to accomplish tasks and monitor their progress; and after learning,
they assess their performance and plan for future learning. As mediator, the teacher
helps students fulfill their new roles.

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Students prepare for learning in many ways. Especially important is goal
setting, a critical process that helps guide many other before-, during-, and and after-
learning activities. Although teachers still set goals for students, they often provide
students with choices. When students collaborate, they should talk about their goals. For
example, one teacher asked students to set goals for a unit on garbage. In one group, a
student wanted to find out if garbage is a problem, another wanted to know what
happens to garbage, a third wanted to know what is being done to solve the problem of
garbage. The fourth member could not think of a goal, but agreed that the first three
were important and adopted them. These students became more actively involved in the
unit after their discussion about goals, and at the end of the unit, could better evaluate
whether they had attained them.



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While teachers plan general learning
tasks, for example, to produce a product to illustrate a concept, historical sequence,
personal experience, and so on, students assume much more responsibility in a
collaborative classroom for planning their own learning activities. Ideally, these plans
derive in part from goals students set for themselves. Thoughtful planning by the teacher
ensures that students can work together to attain their own goals and capitalize on their
own abilities, knowledge, and strategies within the parameters set by the teacher.
Students are more likely to engage in these tasks with more purpose and interest than in
traditional classrooms.

Self-regulated learning is important in collaborative classrooms. Students learn to take

responsibility for monitoring, adjusting, self-questioning, and questioning each other.
Such self-regulating activities are critical for students to learn today, and they are much
better learned within a group that shares responsibility for learning. Monitoring is
checking one's progress toward goals. Adjusting refers to changes students make,
based on monitoring, in what they are doing to reach their goals. For example, a group
of students decided that the sources of information on the Civil War they selected initially
were not as useful as they had hoped, so they selected new materials. Another group
judged that the paper they had planned to write would not accomplish what they thought
it would the way they had organized it, so they planned a new paper.

Students can further develop their self-regulating abilities when each group shares its
ideas with other groups and gets feedback from them. For example, in the first video
conference, elementary students were shown collaborating in small groups to define and
represent math problems. Working in small groups, the children determined what was
being asked in story problems and thought of ways to solve the problems. Then each
group shared its ideas with the whole class. Members of the class commented on the
ideas. As students developed problem-solving skills with feedback from other groups,
they learned more about regulating their own learning which they could use in the future.

 While teachers have assumed the primary responsibility for assessing
students' performance in the past, collaborative classrooms view assessment much
more broadly. That is, a major goal is to guide students from the earliest school years to
evaluate their own learning. Thus, a new responsibility is self-assessment, a capability
that is fostered as students assess group work.

Self-assessment is intimately related to ongoing monitoring of one's progress toward

achievement of learning goals. In a collaborative classroom, assessment means more
than just assigning a grade. It means evaluating whether one has learned what one
intended to learn, the effectiveness of learning strategies, the quality of products and
decisions about which products reflect one's best work, the usefulness of the materials
used in a task, and whether future learning is needed and how that learning might be
realized.

Collaborative classrooms are natural places in which to learn self-assessment. And

because decisions about materials and group performance are shared, students feel
freer to express doubts, feelings of success, remaining questions, and uncertainties than
when they are evaluated only by a teacher. Furthermore, the sense of cooperation (as
opposed to competition) that is fostered in collaborative work makes assessment less
threatening than in a more traditional assessment situation. Ideally, students learn to
evaluate their own learning from their experiences with group evaluation.


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The collaborative classroom is alive with two-way communication. A major mode of

communication is dialogue, which in a collaborative classroom is thinking made public. A
major goal for teachers is to maintain this dialogue among students.

Consider examples of interactions in collaborative groups. Members discuss their

approaches to solving a math problem, explain their reasoning, and defend their work.
Hearing one student's logic prompts the other students to consider an alternative
interpretation. Students are thus challenged to re-examine their own reasoning. When
three students in a group ask a fourth student to explain and support her ideas, that is, to
make her thinking public, she frequently examines and develops her concepts for herself
as she talks. When one student has an insight about how to solve a difficult problem, the
others in the group learn how to use a new thinking strategy sooner than if they had
worked on their own. Thus, students engaged in interaction often exceed what they can
accomplish by working independently.

Collaborative teachers maintain the same sort of high-level talk and interaction when a
whole class engages in discussion. They avoid recitation, which consists primarily of
reviewing, drilling, and quizzing; i.e., asking questions to which the answer is known by
the teacher and there is only one right answer. In true discussion, students talk to each
other as well as to the teacher, entertain a variety of points of view, and grapple with
questions that have no right or wrong answers. Sometimes both students and the
teacher change their minds about an idea. In sum, interactions in whole group
discussion mirror what goes on in small groups.

Still a third way interactions differ in collaborative classrooms has been suggested
above. Teachers, in their new roles as mediators, spend more time in true interactions
with students. They guide students' search for information and help them share their own
knowledge. They move from group to group, modeling a learning strategy for one group,
engaging in discussion with another, giving feedback to still another.

 
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When teachers and schools move from traditional to collaborative instruction, several
important issues are likely to arise. They are important concerns for teachers,
administrators, and parents.

 
c
 Collaborative classrooms tend to be noisier than traditional

classrooms. This is a legitimate issue for a number of people. Some teachers believe
that noisy classrooms indicate lack of discipline or teacher control. In such situations,
they argue, students cannot learn.

Earlier in this essay we stressed that collaborative classrooms do not lack structure.
Indeed, structure becomes critical. Students need opportunities to move about, talk, ask
questions, and so on. Thus, we argue that the noise in a smoothly running collaborative
classroom indicates that active learning is going on. However, students must be taught
the parameters within which they make their choices. Rules and standards must be
stressed from the beginning, probably before any collaboration is initiated, and reviewed
throughout a school year.

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Teachers and administrators may
believe that new lesson plans must be formed for these classrooms. To a certain extent,
they are correct. But many teachers already have created engaging units and activities
that are easily implemented in a collaborative classroom. Furthermore, teachers can
begin slowly, making changes in one subject area or

unit within a subject area, probably one they are already very comfortable teaching, and
then add other subjects and units. Teachers can also share their plans with each other.
Indeed, if we expect students to collaborate, we should encourage teachers to do the
same! Principals and curriculum specialists can also collaborate with teachers to plan
effective segments of instruction. Moreover, there is a tradeoff between the extra
planning time needed and benefits such as less time correcting lessons, increased
student motivation, and fewer attendance and discipline problems.

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c&  We have touched on this concern in the
section on heterogeneous grouping. Nevertheless, many people will still doubt that
individual differences can be better addressed in collaborative classrooms than in
traditional classrooms with homogeneous grouping.

A major question people have concerns the advantage collaboration affords gifted or
high-achieving students. There are two tough issues here. First, many teachers do not
believe that low-achieving students have much to contribute to the learning situation; in
effect, that they have no prior experiences or knowledge of value. Second, teachers
worry that high-achieving students will be held back.

In response to the first issue, many collaborative teachers have expressed surprise
when seemingly less-able students had insights and ideas that went way beyond what
teachers expected. Further, if each student contributes something, the pool of collective
knowledge will indeed be rich. In answer to the second concern, data suggests that high-
achieving students gain much from their exposure to diverse experiences and also from
peer tutoring. Also, students who may be high achieving in one area may need help in
other areas.

Teachers and others also wonder whether shy students can fully participate in a
classroom that depends so much on dialogue. We suggest that these students might
feel more comfortable talking in small groups that share responsibility for learning.
Furthermore, interaction between learners can happen in ways other than oral dialogue,
for example, writing and art.

A related concern is that many schools are structured homogeneously so that an

individual teacher cannot form heterogeneous groups without involving changes in the
entire school. A whole class of "low" readers are taught by one teacher, "average" by
another. High school tracks are even more systematically entrenched. Clearly, these
practices are not conducive to collaborative learning and require system-wide
restructuring. Individual teachers or groups of teachers can initiate dialogue on the
problem, however.

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This concern is a difficult one to solve unless
major changes in other areas of schooling are also undertaken. Students are used to
being graded for individual work; parents expect to know how their students fare in
school. School staff and state departments depend on traditional assessments. In
collaborative classrooms, it is often difficult to assign individual grades. Some teachers
give group grades, but many students and parents are uncomfortable with these.

Ideally, assessment practices should be changed so that they are consistent with
collaboration, with a new view of learning and with a thinking curriculum. Video
Conference 4 addresses recent research and practice on assessment. In the meantime,
effective ways have been developed whereby individual students can be evaluated in
collaborative classrooms. We advise making individuals responsible for subtasks in
group work and then determining both group and individual grades.
cc  : Many teachers do not feel comfortable allowing students to initiate
dialogue, determine topics, or explore perspectives other than the teacher's. This
reluctance conflicts with the way effective caregivers teach their children in the home.
Teachers often have difficulty helping students construct meaning, especially linking the
new information to the prior knowledge and culture of the students. In part this is
because many teachers believe that their role is to transmit knowledge; in part it is
because they are held accountable for teaching discrete skills. In one poignant example,
a student teacher's concern for grammar and punctuation prevented her from seeing the
sophistication and meaning in what the child was actually communicating in a book
report.

The reluctance people feel when asked to make major changes in the way they do
things is clearly the most serious issue of those discussed here. Hardly a person exists
who eagerly gives up familiar ways of behaving to attempt something that is unknown
and is likely to have many challenges of implementation.

This problem requires leadership, support, and time to address. Staff development
needs to address teachers' concerns. We urge that educators first examine their
assumptions about learning and then consider new curriculum guidelines. There is an
intimate relationship among one's definition of learning, one's view of the content and
scope of curricula, and instructional practices. Examining one's assumptions honestly
and forthrightly, in a supportive group, often spurs educators to change. The already-
convinced must allow time for the less-convinced to reflect and grapple with implications
for the views expressed here. They must also accept the possibility that some educators
may not change. We are urging that students be treated with such respect; we must
urge the same respect for adults.

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UNESCO5 has provided a clear guide to what we do when we assess students. Briefly,
the teachers collect information:

about what students already know and can do

about what they do not know and cannot do
about what interests them
about what related experiences they have had
about what learning styles work best for them.

The students approach their learning with what they:

already can do
do not know
cannot or will not do
find that interests them
have experienced
have used to learn their learning styles

When the teachers know their students:

They can design of curriculum in order to achieve results.

They can develop rbrics (also called guidelines) that assess different aspects
of student work such as mastery of the material, or the ability to apply what
one has learned to real-life experiences.
The can see the value of - and know how to create - student portfolios, so
that students, their parents, and you can see a student's work over a period
of time, rather than relying upon tests alone.
They can build problem-based learning so that students can watch their own
progress as they tackle an important issue.
They can use templates and adapt them for your own classroom so that you
can expand your tool-belt of assessment practices.

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In this course, we will look at various types of assessments. We will also broaden our
understanding of assessment and evaluation with an exploration of the broader process
encapsulated in the acronym "A-REEF," which stands for:

ssessment

 eflection
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From 
 
: UNESCO TEACH, 2004
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 cvaluation

ffective  eedback

And like "a reef" in the ocean, this larger process of "Assessment, Reflection, Evaluation,
and Effective Feedback" is an abundant place teeming with life and possibility.

 
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To think about Assessment, imagine that you are casting a large fishing net into fertile
waters. After a while, you pull in the net to see what you've "caught."

Assessment is like collecting information - taking stock or making an inventory of what

you see - and then reflecting upon or processing that information.

What do you see enmeshed in the net? You reflect on what you've "caught" and use the
information to help you to decided what's next. For example, if students take a test or
complete a project (and with your rubric), you find few results in the net, you might
realize that individual students need help in certain areas OR if most of your students
come up with a scarce or barren net, you might consider revising your original lesson
plan or method of teaching.

Assessment, therefore, is about gathering information that ultimately informs your

teaching and helps students reflect upon their own process of learning.


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As you begin your exploration of A-REEF - "Assessment, Reflection, Evaluation, and

Effective Feedback" - consider the following:

Decide what you will monitor.

Decide how students can demonstrate what they know.
Discuss with students how they did on the assessments.

Then, let this process inform your teaching practice.


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Assessing student learning begins with clearly defined and attainable outcomes. Writing
learning goals and objectives helps you develop a set of performance expectations and
enables you to develop content appropriate for your instruction. You will learn how to
prioritize and organize learning goals that will be the foundation for establishing
objectives and outcomes. In addition, you will practice writing learning objectives to use
in developing effective assessment tools.
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This section is divided into three parts. The FIRST part defines what learning objectives
are and how you will use them to measure student performance. Here, we define
learning goals, learning objectives, and learning outcomes and explain why each is
important to assessing student learning

The SECOND part is a hands-on section for your individual instruction program. Here,
you will be asked to incorporate your previous experiences into a working plan of action.


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In creating such a plan, we must prioritize and organize learning goals, as well as
describe the behaviors to be demonstrated as a result of the instruction

In the THIRD section, you will have the opportunity to practice writing learning
objectives.


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Working out the details requires that we select Standards and Performance Indicators
for specific instruction. We also write learning objectives using the ABCD Model
(explained below). The following activities are designed to show you how.


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Learning objectives measure behaviors and anticipated outcomes as a result of some

kind of instruction.

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Before you write out the learning objectives, or determine a level of competence,
consider your instruction needs for the particular session you are planning.

Review the Information Literacy Competency Standards and the corresponding

Performance Indicators. Prioritize the Standards in order of importance to your
instruction session. These are your learning goals or key learning concepts.

Using the Performance Indicators, how will you personalize the National Standards to
meet your particular instruction needs?



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One way to think about writing learning objectives is a mnemonic device called The A
(audience), B (behaviors), C (conditions), Ds (degree) of Writing Objectives. Heres
what it looks like in practice, starting with the letter C.
 Conditions are always written first . . . With that in mind, here is an
example: 
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 Audience is the second part of the objective but the most important! Who
are you addressing? What are the individual learning needs as well as any group
needs? Example: 
  

3

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, 
 Behaviors are the third part of the objective. Example: 

# 

! 

 
 
! 

So, the students would:

Name the services available to help them with their information needs
Locate the library resources
Access the online catalog and index pages
Practice searching in the library



 Degree is the fourth part of the objective. As a teacher, you have to decide
what level (or degree) they are performing. Under what circumstances will the learning
take place? What skills will be demonstrated to show that learning occurred?

What is the expected level of accomplishment? Try to be as realistic as possible with

the degree of competence. You dont want to aim too low, but you want the tasks to
allow for a margin of error and improvement. In this case, the objectives of the lesson
will be met when students can access the indexes and the catalog.

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In this particular example of a learning objective, the verbs 


 


and#
represent activities and behaviors that are measurable. Often,
when writing learning objectives, we are tempted to use the words understand or
appreciate to say what the learner will be able to do. These are vague terms and not
easily measurable. For the most effective assessment of the learning experience, use
only measurable action verbs that clearly describe what you expect from the learner.



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State performance expectations (the degree or level of competence)

Measure specific behaviors with action verbs

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Blooms Taxonomy investigates three domains of learning:


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is demonstrated by knowledge recall and the intellectual skills:
Comprehending information, organizing ideas, analyzing and synthesizing data, applying
knowledge, choosing from alternatives in problem-solving, and evaluating ideas or
actions. This domain, from the simple recall or recognition of facts, as the lowest level,
through increasingly more complex and abstract mental levels, to the highest order
which is classified as evaluation.

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 arrange, define, state, label, list, memorize, name, order, recognize, relate,
recall, repeat, reproduce

 

  classify, describe, discuss, explain, express, identify, indicate, locate,
recognize, report, restate, review, select, translate


  apply, choose, demonstrate, dramatize, employ, illustrate, interpret,

operate, practice, schedule, sketch, solve, use, write

 analyze, appraise, calculate, categorize, compare, contrast, criticize,

differentiate, discriminate, distinguish, examine, experience, question, test



 arrange, assemble, collect, compose, construct, create, design, develop,

formulate, manage, organize, plan, prepare, propose

 
  appraise, argue, assess, attach, choose, compare, defend, estimate,

judge, predict, rate, select, support, evaluate

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is demonstrated by behaviors indicating attitudes of awareness,
interest, attention, concern, and responsibility, ability, to listen and respond in
interactions with others. This domain relates to emotions, attitudes, appreciation, and
values - such as enjoying, conserving, respecting, and supporting.

When working in this area, it is best to use verbs that fit the situation. For example, the
student 
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is demonstrated by physical skills; coordination, dexterity,
manipulation, strength, speed, etc.; actions which demonstrate the fine motor skills such
as use of precision instruments or tools, or actions with evidence gross motor skills such
as the use of the body in dance or athletic performance.

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You have developed a valuable skill for assessing student learning developing Learning
Goals, Objectives, and Outcomes.

The two steps you practiced to assess learning:

Clarifying performance expectations

Developing appropriately stated objectives based on those expectations
 
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Please answer the following:
1) Think of a lesson or activity that you need to teach in the coming week. Say what it is:

2) List and describe the behaviors you wish your students to be able to demonstrate as a
result of your instruction.

3) Create Learning Objectives - clearly defined and attainable outcomes for your
students. Think about your upcoming lesson through the lens of the "ABCD" model. Start
by writing down: "C" (the Condition). "Under what conditions will the learning take
place?" (Use the model given in "Assessing Student Learning," the article on the
previous page.)

4) Identify "A" (Audience). "Who are you addressing?"

5) Identify "B" (Behaviors). "What skills will be demonstrated to show that learning
occurred?" (Be sure to use some of the action verbs in Bloom's taxonomy - from the
article - to help you with this part.)

6) Identify "D" (degree). "What is the expected level of accomplishment?"

7) According to Bloom's ideas about cognitive, affective and psychomotor domains, state
which domain(s) your intended instruction is addressing and why?

8) Using the action verbs in Bloom's "Six Levels of Cognitive Learning" tell which action
verbs and categories you are using in your lesson/activity.

9) Next to each action verb (listed in #8 above) describe how you are going to address
that action verb. For example, if you write the action verb "List" write one sentence telling
what your students will be doing to address that verb, i.e. "I will show students a painting
and they will be asked to list 15 things they see in the painting: table, chairs, stars, a
house, etc."


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' : To connect your Learning Objective ABCD model with another
"start-with-the-ending" process called "Understanding by Design." This time, you will
consider an entire unit of study.

1) Think about an entire unit you need to teach in the next few weeks (i.e. "the Water
Cycle"). Name that unit below:

2) Using the Understanding by Design template (Please find the template in the Course
Readings section ( #3) at the end of this course as your guide, complete "Stage 1:
Desired Results" of the Understanding by Design template by writing your response
below:

3) Using the Understanding by Design template as your guide, complete

"Stage 2: Assessment of Evidence" of the Understanding by Design template by writing
your response below:

4) Expand on your initial ideas for "Stage 2: Assessment of Evidence" of the

Understanding by Design template by doing the Learning Objectives ABCD model for
this unit of study (as you did in PRACTICE 1 completing "C" and then "A, B, and D";
Bloom's domains - cognitive, affective, psychomotor; and action verbs) and write it
below:

5) Using the Understanding by Design template as your guide, complete

"Stage 3: Learning Activities" of the Understanding by Design template by writing your
response below:

6) Write 1 -2 paragraphs reflecting on the process of creating a unit of study in this

manner (steps 1 - 5 above).

7) How might you modify either the Understanding by Design template to suit your needs
or the Learning Objective ABCD model?

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We started this course with the image of a reef (and the acronym A-REEF) because a
reef is a place teeming with life and possibility, as is this process.
The first letter of the acronymn A -REEF stands for A ssessment.

Assessment is the process of gathering information about what students know and can
do. (Evaluating - the third letter in the acronym - is the process of interpreting and
making judgments about that assessment information.)

There are numerous assessment models. The three most often used are:

Observations, or information, gathered mainly through a student's daily work

via assignments, etc.
Performance samples, or tangible products that serve as evidence of student
achievement.
Tests and test-like procedures, or measures of student's achievement at a
particular time and place.

5 "cccc

Asking What do I know? What do I want to know? What have I learned? is an

informal way to assess students' knowledge and learning. Here are some
ways to approach the answers to those questions:
Student journal entries (pre and post) can be compared. If a focus question is
used in the journal, the post-unit question should have the same form, but
reflect time that has passed (i.e. "What do I know about [this topic]... now?")
 Interpreting a picture (drawing or photograph) of a scene before and after a
unit of study can be a tool of assessment. For example, students see a
picture of a woodland scene and are asked, "How would this scene change if
humans settled here?" Then students are asked the same question after
studying ecosystems and humans impacts on them. The students'
interpretations can be very revealing.
Document science attitudes and skills using a checklist system before a unit
and after it. In the same way, compare student data tables or lab reports from
the beginning of the year and the end.
A teacher or a student can perform the same simple task at the beginning
and at the end of a unit and the class can use the same worksheet to explain
or describe the task. The responses and explanations can be compared.
Have students create a concept map as a class and then compare it to the
map students make at the end of a unit. Accept both correct and incorrect
information for the first map. When the second map is created, try to reflect
all information gleaned from a unit of study and ferret out all inaccurate
information (without exposing students who provide incorrect information to
censure). Pose this as a process of discovery, not a search for an error-free
first document.
Student self-evaluations encourage self-reflection and better learning for
students. They can encompass a variety of formats. The content of self-
evaluations should never be graded. However, there is a kind of evaluation
that can be graded for depth of analysis - i.e., how seriously did you take this
task? Did you attempt to understand you own thinking and writing processes?
Were you able to contextualize your own acts as a writer and thinker within
course themes? The grade is for the application of insight and course themes
to his/her own practice.


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In addition to pre and post assessments, teachers can institute many other types of
alternative assessment.

Post-unit assessments can include "lab tests." Student interpretation of data (especially
data which they collected) can expose their understanding. Hands-on experiments that
replicate a process used in the unit allow teachers to measure ability to use skills that
were taught. Given certain materials, students can construct a model of the current topic
of study, i.e. the cell. Students could work alone or in pairs to design and/or carry out an
experiment.

A culminating activity such as a presentation, skit or teaching of others allows exhibition

of student learning. The teacher should use the rehearsal for the public activity as the
actual assessment, so that any nervousness won't hinder an accurate assessment of
students' knowledge.


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When you start using alternative assessment, start small. One example of this is to use
an old multiple choice question without providing the answers. This eliminates the
"guessing factor" for which multiple choice tests are famous.
Look for things that you already do to find evidence of students' thinking and learning.

Be realistic about the values of your school community.

If graded report cards are emphasized, be sure that you can translate your assessments
into traditional grades.

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' : To review forms of assessment you already use. To expand upon or try a new
assessment (or combination of assessments) for an upcoming lesson or unit of study.

1) List 7 different types of assessment you have used in your classroom practice.

2) Next to each one listed in #1, describe it further with a one-sentence description
giving a specific example.

3) Think of a unit of study or activity you have already done with your students. Say what
assessment tool you used. Describe other assessment tools you think could also be
useful that you may not have used for this instruction. (See examples from the previous
pages to stimulate your thinking.)

4) Think of a lesson or unit of study you will be teaching in the coming weeks. List all of
the assessment tools that might be helpful to use.

5) Next to each possible assessment tool you list in #4 (above), describe how it may be
helpful to you and your students.

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Students and their teachers create the assessment criteria and/or tools so that they are
meaningful and generate knowledge. Generative approaches to instruction use a wide
range of instructional strategies, including:

Student-teacher or student-student have a dialogue or conversation

individual and group summarizing
mechanisms for exploring multiple and differing perspectives
techniques for building upon prior knowledge
brainstorming and categorizing
 debriefing
general and content-specific problem-solving processes
team teaching
techniques for constructing mental models and graphic representations

All of these strategies encourage the learner to solve problems actively, conduct
meaningful inquiry, reflect, and build a repertoire of effective learning strategies.

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Instruction and assessment are integrated; assessment of the process and products
occurs throughout the instruction.

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Authentic assessment is geared toward assessment methods that correspond as closely
as possible to real world experience. The instructor observes the student in the process
of working on something real; provides feedback; monitors the student's use of the
feedback; and adjusts instruction and evaluation accordingly. Authentic assessment
takes this principle of evaluating real work into all areas of the curriculum.



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Assessments are meaningful, challenging experiences that involve presenting students
with an authentic task, project, or investigation, and then observing, interviewing and/or
examining their artifacts and presentations to assess what they actually know and can
do. For an example using mathematics, Alberta Education has developed a set of
hands-on tasks to assess problem solving and communication in mathematics.

Students circulate to six stations that contain hands-on materials: Seating Place
(numeration, analysis, use of model); Highway to Mathematics (measurement,
application); Solar Cylinder (geometry, application, analysis, synthesis); Ski Jumping
(graphing, numeration, data collections, analysis, interpretation); Bucket of Beans
(measurement, estimation); and Packaging (numeration, analysis, monitoring). It takes
about one-and-one-half hours for students to complete all the tasks in the circuit. The
same performance criteria are used for all performance tasks.

! Estimate the number of beans in the bucket.

/ c c  large bucket of beans magic markers tray small cup


 Using any estimating strategy or population sampling techniques, estimate
the number of beans in the bucket.

NOTE: Leave the station in the same arrangement it was set-up originally.

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1. Explain the strategy you used to estimate the number of beans.

2. About how many beans are there in the bucket?
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Beyond Analyzed and readily understood the Rich, precise and clear all the time
task. (mathematically correct, correct symbolism).

Developed an efficient and workable strategy. Representation is very perceptive (chart,

diagram, graph).
Showed explicit evidence of carrying out the
strategy. Explanations are logical and appropriate.

Synthesized and generalized the conclusion.

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c Appropriate most of the time, accurate, mostly
At Level Understood the task. clear.

Developed a workable strategy. Representation is accurate and quite

appropriate.
Inferred (some evidence) but not always clear.
Explanations are mostly clear and logical.
Connected and applied the answer.

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c Appropriate some of the time, but may not be

Not Yet At Partially understood the task. clear.

Appropriate strategy some of the time. Uses representation but not too precisely.

Possible evidence of a plan - not clear. Explanations have some clear parts.

Partial connection of answer.

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Totally misunderstood. Unclear or inappropriate use of symbolism.

Inappropriate, unworkable strategy. Incorrect use of representation.

No evidence of carrying out plan. Explanations are not clear.

No connections of answer. Blank.

Blank.


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When we hear the name, "portfolio," we often think of artists carrying around a large
valise of their creations, or of a business-person carrying around a thin briefcase of
financial papers. The portfolio in education is a powerful assessment technique, as well,
and includes evidence from one's work on major topics, successes, challenges, and
questions. The key word is evidence that can show - far more than tests - what students
know and what they need to do in order to improve.

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1. Examples of best work; the range of work (from satisfying to unsatisfying work); work
that shows growth.

2. Samples from each theme or unit or response to a large question.

3. Work displaying progress and the value of the course in moving the student along.

4. Evidence of insight - samples that show concepts being developed.

5. Student self reflections - why the student made certain choices; how the student
believes s/he is doing; what s/he wants to do in order to improve.


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A good question, serving as the central core of a course, is best combined with a
portfolio from individual students - or a team - to demonstrate progress.

Here are some examples of core questions:

1. How much trash is produced in a day in your community? Students would collect and
carry all of the trash they produce in a 24-hour period, then organize the trash into
categories, report the environmental problems that exist with each type of trash, and find
solutions for these problems. They must then devise an advertising plan to increase
public awareness about waste disposal. Finally, they must determine if they were correct
in their calculations or in the effectiveness of their campaign.

2. A tractor has stopped running. Why? How can it be restarted again and made useful?
Is it worth it? If the tractor were abandoned in favor of something else to do the work,
what would that be? How would it be accomplished? And, how could you use the old
tractor for other purposes? Where would it go if you're not using it?

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Below is a general outline for a portfolio's contents:

1. Table of Contents
2. A letter from student to the teacher explaining the contents.
3. Student reflections on his/her performance.
4. Best work and reason why the student has selected it.
5. Work the student is unsatisfied with, and reasons why.
6. Most improved work or work that shows growth.
7. Plan and commitment for improvement.
Portfolios are creative efforts and show the individuality of student work. They can take
many forms and should tap into the cultural themes of the students themselves.
Consider, too, how the forms below may fit into your subject:

Museum exhibit
Oral history
Documents
Diaries
Songs
Stories
Dances
Rituals
Film
Drawing
Interviews
Three-dimensional art work

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If we think about assessment as casting a net into fertile waters, reflection is about
looking at what we have gathered and letting it guide us for "what's next" in our work with
our students. The best way to illustrate this is with a story of a fourth grade teacher,
below:

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A fourth-grade teacher gave an end-of-the-year math test to her fourth-grade students
(she cast the net). That same teacher then pulled the net in and collated the information
into a meaningful format so that the fifth-grade teacher who would teach these students
in the fifth-grade year could learn from what the fourth-grade teacher had gathered.

By looking at and reflecting upon the information gathered by the fourth-grade teacher
(what questions students got correct and what questions they got wrong) the fifth-
grade teacher could see individual student's strengths and weaknesses, and group
strengths and areas the group needed to work on. The information gathered showed the
fifth-grade teacher what to focus upon in the fifth-grade math program right from the start
of the fifth-grade year.


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' : To experience how assessment information coupled with R eflection can inform
"what's next" in classroom instruction.
1) Imagine that you are the fifth-grade teacher about to receive new students into your
class. It's the beginning of the school year and you have just received the assessment
documents (from the previous page) from the fourth-grade teacher along with the actual,
end-of-the-fourth-grade-year mathematics test. List 5 things you notice about the
information that was gathered.

2) What might you focus on in math in the fifth-grade year knowing what you know about
how the students did as a class and as individuals on the end-of-the-fourth-grade-year
math assessment? Why? (1-2 paragraphs)

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By processing the information gathered by the fourth-grade teacher, the fifth-grade

teacher could see how to help certain students and in what areas because the fifth-
grade teacher not only had the assessment results, but the original test as well. The fifth-
grade teacher could also see that as a whole, the class was strong in computation skills,
but that they could use more practice with word problems involving math.

The fifth-grade teacher at this school did, in fact, create math curriculum and lesson
plans right from the start of the year to address the students' strengths and needs. The
fifth-grade teacher reinforced computation skills, briefly, and then quickly exposed her
new fifth-grade students to "problem-solving" experiences in math involving "real-life"
activities and math-based word problems.

This Teacher's Story is an example of how an end-of-the-year math assessment helped

another colleague to shape curriculum and focus lesson plans to meet the strengths and
needs of the students. This can be done throughout the school year: Casting the net to
gather information; reflecting upon the information gathered and letting it inform your
curriculum.

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Research in recent years has shown that learning improves significantly if students are
able to think about their thinking, or, in other words, learn about their learning.
Assessment methods that inspire this kind activity result in consistently higher
performance.

Here are some examples of how to help students reflect upon their own process of
learning:

1) Before turning in a paper or a project, ask students to reflect upon the process of
doing the paper or project. Have students submit their reflection in written form along
with their project.

2) After a Cooperative Learning, activity ask students to answer the following questions:
1) What did you notice about your participation in the cooperative learning group? 2)
What did you notice about how your group worked together?

3) Once students have taken a math test, let them grade their own tests with an answer
key. Have them reflect upon the types of problems they got right and the types of
problems they got wrong. Ask them to write "Math Notes" in their math journal:
acknowledging the types of problems they know how to do and encouraging themselves
or making note of what they need to work on.

4) Invite students to participate in the making of a rubric (guidelines); then have them
evaluate themselves once the paper or project is ready to be turned; ask them to provide
evidence or support for the scores they give themselves. As part of the rubric, ask them
to reflect upon their learning. (Do not grade content of the reflection, rather depth of
analysis.)

5) Student self-evaluations encourage self-reflection and better learning for students.

They can encompass a variety of formats. The content of self-evaluations should never
be graded. However, there is a kind of evaluation that can be graded for depth of
analysis - i.e., how seriously did you take this task? Did you attempt to understand your
own thinking and writing processes? Were you able to contextualize your own acts as a
writer and thinker within course themes? The grade is for the application of insight and
course themes to his/her own practice.

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' : To develop new ways in which you can help your students reflect upon the
process of their own learning.

1) List 3 things you have done in your classroom practice to help your students reflect
upon their own process of learning.

2) Next to each of the 3 things you listed in #1, add a sentence describing it further.

3) Think about an upcoming lesson or unit you need to teach in the next few weeks (i.e.
"Nutrition"). Name that unit below:

4) List and describe 3 opportunities you might give your students to reflect upon their
own learning during, and/or after the instruction.

5) Describe 1 new opportunity for student reflection you can do that you have not tried
before.

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Appreciative Inquiry is a process by which students can reflect upon a situation, their
learning, or group dynamics in a way that takes stock of all of the assets and positives of
a situation. In the sense that students are gathering information, Appreciative Inquiry can
be considered a form of group assessment.

After students have "cast their group net" (through the Appreciative Inquiry process),
together, they look to see what they have gathered. Then, they take the next step: they
reflect upon what they have gathered and use it to inform their learning and future
actions.

Here's an example of how Appreciative Inquiry:

1) Pose a question such as: "What is an example of an effective team experience you
have had either in or outside of school?"

2) Students tell their "peak" team experience stories.

3) Ask the students what these stories have in common; what qualities made each of
these teams successful or effective?

4) From these qualities and stories a rich metaphorical image might arise. You might
even help students to "see" the metaphorical image such as, "I think the way we're
describing our peak team experiences is like a grove of aspen trees. The trees look like
distinct units, but really underground their roots are interconnected and the grove is
really one living organism." From there you could talk about the strengths that each
student brings to your learning environment that affects the whole. Take inventory of
these strengths. List them on the board.

5) Whenever students need to work out a challenge or reflect on how they best learn as
a group, they can use the "aspen grove" metaphor (or whatever metaphor arose) and
apply it to the new learning moment at hand.

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We often begin by asking "What's the problem?" When you do that, you focus energy on
what we want less of and work to "fix" things. Appreciative Inquiry is about focusing on
what you want more of; knowing that what you want more of already exists; and
amplifying what strengths and assets a group already has.
With Appreciative Inquiry students are heard, seen, and appreciated. It also enables
students to be active participants in the thinking process and encourages them to
amplify what strengths or qualities they already possess towards their learning or class
environment.

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A rubric is a consistent form of evaluation applied to all students. Rubrics may be used
"as-is" or they may be combined and modified in any way that is appropriate for your
students. You may find it helpful to review the suggestions for evaluating and selecting
rubrics. These items may be used as a checklist.
A rubric is the right one for your school if:

1) It addresses the aspects of student work that you feel are most important

2) You and your colleagues can generally agree on the score that should be assigned to
a given piece of student work.
A good way to find out which rubric is best for you is to pick a few likely candidates; try
them out on actual examples of student work; and modify them if necessary. This is
often best done in a group setting, so all of the teachers who will be using the rubric can
be involved. It's worth taking your time to find a rubric that works well at your school
because that rubric will make scoring your students' work easier and quicker.

Most rubrics are focused on particular subjects and grade level(s); if available, that
information is often included in the rubric listing. Although subject areas and grades are
specified for many of the rubrics, you may find that some rubrics can be applied to other
subjects and grades with little or no modification; so if a rubric looks promising, don't be
too concerned about the stated grade level or subject. For example, reading rubrics may
often be used to assess listening, and writing rubrics can be used to assess speaking
content and organization (you would need to add scales for vocal delivery and physical
gestures and behavior).
Rubrics for art, music, drama, and dance may sometimes be used for a different art form
with little modification.

For example, an art rubric that deals with the artistic sensory elements of line, shape,
value, color, and texture might be used as a music rubric by substituting musical sensory
elements, such as rhythm, tempo, pitch, timbre, and dynamics.

If we think about assessment as "casting a net into fertile waters and gathering
information", a rubric is like the eyeglasses we create and use when we look into the net.
Rubrics help us to see; they help us to look for certain things we deem important.

A rubric can be issued from a pre-made template or inspired by a local committee,

school or national standards. A rubric can be created by a teacher or group of teachers.
It can even be co-created with students.

A rubric can be created before the instruction has taken place in keeping with the "start-
with-the-ending" design or during or after the instruction is complete if taking a
"constructivist approach."

If a rubric is created before the instruction, it will dictate what we see - or what we look
for in our fishing net. In this sense, the rubric becomes a bit like Escher's painting of the
"hand drawing the hand" in that the very rubric we use influences the instruction and the
teaching process itself.

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The advantages of using rubrics (guidelines) in assessment are that they:

Allow assessment to be more objective and consistent
Focus the teacher to clarify his/her criteria in specific terms.
Promote awareness about how their work will be evaluated and what is
expected.
Provide useful feedback regarding the effectiveness of the instruction.
Provide benchmarks against which to measure and document progress.
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' : To create a rubric for an upcoming project, activity, or assignment.

1) Name an upcoming project, activity, or assignment for your class.

2) Design a rubric using any of the rubric models from the previous two pages. Things to
Keep in Mind

Decide whether the rubric addresses the most important aspects of student
performance.
Decide whether or not the rubric addresses the instructional outcome(s) to be
measured.
Decide whether the rubric includes anything extraneous. If so, change the
rubric or use a different one.
Don't pay too much attention to the rubric's stated grade level. It may be
usable at other grades with little or no modification.
See if a rubric from a different subject area can be adapted to fit your needs.
Reading rubrics can often be used to assess listening; writing rubrics may be
adapted to assess speaking; and fine arts rubrics can sometimes be applied
to several different art forms.
Make sure the rubric is clear.

Feel free to combine or modify rubrics to make them work better.

3) Pick one item you disagree with from the original rubric you chose. Revise it to fit your
philosophy of learning. Explain the theory behind your disagreement, and how your
changes will promote student learning.

4) Now that you have created a rubric, try the rubric out on some actual samples of
student work. What do you notice?

5) Ask colleagues to use the rubric on the same samples of student work. See if you and
your colleagues can arrive at consensus about what scores to assign a piece of student
work. What do you notice?

6) How might you revise your rubric now?

7) Place your rubric below:

8) Reflect upon the process of creating a rubric using steps 1 - 7 from above.
(2 - 3 paragraphs)


 
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Steps:

1) Show students a copy of a simple rubric so that they know what a rubric is. For an
example, click here.

2) Give students the same rubric in #1 (above), but this time they'll see that it is an
empty rubric except for the title of the assignment (i.e. "I am From" poem) and
underneath the title it says, "What we are looking for." For an example, click here.

3) Explain to the students that you would like their help in making a rubric and that they
will not only participate in the making of the rubric, but that they will have a chance to
evaluate themselves, as well.

4) Tell students the name of the assignment or project you are creating a rubric for, i.e. "I
am From" poem. (For the first time, it should be an assignment or project that the
students have just completed.) Show them the words on the page that say, "What we
are looking for," and ask the students to fill in the blanks, listing what things they think
would be important to look for in evaluating this project. Have them write their responses
right on the sheet.

5) After the students have been given ample time to write their responses on their
individual sheets, ask students to share answers out loud with the group. List student
responses on the board.

6) Add any things you would like to have on the rubric as well, so that your thinking is
made visible too.

7) Tell the students that you will create a rubric using the ideas listed on the board, from
their sheets, and things you'll add as well. (Be sure to collect their sheets and to copy the
responses from the board.)

8) Type up the rubric using student input and your ideas. Create categories. For an
example of a student and teacher co-created rubric, click here.

9) Assign weighted points to the categories and then individual points for each item.

10) When the students complete the project, give them a copy of the co-created rubric
and instruct them to fill it out giving a point value to each item listed and supporting
evidence where asked. Also, have them write a reflection and instruct them to assign
points for their reflection based - not on content, but on the depth of their analysis.

11) Collect their assignments/projects and their completed, self-scored rubrics with
reflection.

12) Evaluate your students' work on a separate sheet of the same rubric and without
looking at the scores they have given themselves.

13) Note the areas of similarities and differences. Do this for yourself.
14) Give each student his/hers completed rubric and your completed rubric. Ask each
student to reflect on similarities in scoring and places where the scoring was different.
Have them reflect on these similarities and differences in a reflective writing piece. Tell
them that this is the place where "dialogue begins." If you can, conference with each
student and talk to him/her about their reflection and their process of evaluating their
own work.

15) To create another rubric, complete steps 1 -14. This time, however, create it together
before an assignment or project has begun.


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' : To co-create two rubrics with your students - the first is after they have
completed a project; the second is designed before you even start the instruction.
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1) Follow steps 1 - 15 from the previous page. Show the two co-created rubrics below:

2) Reflect on the process of designing these two co-created rubrics. What did you
notice? (1 - 2 paragraphs)

3) What did you notice about the process of evaluating with a co-created rubric? (1 - 2
paragraphs)

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(ssessment  eflectionc cvaluation ffective  eedback

Effective Feedback happens when students discover their own strengths and
weaknesses.

For example, when students take a test, provide an answer key and let them correct
their own tests. Ask the students to then write notes to themselves in a learning log
about what they got right and what they got wrong and what they noticed.

Effective Feedback happens naturally when students are engaged throughout the
evaluation process.

The very nature of Assignment 8 (from the last section) has a built-in feedback loop
because the students are continually engaged in the evaluation process from beginning
to end. The final student reflection is an act of discovery and it paves the way for
dialogue between teacher and student. The final student reflection, too, can serve as
effective feedback when conferencing with parents.

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As teachers, we have a choice about how to offer feedback to our students on specific
assignments. We can take the route of "the doubting game" the predominant western
model that includes "argument, debate, criticism, and extrication of the self" as a way of
knowing, or we can take the route of the "believing game," which challenges us "to
listen, affirm, enter in, try to put ourselves into the skin of people with other perceptions
and asks us to share our experience with others." In Writing Without Teachers Peter
Elbow discusses these two games - the need for both, and the realms in which each
game works best.

Most likely you will need to utilize a bit of both "games " in your role as a teacher. For
giving feedback on assignments, however, we emphasize the "believing game."

We ask teachers to develop and use their "believing muscle" - that is "to understand
ideas from the inside." As the educator - Peter Elbow - writes, "The believing game is
constant practice in getting the mind to see or think what is new, different...[the believing
game] emphasizes a model of knowing as an act of constructing, an act of investment,
an act of involvement..."

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What does it mean to "listen, affirm, enter in" when we speak of giving feedback to
students?

For starters, the important thing is to read your student's assignment thoroughly -
perhaps two or three times to allow the words to sink in and make an impression upon
you.

Then, tell what you experienced as a reader when you read your student's words.
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In this spirit of engagement, we have identified 4 Elements of Effective Feedback that

can be used when giving your students feedback on assignments. The first two elements
are inspired from Peter Elbow's work and are a part of exercising your "believing
muscle." The other two are developed from "what works" in coaching. They are as
follows:

1) Pointing
2) Summarizing
3) Posing 1 question for your Learner to consider
4) Offering 1 or 2 things for improvement

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As you read your student's completed assignment, here are the first two elements to
consider:

1) Pointing
2) Summarizing

Each are described fully by Peter Elbow in his book called Writing Without Teachers, a
book we highly recommend. The excerpts provided here are a useful starting point,
especially the section called "Giving Movies of Your Mind," which includes Pointing and
Sumarizing.
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Elbow writes: "Start by simply pointing to the words and phrases which most
successfully penetrated your skull...somehow they rang true; or they carried special
conviction. Any kind of getting through...Also point to any words or phrases which strike
you as particularly weak or empty. Somehow they ring false, hollow, plastic. They
bounce ineffectually off your skull."

"As a reader giving your reactions, keep in mind that you are not answering a timeless,
theoretical question about the objective qualities of those words on that page. You are
answering a time-bound, subjective but factual question: what happened to you when
you read the words this time."

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Tell your Learner "very quickly what you found to be the main points, main feelings, or
centers of gravity [in their writing]...Summarize into a single sentence; then choose one
word...Do this informally. Don't plan or think too much about it. The point is to show the
writer what things he made stand out most in your head."

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In your feedback , do not use words like "good", "great", "nice" or "bad." They are words
that do not help a person improve. For example, let's say you wrote a short story and
then you gave your short story to a friend or a colleague to read. If that person said,
"Hey, that story you gave to me to read was really good," you might perk up and feel
happy about the compliment, but it does not help you improve as a writer.

Feedback that would be more helpful is as follows:

1. "I read the short story you sent to me. The part where you talked about training your
dog made me laugh out loud: 'When I commanded the dog to give me his paw, he just
rolled over, yawned, and gave me his belly to rub.'" (Pointing/Movie of the Mind)

2. Another example of effective feedback is: "My mind started to wander when you
started talking about the cows. I tuned out for a while and then I was listening again
when you talked about crossing the river. At the description 'tree branches and rocks
swirled past me like a hurricane; the sky darkened to a coal-gray' I could feel my heart
starting to pound in my chest." (Pointing/Movie of the Mind)

3. An example of "summarizing" might be: "Home. The comfort of home - its foods,
smells, the conversations. Home is like an anchor for your character; it keeps her from
drifting off. That's what stays with me after reading your piece."

Responses 1, 2, and 3 from above are more valuable to you than the "good", "nice" or
"bad" comments of ineffective feedback because you are receiving specific information
about content - how something in your story affected that particular reader at that
particular time (Note: not all readers for all eternity, simply that reader at that time). As
the writer, you can then choose to re-write or keep those sections the reader pointed to.
That's up to you as the writer. You listen to the feedback and then you have control over
what you change or don't change.

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A natural extension of Elbow's "Giving Movies of the Mind" - Pointing and Summarizing -
are the third and fourth Elements of Effective Feedback:

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Tell your student what philosophical question his/her writing generates for you. What
does their completed assignment make you wonder about on a larger level? (Here, we
are not looking for rhetorical questions, rather questions that spark your curiosity.) You
might even start your question with the words "I wonder..."

An example might be: "After reading the line in your story, 'He never strayed too far from
home,' I wondered if the character was helped or hurt by staying so close to home his
whole life. What do you think?"

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The reason we say to give your student one (maybe two) things is this: If you highlight
one thing for improvement, then, the student can take that one thing, remember it, and
incorporate it for the future. In our experience, highlighting 3, 4, or more things to
improve upon can get overwhelming.

If there are more than 1 or 2 things that you think need improvement in content, keep a
written record for yourself of those things that need work and as future assignments
come in, check to see if those issues come up again. Chances are that the issue will
come up again and you'll have an opportunity to address it at that time. Also, hopefully,
you'll see that the 1 or 2 issues you highlighted for improvement have been taken care
of. Highlighting 1 or 2 issues keeps things manageable for the student.

For example, if your student stays general in his/her descriptions when answering a
question, your "1 idea for improvement" might be:

"When you talk about your classroom, give me a specific example to support your idea -
to make your thought come alive for me," or you might point to a specific part of the
writing and say "You wrote in your assignment, 'The children seemed curious.' What did
that look like, feel like, sound like, taste like, smell like? Filter your description through
the five senses."

Pointing to things that are effective in your Learner's completed assignment is another
way to guide him or her to give you more of that kind of writing where it is lacking. For
example, you could say: "When you wrote that 'Najib's hands were shaking and his voice
cracked when he read his paper to the class,' I felt like I was right there with you. Do this
same kind of descriptive writing - filtering through the senses - when you simply wrote,
'the children seemed curious.'"


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Here is a feedback form to use when giving your students the 4 Elements of Effective
Feedback for their assignments. Click on the Word icon below to access the form:
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If you choose not to use the form, you can also give feedback in 1 - 2 paragraphs,
however, be sure to include in your response to your student the 4 Elements of Effective
Feedback:

1) Pointing
2) Summarizing
3) Posing 1 question for your Learner to consider
4) Offering 1 or 2 things for improvement

In the last few pages, we have discussed the 4 Elements of Effective Feedback, a tool
that you can use in your classroom for giving students feedback. However, you can also
teach this form of effective feedback to your students so that they can give each other
helpful feedback while working in peer editing groups. For materials, click here.


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' : To use the 4 Elements of Effective Feedback as a tool for giving effective
feedback to 3 students on their writing assignments.

1) Collect completed writing assignments from 3 of your students. Use the form below to
provide feedback to each of your students (or address each of the 4 elements in 1 - 2
paragraphs of written feedback for each student):


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The poet, Kabir, once said, "Wherever you are is the entry point." That quote asserts an
alternative view from the "Start with the Ending" approach first offered at the beginning
of this course.

For A Teacher's Story that does not "start with the ending", but shows how a continually
engagement in the present moment helps both teacher and students to learn and grow
as they also assess, reflect, evaluate, (give and receive) effective feedback in a living
curriculum, click here or on the document below:


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' : To reflect on A Teacher's Story and a constructivist approach to assessment

through the use of a tool known as "Focused Freewriting."

1) Choose a sentence or phrase within A Teacher's Story (on the previous page) that
captures your attention. Re-type that sentence or phrase; put it in quotation marks. Now,
use that sentence or phrase as a trigger to do a "Focused Freewrite" 2-3 paragraphs in
length.
(Note: A Focused Freewrite is when you use a phrase or sentence from something
you've read as a trigger for free-form writing - that is, you write any thoughts, questions,
stories that come to mind as it relates to this phrase or sentence. Focused Freewrites
may end up 2-3 paragraphs in length, and sometimes you'll stick to the trigger topic and
sometimes your mind will wander into seemingly unrelated places. Give yourself
permission to move between "wandering" and coming back to writing about the topic.)

2) Choose a sentence or phrase within the William Ayers article (on the previous page)
that captures your attention. Re-type that sentence or phrase; put it in quotation marks.
Now, use that sentence or phrase as a trigger to do a "Focused Freewrite" 2-3
paragraphs in length.
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READINGS FOR COURSE 3ccc
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by Jill Hearne: New Horizons for Learning (www.newhorizons.org6) c

Assessment! For teachers, the word conjures up images of late night grading sessions
prior to report card deadlines. For principals, it conjures up phone calls from media and
parents demanding "bigger, better" scores. To a superintendent, the word "assessment"
is often related to job tenure. For students it signifies the judgment of others regarding
work they may or may not understand or care about. But assessment can have positive
connotations and consequences when it is used as a tool for learning. Sound
assessment should be both a barometer of how well things are progressing as well as a
compass indicating future direction.

Throughout the United States principals and district administrators engaged in

meaningful school reform are working with their communities to share assessment
information to guide decision-making about curriculum and instruction. The result is that
there is a shift from using assessment as a negative force in schools to a positive force
that builds a climate of reflection about what is going on in classrooms

When I was a principal, we had a social skills program where staff would give "coupons"
to students seen "doing things right" (i.e. being helpful good citizens). An ideal school
would treat assessment in the same way. Students, staff, and principals should be
rewarded for using assessment as a tool for learning rather than simply rewarding right
answers.

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The shift in consciousness from assessment data as organizational hammer to its use as
a tool in strategic planning is slow but critical if we in school are to truly develop learning
organizations. Recently a group of highly educated mainly Ph.D. parents assembled to
critique a new standards-based report card. Teachers had spent months laying out
developmental descriptions of reading, math and language skills with carefully worded
and ordered phrases such as: "recalls some story details", "recalls major story events",
"recalls relevant passage details", "summarizes passages concisely", "makes references
and draws conclusions". Each description defined a level of skill students could be
expected to attain in a particular age bond such as ages 5-7, 7 to 9 years, etc.

After studying this new report card form in some length, one of the parents raised his
hand and said, "Oh! So this is what you do in school?" This innocent and honest
question revealed for me the essential error those of us in school have made for all
these years. Our error has been the assumption that what we did as instructors was
clearly evident and known to all participants, students, parents and teachers.

cccccccccccccccccccccccccccccccccccccccc cccccccc
6
Jill Hearne. 

  4
New Horizons:
http://www.newhorizons.org/strategies/assess/hearne.htm
But in fact we have not been clear. We have not made it clear to students what is to be
learned, we have not made it clear to parents how well students are to perform, and we
have not agreed as educational communities on what learning or knowledge is of most
worth. Lacking consensus on knowledge, skills and understandings perhaps it is a
functional solution to be vague about data, about student learning (assessment
information).

As students are no longer being educated to perform rote tasks focused on knowledge
and understanding, so too must teachers be supported as they acquire adult learning
skills as creators and users of assessment information and not passive deliverers of
curriculum prepackaged by a distant textbook publishing company. The movement
toward teachers being makers and users of assessment data reflects the shift from
teacher as assembly line worker to lifetime learner (Bullard, p. 206)

Principals, teachers, students and the community can come together around sound
principles of assessment to create learning experiences that matter. Data on student
outcomes individually and collectively comes center stage as all the members of the
school community discuss three critical questions regarding quality. Staff and parents
ask themselves these same critical questions about quality that they can also use to
teach students to ask about their work:

What am I doing?
How well am I doing it? (in relationship to established criteria)
What do I need to do to improve? (Hearne, 1992)

A key question to ask is: "What is the match between what our goals are and how we
are assessing?"

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In student Involved Classroom Assessment, one teacher engages in a particularly useful

discussion about the match between assessment method and assessment targets. He
discusses the four main types of assessment methods: selected response (multiple
choice, true/false, matching, and fill in) essay, performance assessment and personal
communications.

For assessing knowledge and mastery, selected response methods are parsimonious.
They allow a quick, accurate inexpensive means of finding out what is known about a
subject or area. Essay responses can also show knowledge and also allow for
indications of reasoning proficiency.

Performance assessments are often too expensive and time consuming to be used at
the fact-recall-knowledge mastery level, but they allow for observation of skills during
performance and assess proficiency in carrying out steps in developing a product.
Personal communication has strength at each level from knowledge through skills,
product creation and disposition about learning, but is not efficient at each level.

Sound assessment results only when there is a clear purpose for assessment, clear and
appropriate targets, proper methods, an appropriate sample of the targets, and
elimination of bias and distortion in measurement. Some experts propose that these five
principles guide sound assessment practices.

Is the purpose of the assessment clear?

Is the target achievement clear and appropriate?
What methods do the target and purpose suggest are appropriate?
How can we sample performances appropriately, given target, purpose and
method?
What can go wrong, given target, purpose and method, and how can we
prevent bias and distortion?

When answered with understanding, this results in 



Those who
know the meaning of assessment quality with all of its nuances and know that one is
never justified in settling for unsound assessments are 



.

At the school level, understanding the match between method and student outcomes is
critical. Also critical is an awareness of audience. Who needs to know what information
and in what time frame? The needs of school board members are very different from the
needs of parents or students.

As you examine your assessment menu in your school, remember to include parents
and students in discussions of quality. Provide opportunities for each to truly
understand what is being measured, what evidence is considered proficient or "good
enough" and most importantly to see the link between the assessment and instructional
complications.

Unless assessment results can make issues of quality part of everyday conversation in
schools, they will not change instruction. This is where the assessment revolution is
actually taking place-- in the use of assessment data to drive decision-making. The
difference is that "data" takes on a richer meaning when that "data" is actual student
work instead of numbers representing a normative version of student work.

Certainly, normative data has a place, and there are clear advantages of using
normative data for program planning as well as building and district evaluation.
Consistency over time, ability to look at trend data, comparability between school
systems at a regional, state, or international level are a few of the benefits.


c "c 


Utilizing multiple measures of student learning that include actual student work builds a
community of learners. No one test or assessment can give a clear picture of student
achievement. Effective programs have used multiple measures, including classroom-
based evidence as part of their total accountability system.

Student work, however, becomes data when it is scored using commonly understood
criteria and reflected upon for the purpose of improving instruction. Not only is the
process of scoring student work an important process for members of a school
community to go through to communicate and internalize common standards, it is also a
powerful staff development tool for improving instruction.

A useful organizational structure for using student work as data is suggested here as a
seven step process schools can use to assess student learning.

Decide what skill cluster to assess and select a broad assessment that
captures more than one attribute of the domain.
Construct or use existing scoring guides or rubrics for the task.
Share the task and scoring criteria with staff.
Administer the task to students in a similar time frame.
Spend time discussing the scoring criteria and agreeing on anchor papers.
(Anchor papers are a few papers from each score point that represent the
quality expressed in the criteria.)
Rate the student's papers. It is often useful to have the papers noted by a
teacher who is not the students' own instructor for the subject.
Compare ratings, discuss and formulate implications for instructional delivery.
Data can be reported in terms of the percentage of students meeting the
criteria at the various points.

In using multiple measures one can get a clearer picture of student achievement over
time at the district and building level as well as at the student level. Examples of multiple
measures used by our schools include student work, classroom based assessments,
schoolwide assessments, as well as district and state assessments. Both normative and
standards based information is valued. Each school community matches its philosophy,
instructional strategies and assessments to its goals to accomplish its mission. While the
approaches at each site differ, this alignment drives school effectiveness.

In each school community there is an emphasis on multiple forms of data to answer

questions of process quality, and effectiveness. There is a continual search for evidence
that is student centered and captures the richness of each school experience. This
search for authenticity makes each person a learner. There is a shift from what some
experts call "accounting" for school achievement to authentic accountability, which
redefines the lines of responsibility from the blame game to interactive reciprocal
responsibility.



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When assessment results are used as a barometer to measure the strength of learning
and as a compass to show the direction of future action, all participants become
learners. . As the social and political context of schooling requires greater accountability
decision makers in schools must become more able to use information in all forms in the
best interest of students.

The new view of leadership in learning organizations centers on subtler and more
important tasks. In a learning organization leaders are designers, stewards and
teachers. They are responsible for building organizations where people continually
expand their capabilities to understand complexity, clarify vision and improve mental
models-- that is they are responsible for learning. (Senge, 1990.) Principals as learners,
teachers as learners, community members as learners are all part of this merging
paradigm of schools as dynamic rather than static organizations.

" c c

: Principals model learning and are themselves learners as they
seek better ways to structure school time, allocate resources and motivate staff.
Principals are the key to managing and creating the culture of reflective teaching that
expects and teaches to the concept of  
  
 



Principals can:

Utilize multiple measures to create a building based assessment system that links
classrooms and students over time.
Support teachers in their growth in assessment literacy through staff development.
Provide parent education opportunities to help parents understand assessment.
Work with local media to interpret various indices of school improvement in addition
to normative measures.
Support development of a building wide portfolio system that showcases student
work and moves from grade to grade.
Make the goals and objectives of school clear and give focused feedback to teachers
on how their classroom efforts support these goals.

Teachers as learners: Teachers are learners as they examine multiple measures of

student attitude and performance as well as indices of community satisfaction. As
students are no longer being educated to perform rote tasks focused on knowledge and
understanding, so too must teachers be supported as they acquire adult learning skills
as creators and users of assessment information. In the past, teachers were often
expected to be passive deliverers of curriculum prepackaged by a distant textbook
publishing company. The movement toward teachers being makers and users of
assessment data reflects the shift from teacher as assembly line worker to lifetime
learner

Teachers find themselves transforming their teaching as ongoing assessment reveals

how students approach tasks, what helps them learn most effectively, and what
strategies support their learning. The more teachers understand about what students
know and how they think, the more capacity they leave to reform their pedagogy, and
the more opportunities they create for student success. Teachers can:

Help students see what good work looks like by providing adequate models of
work that meets requirements, exceeds requirements and does not meet
requirements.
Provide students with frequent feedback on specific ways to improve.
Teach students self reflective skills which include the ability to see how their work
meets the standard and what they need to change to improve.
Work with parents on how to monitor work at home in a positive manner.
 Be 



in all they do. Share this with parents.
Design lessons with a clear view of the student outcomes expected.
Use grading practices that communicate about student achievement.

& c c

: Students are traditionally thought of as the only learners in
school. They are now able to use a variety of tools and resources to demonstrate
learning and reflect on their progress. Seeing examples of good work, discussing scoring
criteria or rubrics, and even creating templates to use in assessing their own and each
other's work develops their ability to identify and thus emulate good work. Students can:

Learn to value their own work.

Use rubrics to assess their work.
Reflect on how their work is like/different from the standard and state what they
need to do to improve.
Collect work over time and discuss it with an adult.
Learn the relationship between effort and outcomes.

Collectively, schools as learning organizations require a conceptual shift of power from

total assessment by external sources, (teachers, parents, tests) to shared assessment
both external and internal (student). In 
   (Glasser, 1990), the author
discusses the need for a shift in power from teacher- centered to student- centered
learning. Traditional beliefs about the relationship between teaching and student learning
must be discarded as the student is drawn into the power loop and learns to construct
indices of quality with the teacher.

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: At an individual school level, one of the first questions
you must ask yourselves as a school community is: "What are we assessing for? Are
we measuring that which is most worthwhile to our school community?

In "The Socrates Syndrome - Questions that should never be Asked" Campbell (1995)
suggests that true education is " a lifetime of seamless experience, connecting individual
episodes into an ever expanding web of meaning, insight and understanding." But he
acknowledges that asking the kinds of questions that make this true education possible
is threatening. People in schools are more willing to invest in magic bullets from
publishers than in the time to wrangle over questions such as:

What is so important that everybody must know?

Why does any test have a time limit?
What is the purpose of education?

Many school improvement models begin with these questions. Other useful models
begin with an analysis of goals and mission. Models such as these mirror the strategic
planning process used in business and industry by clarifying direction, selecting
indicators of progress, analyzing results, and using the information gained to inform
further improvement activities. Community members can:
 Read a variety of books on educational reform expressing different points of view.
Attend several school board meetings.
Visit their neighborhood school.
Learn about their state and district accountability system.
Become familiar with the types of assessments used in their community.

Authentic measures and sound assessment uses encourages learning at all levels of the
school community and focuses most directly on the student and the work. If you want
students to solve problems, have them solve problems. If you want the students to be
able to write a persuasive essay, have them do that. If you want students to
communicate mathematical understanding, then have them explain their process in
arriving at an answer.

In a standards based system, clear learning expectations make it easier to use

assessment data as an accountability tool. Everyone can become a learner as the
answers to the three critical questions of quality are collaboratively explored. 



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Reading 2: Toward Genuine AccountabilitycThe Case for New

Assessments (An adaptation)7
Imagine if playing a sport, each season, ended in a special test, on the last day of the
year, in which the players -- and coaches -- did not know in advance which drills they
would be asked to do. Imagine that they would not know how they performed until
months later. Imagine further that statisticians each year invented a different (and secret)
series of such "tests." Finally, imagine a reporting system in which the coach and players
receive the scores -- long after the season has ended -- without knowing exactly which
drills were done well and which were not.

The inevitable then happens (since these new test results would be reported in the
newspaper). Coaching becomes distorted in a nervous effort to address the test's form
and content. Coaches stop worrying about complex performance (i.e., real games)
entirely, to concentrate on having students practice drills -- at the expense of student
engagement and genuine learning.

 
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Tests simply are not the only way to determine if and how a student learns. Though tests
are necessary, they are not sufficient. Many tests are woefully sketchy; the feedback
comes much later; and the tasks may not reflect real achievement.

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cGrant Wiggens:  
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Edutopia: http://www.edutopia.org/php/article.php?id=Art_923&key=005
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There are additional ways. There are assessment systems we can build, based on
common-sense principles about how people improve and are motivated to improve. A
more responsive system based on helpful feedback to improve learning. A system that
makes local work and teacher judgment more central to state accountability. A system
designed to provide incentives for school renewal and built-in professional development
each year for  teachers. A system which will inspire more creative teaching instead of
more fearful compliant behavior.

My blueprint for changes in assessment practices in communities would accomplish

eight distinct tasks at the heart of genuine (vs. illusory) accountability. It would:

Measure student performance against state standards in credible, user-

friendly ways, where how we test and the content we test have greater fidelity
to instructional aims and state standards;
Provide teachers and students with timely, effective, and helpful feedback, to
enable progress toward meeting standards;
Ensure that teachers of all grade levels and subject areas work as a team to
meet standards responsibly and responsively;
Provide parents with user-friendly and helpful information about how their
students are doing now, what the long-term trends are, and guidance on how
parents can help students improve performance;
Be minimally intrusive (by not over-relying on time-consuming, one-shot, tests
with no value for current teaching and learning);
Constantly strengthen and offer incentives for high-quality local student
assessment;
Provide incentives for local districts to continually improve student
achievement;
Enable policymakers at the state and local level to know how students are
doing in reference to all the state standards, and have confidence in the
results.

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I do not profess to have all the answers about the "what" and the "how." Necessary
details await future inquiry, discussion, experimentation, and ownership of the plan by 
key constituencies. The key assumption is that local assessment should be a key feature
of any statewide accountability plan. The cornerstone of the system would be a 




 

 a collection of evidence in relation to local or national tandards, to be
scored against common criteria and performance standards on a yearly basis by
regional teams of educators. The work contained in the Folder would include:

Test data from state standardized tests in literacy and numeracy.

Test data from district-mandated national standardized tests.
Results from locally-scored state-approved writing prompts and performance
assessment tasks. The tasks and prompts would be drawn from a state
 database of assessments, administered locally by educators at any time
during the school year.
Results from all relevant locally-designed assessments.

The proposed system requires a very different view of professional responsibility, not
only extensive training. The proposed plan -- indeed, any plan worthy of being called a
 #


assessment system -- can only be realized if the job of teaching is
defined as requiring various non-contact days given over explicitly to student
assessment, and if school schedules and policies are designed to make such work
possible. Rather than thinking of "professional development" as a series of random days
devoted to in-service training, we must redefine the job of teaching to include scoring
student work and adjusting teaching in light of analysis of results -- for which time is
allocated.

The other pressing need is for adequate resources at the state level to ensure that a
state Web site offers comprehensive guidance in how the system should operate, a
library of user-friendly print and video resources on how to improve assessment, and
detailed instructions on how staff can interpret Folder results usefully. More generally,
the state needs to get more into the business of providing models of exemplary
assessment than in merely calling for local districts to figure out local assessment on its
own. We call for a blue-ribbon committee that represents all major state constituencies
to develop the full blueprint for the system we have only sketched.


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A set of five guiding principles underlie our proposal. These principles serve as useful
criteria, in other words, against which the specifics of this 

 



 -- should be judged:

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principle exposes the weakness of  current state testing systems. Because the
principle implies that students, teachers, and administrators must receive timely, on-
going, and user-friendly feedback, in response to credible performance challenges.

Focused and accountable teaching requires on-going assessment of the core aim of
schooling: whether students can wisely use and reflect upon, not just recall, knowledge
in simulations of complex adult intellectual tasks. Only by ensuring that the assessment
system 

 genuine performance, in other words, will student achievement and
teaching be improved over time. And only if the assessment system holds all teachers
responsible for results can the system improve (as opposed to high-stakes testing in four
of the twelve years of schooling).

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assessment plan must be credible to all key constituencies. It must therefore provide
"triangulation" of local and state data, robust and helpful feedback to educators on
clearly worthwhile tasks, and intelligible information to laypersons.
Genuine accountability also requires credible assessment tasks -- work that more
directly reflects the language of the standards and the reality of adult life. More real-
world assessment and assessment more faithful to good instruction are key to getting
beyond local excuses for test results.

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c$% Local  better in all walks of life. Standards are always upheld or
not at the local level, day in and day out. The state can neither afford to assess each
student on all important pieces of work, all year long, nor is it wise for the state to do so.
An effective state assessment system thus focuses resources and policy on ensuring
that   assessment becomes more sophisticated, rigorous, and self-correcting. That
goal is best accomplished by putting more authority, not less, in local hands; while also
ensuring, however, that local assessors meet standards for assessment and intervention
based on results, and where they have incentives to 
about state standards and
good local assessment.

Our proposed system is built upon this logic: trust teams of educators regionally with the
responsibility of scoring work -- for all subject areas. Make results public, and framed in
terms of standards. Then, verify local and regional scoring through a variety of audit
systems. Students, teachers, parents, and board members can thus have confidence
that the local community will not be surprised by state assessment results.

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the quality of local tests, standards, grading, and reporting. Teachers cannot
respond in an informed, timely, and effective manner to test results if they are left out of
the assessment design and scoring loop.

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principles of the Quality movement in business over the past two decades (as articulated
by W. Deming) are "Drive out fear" and "No quotas." The point is to ensure that staff is
driven by the right incentives to understand their job is   # 

 and to
be rewarded for creative solutions to making progress toward meeting standards.

By contrast, teachers now avoid creative teaching in fear of test score declines. The
secrecy at the heart of "secure" testing ensures that dread, not imagination, will drive
teaching. By failing to provide genuine incentives for the improvement of local
performance, we further promote the on-going atrophy of site-level accountability and
high-quality local assessment.

The five principles help show why current state accountability tests are insufficient to
improve student and teacher performance. Current state plans quite properly put local
educators on notice about local performance against state standards. But audit testing,
in a few grades at year's end, using secret tasks, is inherently unable to improve
teaching and learning day in and day out in all classrooms, as my proposal is designed
to do and any attempt at fair and comprehensive reform must do.
 
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Stage 1: Desired Results


 
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Stage 2: Assessment of Evidence

What evidence will be collected to determine whether or not the understandings have
been developed, the knowledge and skills attained, and the standards met? (  

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Stage 3: Learning Activities

What sequence of learning activities and teaching will enable students to perform well at
the understandings and display evidence of the desired results?

Lesson One:

Lesson Two:

Lesson Three:

Lesson Four:

Lesson Five:
Lesson Six:

Lesson Seven:

Lesson Eight:

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= Performance assessment, also known as alternative or authentic
assessment, is a form of testing that requires students to perform a task rather than
select an answer from a ready-made list. For example, a student may be asked to
explain historical events, generate scientific hypotheses, solve math problems, converse
in a foreign language, or conduct research on an assigned topic. Experienced raters--
either teachers or other trained staff--then judge the quality of the student's work based
on an agreed-upon set of criteria. This new form of assessment is most widely used to
directly assess writing ability based on text produced by students under test instructions.

c &c
c;= Following are some methods that have been used successfully
to assess performance:

Open-ended or extended response exercises are questions or other prompts

that require students to explore a topic orally or in writing. Students might be
asked to describe their observations from a science experiment, or present
arguments an historic character would make concerning a particular
proposition. For example, what would Abraham Lincoln argue about the
causes of the Civil War?

Extended tasks are assignments that require sustained attention in a single

work area and are carried out over several hours or longer. Such tasks could
include drafting, reviewing, and revising a poem; conducting and explaining
the results of a science experiment on photosynthesis; or even painting a car
in auto shop.

Portfolios are selected collections of a variety of performance-based work. A

portfolio might include a student's "best pieces" and the student's evaluation
of the strengths and weaknesses of several pieces. The portfolio may also

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8
Reprinted by permission, from 
   * 4  

+
 
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-





 
, copyright 1989, California Department of Education, P.O. Box 271,
Sacramento, CA 95812-0271
 contain some "works in progress" that illustrate the improvements the student
has made over time.

These methods, like all types of performance assessments, require that students
actively develop their approaches to the task under defined conditions, knowing that
their work will be evaluated according to agreed-upon standards. This requirement
distinguishes performance assessment from other forms of testing.

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Because they require students to actively demonstrate what they know, performance
assessments may be a more valid indicator of students' knowledge and abilities. There
is a big difference between answering multiple choice questions on how to make an oral
presentation and actually making an oral presentation.

More important, performance assessment can provide impetus for improving instruction,
and increase students' understanding of what they need to know and be able to do. In
preparing their students to work on a performance task, teachers describe what the task
entails and the standards that will be used to evaluate performance. This requires a
careful description of the elements of good performance, and allows students to judge
their own work as they proceed.

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. Research suggests that learning how and where information can be
applied should be a central part of all curricular areas. Also, students exhibit greater
interest and levels of learning when they are required to organize facts around major
concepts and actively construct their own understanding of the concepts in a rich variety
of contexts. Performance assessment requires students to structure and apply
information, and thereby helps to engage students in this type of learning.

-!


. Performance assessments should be based on the curriculum
rather than constructed by someone unfamiliar with the particular state, district or school
curriculum. This allows the curriculum to "drive" the test, rather than be encumbered by
testing requirements that disrupt instruction, as is often the case. Research shows that
most teachers shape their teaching in a variety of ways to meet the requirements of
tests. Primarily because of this impact of testing on instruction, many practitioners favor
test reform and the new performance assessments.

  
. Performance tasks should be "worth teaching to"; that is, the tasks
need to present interesting possibilities for applying an array of curriculum-related
knowledge and skills. The best performance tasks are inherently instructional, actively
engaging students in worthwhile learning activities. Students may be encouraged by
them to search out additional information or try different approaches, and in some
situations, to work in teams.

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These positive features of performance assessment come at a price. Performance
assessment requires a greater expense of time, planning and thought from students and
teachers. One teacher reports, "We can't just march through the curriculum anymore. It's
hard. I spend more time planning and more time coaching. At first, my students just
wanted to be told what to do. I had to help them to start thinking."

Users also need to pay close attention to technical and equity issues to ensure that the
assessments are fair to all students. This is all the more important as there has been
very little research and development on performance assessment in the environment of
a high stakes accountability system, where administrative and resource decisions are
affected by measures of student performance.

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A teacher who uses systematic rating procedures, keeps records of student
performances on tasks, and actively involves students in keeping journals
and evaluating their own work.

Teachers who create new curriculum focused on standards and an

assessment linked to the curriculum. Many use a portfolio, a "best piece"
from the portfolio, and a set of performance tasks.

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7



  






   

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(Chapter 49, Verse 13)

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We live in a time when the appreciation of learning styles and multiple intelligences on
an individual level has deepened our work with our students and our understanding of
education.

We also live in a time when we have unprecedented access to technological tools by

which we can share our cultures on a global level. Ironically, throughout the world,
however, we are experiencing an alarming decline in cultural richness. Indigenous
cultures are being diminished or wiped out, and with them we lose valuable medical
traditions, solutions to problems, the richness of art. We lose a diversity in points of view.

Just as we seek to preserve the biosphere in order to ensure a sustainable planet, we

must seek to preserve the ethnosphere. It is imperative that we consider cultural learning
and celebration as a central feature of our teaching.



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In Course 4:

We will discuss the purpose, preparation, and practice of your own

multicultural competence in the classroom including: Understanding your role;
understanding your students; developing a "sensitive eye" and developing a
muscle for paradox.
We will explore tools for understanding and connection - on the individual
level, in classrooms, communities, and cultures - through the use of multiple
intelligences, cooperative learning, webquests, service learning, art and
story-making.
We will discuss how to create and sustain connections with classrooms
around the world through technology.

  
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Some discuss multicultural education as a shift in curriculum, perhaps as simple as
adding new and diverse materials and perspectives to be more inclusive of traditionally
under-represented groups. Others talk about classroom climate issues or teaching styles
that serve certain groups while presenting barriers for others. Still others focus on
institutional and systemic issues such as tracking, standardized testing, or funding
discrepancies. Some go farther still, insisting on education change as part of a larger
societal transformation in which we more closely explore and criticize the oppressive
foundations of society and how education serves to maintain the status quo.
Despite a multitude of differing conceptualizations of multicultural education, several
 

ideals provide a basis for its understanding. While some focus on individual
students or teachers, and others are much more "macro" in scope, these ideals are all,
at their root, about   .

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Every student must have an equal opportunity to achieve to her or his full
potential.
Every student must be prepared to participate competently in an increasingly
intercultural society.
Education must become more fully student-centered and inclusive of the
voices and experiences of the students.
Teachers must be prepared to effectively facilitate learning for every
individual student, no matter how culturally similar or different from her - or
himself.
Schools must be active participants in ending oppression of all types; first by
ending oppression within their own walls, then by producing socially and
critically active and aware students.
Educators, activists, and others must take a more active role in re-examining
all educational practices and how they affect the learning of all students:
testing methods, teaching approaches, evaluation and assessment, school
psychology and counseling, educational materials and textbooks, etc.


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List which ideals of Multicultural Education (previous page) fit with your current attitude
towards and method of teaching. Next to each ideal you list, write a phrase or sentence
that triggers a thought or anecdote (story) for you.
Choose one ideal from your list and expand upon it. Write a paragraph
describing the situation - the learning moment - what happened when that
ideal was applied in your own teaching or in observing another teacher in
action.
From the list you've created, choose another ideal and describe an example
in your own teaching or in observing another teacher that tells the story of
what happened when this concept was not applied.

Look at the original ideals list. Are there any ideals you disagree with in part
or its entirety. Explain why.
If you were to add 1 more "ideal" to the original Multicultural Education list,
what would that new ideal be?
Write a 2-3 sentence short description for that ideal.
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The following list of Goals of Multicultural Education is adapted from the work of
Hernandez, Multicultural Education: A teacher's guide to content and process, 1989:

To have every student achieve to his or her potential.

To learn how to learn and to think critically.
To encourage students to take an active role in their own education by
bringing their stories and experiences into the learning scope.
To address diverse learning styles.
To appreciate the contributions of different groups who have contributed to
our knowledge base.
To develop positive attitudes about groups of people who are different from
ourselves.
To become good citizens of the school, the community, the country, and the
world community.
To learn how to evaluate knowledge from different perspectives.
To develop an ethnic, national, and global identity.
To provide decision-making skills and critical-analysis skills so the students
can make better choices in their everyday lives.

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When thinking about creating content, the following principles may serve as a guide:

The selection of subject matter content should be culturally inclusive, based

on up-to-date scholarship. This inclusivity should incorporate opposing
opinions and divergent interpretations.
The subject matter content selected for inclusion should represent diversity
and unity within and across groups.
The subject matter selected for inclusion should be set within the context of
its time and place.
The subject matter selected for inclusion should give priority to depth over
breadth.
Multicultural perspectives should infuse the entire curriculum, pre K-12.
The subject matter content should be treated as socially constructed and
therefore tentative - as is all knowledge.
The teaching of all subjects should draw and build on the experience and
knowledge that the students bring to the classroom.
Pedagogy should incorporate a range of interactive modes of teaching and
learning in order to foster understanding (rather than rote learning),
examination of controversy, and mutual learning.
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by Paul C. Gorski for EdChange and the Multicultural Pavilion

  
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1. Everyone agreeing and getting along 1. Naming and eliminating inequities

2. Applicable to Language and History 2. Comprehensive approach for making

education more inclusive, active, and
engaging in all subject areas

3. Process of watering down good 3. Process for presenting all students

curriculum with a more comprehensive, accurate
understanding of the world

4. Related only to curriculum reform 4. Related to all aspects of education

including pedagogy, counseling,
administration, assessment and
evaluation, research, etc.

5. Only for teachers and students of color 5. For 44 students and educators

6. Achieved through a series of small 6. Achieved through the reexamination

changes and transformation of all aspects of
education

7. Modeled through cultural bulletin 7. Modeled through self-critique, self-

boards, assemblies, or fairs examination, and cross-cultural
relationship-building

8. Responsibility of culture-based student 8. Responsibility of teachers,

clubs or organizations administrators, and school staff

9. A single in-service workshop 9. An on-going commitment


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-adapted from Edchange , by Paul Gorki: University of Virginia
(http://www.ccc.commnet.edu/faculty/~simonds/multicultural.htm)

1) It is important to be aware of one's own identity and how one expresses it.

2) It is important to ask questions of others to find out if I am being sensitive to their

needs. It is important to invite feedback about how I am being perceived.
3) It is important that I see what the results may be of my actions in terms of who may be
excluded or included. I must consider all my students as equals, so if my actions favor
one kind of student over another, I am discriminating and must change my behavior.

4) If I am not connecting with particular kinds of students, it is my responsibility to find

out why and to accept feedback on how to be more inclusive.

5) I must extend myself to teachers who are different from me (in terms of race, ethnicity,
sexual orientation, gender, religion, first language, disability, and other identities). These
can be valuable relationships of trust and honest critique.

6) I must listen actively to what students have to say about how they view me.

7) I can always learn more as a student myself, especially of the culture and background
of my students. In doing so, I can include my new learning into lessons so that students
feel included and validated and see how their culture has value.

8) It is easy to blame students for failure. A sensitive teacher must take responsibility for
such failure and work extra hard to help that student succeed. Many of the issues having
to do with poor achievement may reflect inattention to a student's cultural needs.

9) I can celebrate myself as an educator and total person. I can, and should, also
celebrate every moment I spend in self-critique, however difficult and painful, because it
will make me a better educator. And that is something to celebrate!


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'  To deepen your understanding of your personal connection to Multicultural

Education.

1) Choose any 1 item from the list of Things I Can Do. Re-type that sentence or phrase
and use it as a trigger to do a Focused Freewrite.

( 
: A Focused Freewrite is when you use a phrase or sentence from something
you've read as a trigger for free-form writing - that is, you write any thoughts, questions,
stories that come to mind as it relates to this phrase or sentence. Focused Freewrites
may end up 2 - 3 paragraphs in length, and sometimes you'll stick to the trigger topic and
sometimes your mind will wander into seemingly unrelated places. Give yourself
permission to move between "wandering" and coming back to writing about the topic.)

2) Choose another item from the list of Things I Can Do. Re-type that sentence or
phrase and use it as a trigger to do another Focused Freewrite.

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A college student was thinking about changing her major from literature to the study of
world religions. The student's only hesitation was that the religion department's mode of
inquiry was to look at each tradition    


  
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that
religion. This was a stretch for the student who was used to the academic model of
"breaking it down and breaking it apart; comparing and contrasting to find
inconsistencies, etc." She was not used to "looking at the world through the eyes of
another" as a mode of inquiry.

One day, the student went to see the world-religions professor during office hours. With
trepidation, the student ventured, "I'm thinking about changing my major from literature
to the study of world religions. I am concerned, though, that if I do, I will lose my critical
eye."

The wise professor paused for a moment. "Maybe you lose your critical eye," she
said gently, "and instead, maybe you'll develop a sensitive one."

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This story is pertinent to us as teachers, especially in a course entitled, "Culture for

Understanding." The question for us becomes: How can we help  students develop a
"sensitive eye"?


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The key to the 


+   is that the professor understood the "academic culture"
from which her student came: the "break it down and break it apart; comparing and
contrasting to find inconsistencies, etc." mode of inquiry.

The professor knew that the very method of inquiry the student had been accustomed to
was not a useful method of inquiry for "seeing", appreciating, or celebrating cultures.

The student had to develop a muscle for "looking at the world through the eyes of
another" and the student had to experience why and how this was a useful mode of
inquiry.

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In many ways the model of inquiry that the professor was suggesting in


+  is aligned with what Peter Elbow calls "The Believing Game." Peter
Elbow's believing game "emphasizes a model of knowing as an act of constructing, an
act of investment, an act of involvement..." (p. 173,  

6It is about
"understand[ing] ideas from the inside."

Whether offering feedback to students about their writing (as Elbow does in his book) or
in studying about cultures, we can take the route of "the doubting game" - the
predominant western model that includes "argument, debate, criticism, and extrication of
the self" as a way of knowing - or we can take the route of the "believing game," which
challenges us "to listen, affirm, enter in, try to put ourselves into the skin of people with
other perceptions and asks us to share our experience with others."

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What does it mean to "listen, affirm, enter in" when we speak of multiculturalism?
For starters, the important thing is to encounter other cultures either in person (through
our students); through travel; through reading; or through technology. Then, we must ask
curiosity questions (not killing questions) and we must listen with a "sensitive ear"- in a
way that helps us to see the world "through the eyes of another."

To take it one step further - to truly "listen, affirm, enter in" to another culture - we must
eat their foods; dance their dances; sing their songs; listen to and learn their stories.


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Educator and author, Parker Palmer wrote a book called  : 

: .
The title says it all: In order for our students to learn, they must first be "known." Their
stories, their personal experiences; their learning styles, their intelligences; their lives
within the context of their family and culture must be known or "seen" by peers and
teachers, alike.

We began this course with the idea of "developing a sensitive eye". Here, that sensitive
eye is vital. We do not engage in the "doubting game" of tearing down or tearing apart in
order to make our students visible. We engage in the "believing game" - we "listen to,
affirm, enter in." The "sensitive eye" we develop as educators (and the "sensitive eye"
we help our students to develop as learners) becomes the receptor for "knowing" about
the history, culture, and individual identities of each of our students.

 

 
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Here are some concrete ways to help students become "known":

Ask students to tell a story about a special family object that has been passed
down from generation to generation.
Ask students to share a family recipe, photograph, or story about one of their
ancestors.
Ask students to share a song or dance from their family or culture.
When students come to school in the morning, or stay after school, listen to
the stories they wish to tell you.
When students share their ideas in class, let there be silence when the
student speaks. When the student finishes talking, ask the other students,
"How many people can "Say Back" what 'so-and-so' just said?" When the
students raise their hands, do not call on any individual student to actually
say it back; simply give the students time to notice how many hands went in
the air. Continue with "I see that about 60% of your hands are raised. As a
class, we're working towards 100%. We really want to listen when someone
else is talking." Do this "Say Back" periodically to let students know that when
a student speaks, his/her voice is valuable to the group.
Do not repeat what a student says to the class; this takes power away from
the student's words and it teaches students that their voices are not as
 important as yours. If you want to emphasize a point, ask the student who
has just spoken to repeat what he or she has just said.
Create lessons that engage the mind, heart, and body of your students, and
instruction that allows them to utilize their multiple intelligences (kinesthetic,
auditory, visual, interpersonal, intrapersonal, emotional, artistic, etc.). Then,
each student will be able to participate and "enter into" the learning process.
Ask students what they need from you as a teacher and what they need from
their peers. Create opportunities for students to say what they need. One way
is to have students complete a "What I am Looking for in a Teacher" form.
Another is to hold class meetings where students can voice what they need
from others in a safe and inviting manner.

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Once students are known for their individual identity/culture, they will be able to develop
a larger identity for the community in which they live; then their country/culture; and,
finally, they will feel themselves connected as a citizen of this earth.


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At the root of most discord in the world is stubborn opinion that "My way is the right
way." Author Rumi, the thirteenth-century poet, says, "Out beyond ideas of wrong-doing
and right-doing there is a field. I'll meet you there."

We have to help our students find a personal place where they have developed a
"muscle" for "holding the space and for seeing multiple viewpoints all at the same time."
In Hindi the word is
  , and it implies that one does not have to relinquish one
viewpoint for another, rather multiple viewpoints can be held and understood,

.

This larger, multi-dimensional space is the place we need to be in, so that we may listen
to, appreciate, and celebrate the multitude of individual, family, societal, and global
cultures that we encounter in our students.

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Imagine a quilt and the various cultures and individual identities of our students as the
individual panels that make up the quilt. Each panel stands on its own, yet, side by side
there is a relationship; they complement one another and create the larger design of the
whole tapestry or quilt.

Multiculturalism is about recognizing and appreciating the

individual panels,  



seeing the larger whole,
and how the whole and the parts inter-play or create a kind of
dialogue with one another.
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How can we meet the other "panels" and appreciate the entire quilt? This section will
give you some tools to see, listen, "enter in", and dialogue with the rest of the quilt. It will
also give you some tools by which you can take a "birds-eye" view and appreciate the
quilt from that larger "multi-dimensional" seeing vantage point.

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The image you see here challenges us. With our physical eyes, we can, at best, bounce
quickly between seeing the "Old Woman" and the "Young Woman."

When we stand on the ground we can only see one town or village at a time. From an
airplane, however, we can see all of the villages "at once." Likewise, in our multi-
dimensional, mind's eye - that imaginative field of Rumi's - we can see the plurality all at
once - and we can hold the paradoxes all at once.

From this bird's eye/airplane view or view from our "mind's eye" we can begin to "see"
and appreciate pluralism; we begin to make room for listening and for dialogue.

Anne Michaels writes in her novel, 



 about a character who looks around
and sees a world falling apart and out of sync, and realizes that what is needed is to
"make love 

 ." In our times, we might also add, "to make multi-dimensional
'seeing' 

." This is at the heart of multiculturalism.

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Please See Readings at the end of this Course
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Short Summary: "The Kinesthetic Body and the Walk of Paradox" helps to activate our
spacious mind-body system. If our mind-body is like a mansion and if we imagine that
we are only utilizing one or two rooms of this mansion, then "The Kinesthetic Body and
the Walk of Paradox" is one way to open up the vaults in our mind-body and to explore
the multitude of rooms in our mansion. Doing this activity helps to "open the space for
paradox" because as your physical body is instructed to move in one direction, your
imagined body or "kinesthetic body" (as it is called in the instruction) moves in the
opposite direction. "The Kinesthetic Body and the Walk of Paradox" helps you

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paradox. (
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' cTo explore Tool for Understanding #1: Opening the Space for Paradox.

1) Do the "The Kinesthetic Body and the Walk of Paradox" as suggested in Tool for
Understanding #1: Opening the Space for Paradox.

2) Ask students to reflect upon the experience of doing this activity. Their reflections can
be verbal and/or written.
3) What did you notice about your students while they were doing the "The Kinesthetic
Body and the Walk of Paradox"? Make 5 plain observations.

4) What were some of your students' reflections on doing "The Kinesthetic Body and the
Walk of Paradox"?

5) Do the "The Kinesthetic Body and the Walk of Paradox" every day with your students
for a full week repeating steps 1 - 4 from above.

6) The poet, e.e. cummings once wrote in a poem "...now the ears of my ears awake and
the eyes of my eyes are opened". What connection can you make between the "The
Kinesthetic Body and the Walk of Paradox" activity and this e.e. cummings quote?

7) Earlier in this course, we spoke of a place in the mind where we are receptive, a place
where we have developed a "muscle" for "holding the space for seeing multiple
viewpoints all at the same time." In Hindi the word is
  , and it implies that one
does not have to relinquish one viewpoint for another, rather multiple viewpoints can be
held and understood, simultaneously."

What connection can you make between the "The Kinesthetic Body and the Walk of
Paradox" activity and this above quote?

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How many of us really 

?

In conversation, many of us usually only "half"-listen to another person while they are
speaking. Often we are thinking about what we wish to say, and we "listen" long enough
to notice when the other person's lips have stopped moving so that we can jump in with
what we wanted to say - to share our idea, make our point, or tell our story.

How much silence is there between one person ending and another person starting to
talk?

Are you able to "Say back" what someone has said to you after they are done speaking?

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When a student finishes talking, ask the other students, "How many people can "Say
Back" what 'so-and-so' just said?" When the students raise their hands, do not call on
any individual student to actually say it back; simply give the students time to notice how
many hands went in the air. Continue with "I see that about 60% of your hands are
raised. As a class, we're working towards 100%. We really want to listen when someone
else is talking." Do this "Say Back" periodically to let students know that when a student
speaks, his/her voice is valuable to the group. It will also help students to develop a
greater capacity for listening.


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Not only do we want to be able to "Say Back" what others have said, but we want to get
to a place where we can "take in" what others have said - with a compassionate mind
and heart. This is where "Compassionate Listening" comes into play; it's a seed for
dialogue, as well as cultural celebration and understanding.

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An archetype is a mythic figure or image (either real, imagined, or historic) that can
serve as a guide for students in their learning; in this way it is similar to thematic-based
learning. For example, a teacher might introduce to the students the life and work of
Leonardo Da Vinci, a fifteenth-century Italian scientist, inventor, and artist. The teacher
might share the fact that Da Vinci wrote in notebooks, and that these notebooks were a
place for him to record his observations such as the movement of water or the flight of
birds. Da Vinci's notebooks became a place where he could think about questions like:
how does a bird's wing help a bird to fly? In addition, when he pondered a question or
idea, Da Vinci rarely looked at it from a single perspective. In his notebooks, you see
sketches of the same flower or a bird's wing drawn from several different points of view.

Da Vinci was an !

. Da Vinci was a 
 

. Da Vinci 


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was  . Da Vinci was multi-dimensional learner in    


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These qualities can help guide us as we seek to understand and
celebrate cultures from the "inside."

Whether you are teaching science, math, art, language, or any other subject a teacher
can always refer to the qualities that Da Vinci embodied as a way of guiding students in
their studies.

An image works just as well. For example, a teacher might use the image of a tree as
the guiding idea or theme - with its transportation system within for making and carrying
food; for the physical structure of its roots, trunk, branches and leaves; as well as for the
interdependent, living ecological systems it supports and sustains.

A teacher can decide who or what will be the guiding mythic figure or image in advance
or during the course of study as it arises naturally in working with the students.

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This is a process by which students can reflect upon a situation, their learning, or group
dynamics in a way that takes stock of all of the assets and positives of a situation. It can
be a powerful tool for cultural inclusion, appreciation for plurality, and dialogue.


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1) Pose a question such as: "What is an example of a great team experience you have
had either in or outside of school?"

2) Students tell their "peak" team experience stories.

3) Ask the students what these stories have in common; what qualities made each of
these teams successful or effective?
4) From these qualities and stories a rich metaphorical image might arise. You might
even help students to "see" the metaphorical image such as, "I think the way we're
describing our peak team experiences is like a grove of aspen trees. The trees look like
distinct units, but really underground their roots are interconnected and the grove is
really one living organism." From there you could talk about the strengths that each
student brings to your learning environment that affects the whole. Take inventory of
these strengths. List them on the board.

5) Whenever students need to work out a challenge or reflect on how they best learn as
a group, they can use the "aspen grove" metaphor (or whatever metaphor arose) and
apply it to the new learning moment at hand.
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We often begin by asking "What's the problem?" When you do that, you focus energy on
what we want less of and work to "fix" things. Appreciative Inquiry is about focusing on
what you want more of; knowing that what you want more of already exists; and
amplifying what strengths and assets a group already has.

With Appreciative Inquiry students are heard, seen, and appreciated. It also enables
students to be active participants in the thinking process and encourages them to
amplify what strengths or qualities they already possess towards their learning or class
environment.

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Cooperative Learning is an instructional technique that uses positive interdependence

between learners in order for learning to occur. It is a way of modeling cooperation and
understanding between individuals and cultures.


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Research shows that both competitive and cooperative interactions are a healthy part of
a child's repertoire of behavior. By second grade, however, urban children have
effectively extinguished their cooperative behavior and persist in competition, even when
it's counterproductive. By deliberately developing cooperative techniques, educators aim
to correct the unconscious societal and educational bias that favors competition.

Patterns for student interaction are called "structures." Together, teachers and students
develop a repertoire of these structures. When the teacher announces that the class will
use a particular exercise to explore today's lesson topic, students know what type of
interaction to expect. For example, when the teacher says the class will use the "Think-
Pair-Share" exercise to study African wildlife, students know they will work independently
to write down their thoughts on elephants or lions; then find a partner; share their ideas
with their partner, and probe each other for complete understanding.

It is up to the instructor to integrate the interactive exercises with the specific lesson
content. The teacher must give careful thought to who should collaborate with whom and
why; how to manage the classroom while unleashing cooperative activity; and how to
balance the attention to both content and cooperative skill-building.
 
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Cooperative Learning is most successful when the following elements are in place:

1. Distribution of leadership

2. Creation of heterogeneous groups

3. Promotion of positive interdependence and individual accountability

4. Development of positive social skills

5. Empowerment of the group to work together


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with their ability to rise to the occasion.


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counting off by 1s, 2s, 3s, 4s, or 5s and putting all of the "1s" together, the "2s" in
another group, and so on. Another way to do it is to review the learning styles and create
groups that reflect different kinds of learning.

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upon each other and work cooperatively. They need to know their roles; what they are
expected to achieve; how to value their piece of the puzzle; and how to demonstrate that
it benefits the group. In this way, materials are shared; group members create one
group-product; group members are given common tasks; and roles are rotated amongst
the members.

& c&*cDiscussion, observation, and understanding is key. From time to time, the
atmosphere in the class must be such that time is set aside to examine whatis going on;
how people feel; what could be the best way of going about conducting the business of
learning.

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or settle arguments. The teacher suggests solutions and promotes social skills by having
the group itself come to a fair conclusion.

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1. The teacher's sense that the class can take this on.

2. Just enough structure and just enough freedom. Keep it simple in the beginning.

3. Make certain that everyone knows what is going on.

4. Make certain that methods are clear - explaining how the group will work.

5. Make certain that each individual is engaged.

6. Make certain that groups do not exceed 5 people.

7. Arrange the room so that the environment works well with a group.

8. Students need to know there is a reward and celebration for working together, rather
than sorting themselves as winners and losers.

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Steps:

1. Groups of 4-5 students are created.

2. The teacher describes each role (below), and either the teacher or the group assigns
a responsibility/role to each member of the group:

Reader - Reads the written instructions out loud to his/her group.

Time-Keeper - Periodically, tells the group how much time is left for the
activity.
Scribe - Takes notes and writes down each person's response.
Includer - Actively encourages each person to share ideas in the discussion.
Reporter - Organizes the presentation and shares the group's ideas.

3. Each group is given a current event, for example. The &



reads the written
instructions out loud to his/her group.

4. The group decides how it will provide a response to the current event by
demonstrating: a) what the event is - for example, crime in the neighborhood; b) why
they think it may be occurring; c) what the current plan is for dealing with the problem; d)
advantages and disadvantages of that plan and why; and e) what they would do.

5. Each student in the group is given the task of exploring all of the issues above (a-e).
Those responses are shared within their group. The 

 makes sure each person's
voice is heard and encourages every member of the group to participate. The !

writes down all of their responses. The 

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 keeps track of time.

6. The group decides how the information will be presented.

7. The group makes a presentation. The &

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 might present the ideas, or set it up so
that several people in the group present the various ideas discussed within the group.

8. The group conducts an evaluation of performance.

(Note: You may wish to choose a current event or any other relevant topic for discussion
in this Cooperative Learning activity. Each group can work on the same issue or different
topics. Another idea is to use Pablo Neruda's poem, "Keeping Quiet."
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1. Teacher must not "judge" the group or berate individual members.

2. All positions are respected, whether or not the rest of the class agrees.

3. No one may force anyone else to agree with their answer.

4. No negative comments about oneself or others are allowed.

5. Teacher praises with description, rather than evaluation. In other words, spend your
time focusing on what good things students did, such as giving specific examples of their
courtesy and support. Avoid statements such as "You did a good job" or "Your group
was better than the first group."

PRACTICE 4: Using Cooperative Learning

' cTo put into practice a Cooperative Learning activity with your students, and to
record what you noticed

Follow Steps 1 -8 in "How It Works." You may wish to choose a current event
or any other relevant topic for discussion in this Cooperative Learning activity.
Each group can work on the same issue or different topics. Another idea is to
use Pablo Neruda's poem, "Keeping Quiet."
Required Reading #2 for PRACTICE 4: "Keeping Quiet," Pablo Neruda
Please read the poem in the Readings section (at the end of this course) and
respond to the questions, below.
Write 4-5 paragraphs about what you noticed; what you learned in doing this
cooperative learning activity with your students; and what things you would
add or delete to make the process more effective for your class the next time.
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Multiple Intelligences and the work of Howard Gardner is another tool for understanding
- a way of knowing students from the "inside". In the context of this course, it takes on an
additional meaning when we think of cultures as holding these various "intelligences."
Multiple Intelligences then becomes a way, also, of knowing cultures from the "inside."

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In the past, intelligence was viewed as a quantity. The Multiple Intelligences perspective
asserts that intelligence can be measured in different ways, that it grows, and it is more
quality than quantity. It used to be that the question was asked: "Is s/he smart?" New
questions now ask: "%  is s/he smart?" The emphasis is on the various ways in which
we demonstrate multiple intelligences, rather than a single intelligence.

Howard Gardner created a list of seven intelligences. The first two are ones that have
been typically valued in schools; the next three are usually associated with the arts; and
the final two are what Howard Gardner called "personal intelligences."

Knowing about these multiple intelligences can help create a culture of inclusion in your
classroom and amongst your students:


 intelligence involves sensitivity to spoken and written language, the ability to
learn languages, and the capacity to use language to accomplish certain goals. This
intelligence includes the ability to effectively use language to express oneself rhetorically
or poetically, and language as a means to remembering information. Writers, poets,
lawyers, and speakers are among those that Howard Gardner sees as having high
linguistic intelligence.


 1   cintelligence consists of the capacity to analyze problems
logically, carry out mathematical operations, and investigate issues scientifically. In
Howard Gardner's words, it entails the ability to detect patterns, reason deductively, and
think logically. This intelligence is most often associated with scientific and mathematical
thinking.

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 involves skill in the performance, composition, and appreciation of
musical patterns. It encompasses the capacity to recognize and compose musical
pitches, tones, and rhythms. According to Howard Gardner musical intelligence runs in
an almost structural parallel to linguistic intelligence.

,$1* intelligence entails the potential of using one's whole body or parts
of the body to solve problems. It is the ability to use mental abilities to coordinate bodily
movements. Howard Gardner sees mental and physical activity as related.

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space and more confined areas.


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  intelligence is concerned with the capacity to understand the intentions,

motivations, and desires of other people. It allows people to work effectively with others.
Educators, salespeople, religious and political leaders and counselors all need a well-
developed interpersonal intelligence.


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 cintelligence entails the capacity to understand oneself, to appreciate one's
feelings, fears and motivations. In Howard Gardner's view it involves having an effective
working model of ourselves, and to be able to use such information to regulate our lives.

In 
 
Howard Gardner treated the personal intelligences "as a piece."
Because of their close association in most cultures, they are often linked together.
However, he still argues that it makes sense to think of two forms of personal
intelligence. Gardner claimed that the seven intelligences rarely operate independently.
They are used at the same time and tend to complement each other as people develop
skills or solve problems.
In essence, Howard Gardner argues that he was making two essential claims about
multiple intelligences:

1) The theory is an account of human cognition in its fullness. The intelligences provided
"a new definition of human nature, cognitively speaking" (Gardner 1999: 44). Human
beings are organisms who possess a basic set of intelligences.

2) People have a unique blend of intelligences. Gardner argues that the big challenge
facing the deployment of human resources "is how to best take advantage of the
uniqueness conferred on us as a species exhibiting several intelligences."


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' cTo apply what you have learned about Multiple Intelligences to one lesson plan
to be used in your classroom.

1) Choose a lesson you need to teach in the coming week. It could be a specific lesson
in math, social studies, literature, etc. Then, list the intelligence that will be your central
focus for that one lesson. Why did you choose that intelligence?

2) What resources or materials will you need? What room arrangements will you need?
What other things do you need to consider?

3) Develop the activity keeping your chosen intelligence in the forefront of your planning.
Will students be moving, reading, drawing, acting, singing, talking to each other?

4) Is your lesson plan reaching those who are expressing this intelligence, but have not
had a chance to use it before?

5) Conduct the activity by spending more time watching and guiding students than
instructing them.

6) Provide feedback on the lesson. What plain observations did you make about
individual students, the class as a whole, interactions and happenings that occurred -
details you noticed, large actions? Make a list of 7 plain observations.

7) Choose any observation from your list, and write about it in 2 - 3 paragraphs.


 
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In this course, we have examined the importance of understanding and appreciating our
students as individuals and as members of cultures. We have stressed the importance of
"entering in and affirming" as a mode of knowing. In this next section we take our inquiry
to the next level by asking the question: How can we understand our   from
the "inside"?

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The "Community Assessment" (a series of assignments in this section) can serve as a
guide. The "Community Assessment" begins and ends with art. Along the way, the
community uses the art they've created to inform action by gathering resources and
creating tangible benefits. The "Community Assessment" not only helps us to
understand and appreciate cultures, but it also opens the path for designing a Service
Project that is fulfilling a specific need on a local, national, or global level.

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Here are the stages involved in completing your Community Assessment:

Create a Metaphorical Map of Your Community: A Community Tree

Create a Community Story
Reflect upon Metaphorical Map-Making
Generate Project Idea 1
Generate Project Idea 2
Generate Project Idea 3
Choose a Project
Seek Feedback

Think of this Community Assessment as casting your net into the sea, then gathering it
in and looking at what lies within the meshes of your net (work). You'll learn more about
your community, and, in doing this assessment, ideas will be sparked for a Service
Project.


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Invite a group of 8 people to join you for your community assessment - an accounting of
the resources and desires of your community. Let each person know that they will be
helping to co-create a project that will both assist your study and benefit the community.
The program will begin and end as a work of art. Along the way, the community will use
art to inform action by gathering resources and creating tangible benefits.

In choosing these eight people, please ensure that the group reflects the diversity of the
people in your community: (from young to old), occupations, interests, positions, etc.
Each participant must be willing to commit to spending 5 hours with the group. You may
wish to ask each participant to bring a favorite food to the gathering or you may wish to
have food prepared. Begin by eating together. Sharing food helps to set the tone.
Hospitality and comfort is key.

Once you have eaten and are ready to begin co-creating the project, here's what you do:
1) Together, construct an outline of a  $c

cusing whatever materials you
can find locally. The tree might be drawn on paper, or it might be drawn in sand, or on
the earth with an outline of twigs and rocks, whatever materials are readily available.
You might mix media. For example there might be some drawing and then other
materials would be available to place on top of the drawing. You might even choose to
be outside sitting under a tree and placing objects or drawing things or painting the area
as you go. (30 minutes)


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2) Together, fill in the
 - show those things that are key ingredients to your
community's foundation and past. This is where you'll draw the elders in the community
and their stories about the community's past and heritage. Here's where you put
celebrations and traditions. This is where an exchange of stories can happen and deep
listening occurs. Who and what are the pattern keepers of your community? What are
the key stories? How can you represent these elements, visually, to remind you of what
you have just heard? (45 minutes)

3) Together, create the 
* of the tree. The trunk represents the connectors - the
people and resources that connect the past with the present and the present with the
future (i.e. It could be individuals in the community such as a mail carrier; it could be a
river; it could be a sacred text; it could be an industry; rituals, songs, dances; community
assets regarding technologies, communication systems, education, livelihoods, skills,
ways of governing/decision-making, etc.) How can you represent these elements,
visually, in words or pictures? (30 minutes)

4) Together, create the !
. This is what's forming; what's being called forth. The
hopes and desires of the adults and the elders. The hopes and desires of the youth.
What are you all experiencing now and what do you wish for the future? (30 minutes)

5) Together, create the . The seeds carry the vision. Who/what are the seeds in
your ecology metaphor? Perhaps the seeds are ideas for your Service Project. Ask
these people gathered to help you envision those seeds. What's needed? What's next?
(30 minutes)

6) A tree exists as part of a 


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elements of nature that cohabitate or interconnect with the tree. For example, a person
who is a terrific listener and collects the stories of the community might be drawn as a
spider creating a web in which they "catch" the history and stories of the community. The
thunder and lightening might be obstacles that threaten the tree's survival and growth.
What are the tree's sources of nutrition and support? Represent this living ecology,
visually. (30 minutes)


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7) Take a step back and look at the metaphorical map you created together. Create a
story or myth using the visual imagery from the roots all the way to the branches and
then the seeds carried in the wind to fall on fertile ground, and keep in mind the larger
eco-system. Co-create this story taking turns, or individually write and share your stories.
(45 minutes) (Note: If people individually wrote stories, please type 1 or 2 of the stories
below. If your group made a story together, please type the group story below.)

8) Thank the group for their help in teaching you about the community. After they have
left and while the conversation is still fresh in your mind, take some time to view the
metaphorical map and think about all of what was shared. Write a 1-2 page Reflection
giving as much detail as possible about each element of the metaphor - the roots, the
trunk, the branches, the seeds, the larger ecology of the system.

Describe what was created visually. What are your community's stories, resources,
traditions, assets? What are your community's desires? Needs? Challenges or
obstacles? What is at the heart of the stories created - Hope? Danger? Caution?
Renewal? Stuckness? Survival? Imagination? What did you hear and see? Filter this
reflection through your five senses. You need to be our eyes, ears, sense of touch,
smell, and taste. Describe what you observed and what you now know about your
community. What ideas does this generate for you regarding a possible Service Project?
(Note: Type your 1-2 page Reflection)


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What 3 different ideas are beginning to form as possible Service Projects? List them
here and write one sentence for each.

1.

2.

3.


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Answer the following questions for Project Idea #1:

1. Describe it in 5-6 sentences.

2. What local, national, or global need is it fulfilling?

3. Would the community be willing to work with you on this project?

4. Who within the community would need to participate to ensure its success? Name
them and tell their current roles within the community and their relationship to you.

5. Who could be involved in the advising of this project? Why?

6. What, if anything, would need to be under the jurisdiction of the local or national
government? What types of permits/permissions would be required, if any?
7. Are there any political sensitivities related to the introduction of this project?

8. How could you best minimize any legal and bureaucratic interference with this
project? What types of activities are heavily regulated? Are there any activities that
would not be permitted in this community?

9. What would be the most appropriate location for your project? Why would you suggest
this location? Will it be easily accessible to a wide range of the community?

10. Is there anything that we have not discussed that would be critical to the success of
your project?

11. Considering the indigenous notion of "The Seventh Generation," how might your
Service Project affect people living seven generations from now?

12. If you were to create a metaphor or a visual image that represents this project what
would it be? Describe that picture or metaphor.


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Answer the following questions for Project Idea #2:

1. Describe it in 5-6 sentences.

2. What local, national, or global need is it fulfilling?

3. Would the community be willing to work with you on this project?

4. Who within the community would need to participate to ensure its success? Name
them and tell their current roles within the community and their relationship to you.

5. Who could be involved in the advising of this project? Why?

6. What, if anything, would need to be under the jurisdiction of the local or national
government? What types of permits/permissions would be required, if any?

7. Are there any political sensitivities related to the introduction of this project?

8. How could you best minimize any legal and bureaucratic interference with this
project? What types of activities are heavily regulated? Are there any activities that
would not be permitted in this community?

9. What would be the most appropriate location for your project? Why would you suggest
this location? Will it be easily accessible to a wide range of the community?

10. Is there anything that we have not discussed that would be critical to the success of
your project?
11. Considering the indigenous notion of "The Seventh Generation," how might your
Service Project affect people living seven generations from now?

12. If you were to create a metaphor or a visual image that represents this project what
would it be? Describe that picture or metaphor.


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Answer the following questions for Project Idea #3:

1. Describe it in 5-6 sentences.

2. What local, national, or global need is it fulfilling?

3. Would the community be willing to work with you on this project?

4. Who within the community would need to participate to ensure its success? Name
them and tell their current roles within the community and their relationship to you.

5. Who could be involved in the advising of this project? Why?

6. What, if anything, would need to be under the jurisdiction of the local or national
government? What types of permits/permissions would be required, if any?

7. Are there any political sensitivities related to the introduction of this project?

8. How could you best minimize any legal and bureaucratic interference with this
project? What types of activities are heavily regulated? Are there any activities that
would not be permitted in this community?

9. What would be the most appropriate location for your project? Why would you suggest
this location? Will it be easily accessible to a wide range of the community?

10. Is there anything that we have not discussed that would be critical to the success of
your project?

11. Considering the indigenous notion of "The Seventh Generation," how might your
Service Project affect people living seven generations from now?

12. If you were to create a metaphor or a visual image that represents this project what
would it be? Describe that picture or metaphor.


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Now that you've completed the Community Assessment, please answer the following
questions:
1) Which of your 3 possible projects ideas are you most drawn to and why? (2-3
paragraphs)

2) Choose 1 of your project ideas and share it with your learning circle. Show their
feedback. What new ideas are generated for you in hearing the feedback?

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Through your Community Assessment, you have created an accounting of the resources
and desires of your community. You used art and storytelling to inform action. You are
now ready to begin your Service Project.

Follow these 6 steps to refining and implementing your Service Project:

Planning
Approving
Doing
Tracking
Presenting
Reflecting


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Step 1- Planning

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have worked closely with several members of your community. To add to your team of
support, we ask now that you choose a Field Advisor, someone who lives near you and
can be an on-site guide to you in your Service Project.

a) Write your Field Advisor's name, address, email, and phone number:

b) What is their expertise that makes you think they would be a good Field Advisor?

c) How do you know him or her?

d) When you met with your Field Advisor, what suggestions or ideas did s/he give you
regarding your Service Project?

e) Have you explained to him or her the responsibilities of being a Field Advisor as
follows:

- Being available to you when you would like to discuss your project.

- Willing to write a "Letter of Support" for you after the project is completed.

f) Is s/he willing to make the commitment to being your Field Advisor?

 
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2. Letter of Intent - Write a 1-2 page letter addressed to the training facilitators that
includes the following:

Description of your Service Project - what exactly you'll be doing

Why you want to do it
How it fulfills a need in your community, your country, or around the world
How it fits into what you have studied and done before
Considering the indigenous notion of "The Seventh Generation," how might
your Service Project effect people living seven generations from now?

3. Create a Calendar of steps/activities to fulfill your Service Project. Give specific dates
and list what will happen when, etc. List the materials you will need for each activity on
the calendar, as well.

4. Presentation Statement - Write 2-3 paragraphs describing how you will present your
Service Project to your community after it is completed. Will you give a talk at your local
teaching/learning center? Will you create a mural in your town? Will you create a
WebQuest that is available for the world to see on the Internet? Will you fly Giant Peace
Doves through the town? Will you take pictures and write an aricle for a magazine about
your student's construction of an Earthship? What will you do to publically present your
project to your community?

5. Partner with a real, mythic, historic, or imagined   . 5







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Choose, invoke, ask for the help of any historic, mythic contemporary figure, or totem to
inspire you in your Service Project. Write 2-3 paragraphs as to why you chose this figure
to guide you - how are they a source of inspiration for you in this project? If you are
doing a project involving "Education through the Arts", for example, you might think
about an artist from the past or one who is living, or you might think about a goddess or
muse who is the patron of the arts. If you are doing an Environmental Education project,
you might think of someone like Jane Goodall or the Earth as sources of inspiration.
Create a simple ritual or practice that connects you to this source of inspiration. Describe
that ritual or practice in 2-3 paragraphs.


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1. Field Advisor Approval - Share your writing, thus far, with your Field Advisor and make
any revisions as needed.

2. Sharing - Send a final copy of the following to the Iqbal Institute:

Letter of Intent
 Calendar
Presentation Statement
Partner with a Muse

Step 3 - Doing

Do what you said you would do as outlined in your Letter of Intent and your Calendar. If
activities need to be added or deleted to the calendar as the project progresses, talk to
your Field Advisor for approval. Keep the original calendar and also show the new
calendar with a 1-2 paragraph written description of why you needed to make those
changes to the calendar, if you make changes.

Be sure to read the "Tracking" section that follows !
 you start your project; that
way you'll be creating your !
 2  and #2  as your project
progresses.


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As you do your Service Project, keep a simple "Observation Journal" of things you notice
along the way. (An Observation Journal can consist of folding a sheet of paper in half
and writing your notes there and later typing them into the assignment template below.)
Your completed Observation Journal must have at least 7 entries (include the dates).
Each entry can be in the form of a list of 5 observations that start with the words, "Today,
I noticed" or it can be plain observations written in paragraph form.

Examples of plain observations might be: "Today I noticed Gita asked me if she could
read her story to the other girls," or "Today I noticed that Mr. Olatunji came into the room
at 7:35 p.m., sat in the back, and listened to our literacy group. Afterwards, he asked if
he could join us the next time we meet," or "Today I noticed the fourth group in our
conflict mediation meeting sat in silence."

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As your Service Project progresses, keep another journal called "Sparks." Your
completed Sparks Journal should have at least 8 entries. In this journal, write ideas
sparked by conversations with your Field Advisor; ideas sparked by articles you've read
on-line or in the paper (give the title and source and say what idea it sparked for you.);
ideas you thought of when engaging in your muse-related ritual, or while taking a walk,
fishing, day dreaming, or dreaming at night.

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Send 3 entries from your Observation Journal to your Field Advisor and to the Iqbal
Institute. (You can fill in the journal entry information below.)
Send 4 entries from your Sparks Journal to your Field Advisor and to the Iqbal Institute.
(You can fill in the journal entry information below.)

Talk to your Field Advisor about how the project is going.

Type the entries for your Observation Journal and the entries for your Sparks Journal
here and be sure to include the date:

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Entry #1

Entry #2:

Entry #3:

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Entry #1

Entry #2:

Entry #3:

Entry #4:

3) Write the dates you spoke to your Field Advisor:


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As you move through the second half of your project, please be sure to type in the rest
of your 7 !
 2  entries and your 8 #2  entries below.
(Remember to include the dates.)

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Entry #4:

Entry #5:

Entry #6:

Entry #7:

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Entry #5:
Entry #6:

Entry #7:

Entry #8:


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Here's your gift back to your community. Present what you have learned - with heart and
mind - and with gratitude for the deep learning this Service Project has provided you. (Be
sure to personally invite and publicly thank each person who helped you with the
Community Assessment and Service Project.)

(

 
*If you wish to make any changes to your presentation from your original
Presentation Statement, you need to get your Field Advisor's approval first.)

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1) After reading what you have written in your !

 2  and #2 ,
and after thinking about your presentation, write a 1-page Service Project Reflection.
The following are some suggestions of questions to address; the final reflection,
however, should read smoothly in paragraph form   listing the questions:

What thoughts/feelings/ideas would you like to share as you reflect upon the
experience of doing this Service Project?
How was your Service Project and presentation received by your community?
What parts of the Service Project worked well?
What didn't work well?
What changes would you make?
What resources do you or others need to take this project to the next level of
growth?
What ideas for your future does this project spark for you?
How might you envision this project effecting people living seven generations
from now?

2) Send your 1-page Service Project Reflection to your Field Advisor and to the Iqbal
Institute.

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A student fishbowl gives pre-service and in-service educators an opportunity to hear the
experiences, ideas, and critiques of current students while giving the students an
opportunity to be active in the dialogue on multicultural education and education
transformation. c
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Teachers are often hesitant to introduce topics like racism, sexism, classism, and
heterosexism in the classroom because their training has not prepared them to handle
the issues and exchanges that may result. This activity provides participants an
opportunity to share stories of when discussions about these topics took an unexpected
turn, and to generate ideas about how to address these circumstances in the future.

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You are preparing to lead a workshop, teach a class, or facilitate a dialogue. You know
what issues and topics you'd like to cover, how many participants you'll have, and your
objectives. You've sat down to compose a plan--an outline for the experience. What is
your next move?

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Continues community building. Participants introduce themselves by sharing information
on their ethnicity and background, highlighting the similarity and diversity among
members of the group.
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This activity asks students to think inwardly while continuing to provide opportunities for
individuals to make connections with each other. Participants write short poems, starting
each line with "I am," encouraging them to describe in their own words who they are and
what's salient to their identity.
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Adapted from the work of Jean Houston

Introduction for the Teacher:

"The Kinesthetic Body and the Walk of Paradox" helps to activate our spacious mind-
body system. If our mind-body is like a mansion and if we imagine that we are only
utilizing one or two rooms of this mansion, then "The Kinesthetic Body and the Walk of
Paradox" is one way to open up the vaults in our mind-body and to explore the multitude
of rooms in our mansion. Doing this activity helps to "open the space for paradox"
because as your physical body is instructed to move in one direction, your imagined
body or "kinesthetic body" (as it is called in the instruction) moves in the opposite
direction. "The Kinesthetic Body and the Walk of Paradox" helps you experience
paradox.
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Follow these instructions and read them out loud to your students every day for one
week. The activity takes about 45 minutes. When you finish this activity, ask your
students to tell you how they feel.

To begin:

Share the (above) introduction with your students. Let students know that this activity
requires concentration and that it is voluntary.

Invite students to stand up and to do this kinesthetic activity while you read the following
instructions out loud to them:

Stand in a comfortable position, knees relaxed, and bring your awareness and attention
into your body. Closing your eyes may help you focus. Breathe fully.

Within your skin and musculature is a powerful imaginative body. We will now begin to
experience it.

In your physical body, reach up with your right arm, in a strong stretch. Notice what
muscles all along your body are pulled. Release, and lower the arm. Stretch up again
with the right arm. And release it.

Now stretch up in your imagination only. As if you were stretching your right arm. Feel
the pull in the kinesthetic body as vividly as you can. Now have the sense youre
lowering the kinesthetic right arm.

Repeat this with the left arm. Stretch upward in the physical body with your left arm and
feel the muscles as you reach up towards the ceiling; then release; then stretch up again
physically with your left arm, and release.

Now, stretch up in the kinesthetic left arm, with as much awareness as possible and as if
you can feel the muscles being stretched. Then, release and lower. Repeat: Stretch up
in the kinesthetic left arm, with as much awareness as possible and as if you can feel the
muscles being stretched. Then, release and lower.
Now lift both physical arms up in a stretch, noticing the pull and feelings throughout your
body. Lower them. Lift them again. Lower them.

Now, stretch both kinesthetic arms up, feeling the stretch with as much awareness as
you did when you were lifting the physical arms. Lower them. Then repeat with both
kinesthetic arms.

When you feel you have a strong sense of the kinesthetic arms, lift them up again above
your head. Be aware that your physical arms are at your side.

Now this is kind of interesting As you lower the kinesthetic arms, raise your physical
arms, and keep your focus as much as possible on the kinesthetic arms. Now your
physical arms are stretched above your head and your kinesthetic arms are at your side.
Now, slowly lower your physical arms, and raise the kinesthetic. Notice the place where
the two sets of arms pass in the middle of the movement. Now, bring your kinesthetic
arms down to your side. Notice how your physical arms feel joined to the kinesthetic
arms by your side.

Now, learn to activate the Kinesthetic Body quickly. Perform a vigorous movement, such
as rolling the physical shoulders forward fast. Now backwards, fast. Now, roll the
kinesthetic shoulders forward fast, and then back, fast.

Now in the physical body, make a fencing lunge to the right. Then come back to center.
And again, make a fencing lunge to the right. Then come back to center

Then in the kinesthetic body, make a fencing lunge to the right. Back to center. And
again, in the kinesthetic body, make a fencing lunge to the right. Back to center.

Now in the physical body, make a fencing lunge to the left. Then come back to center.
And again, make a fencing lunge to the left. Then come back to center.

Then in the kinesthetic body, make a fencing lunge to the left. Back to center. And
again, in the kinesthetic body, make a fencing lunge to the left. Back to center.

Now make a fencing lunge to the right in the physical body, while the kinesthetic body
lunges to the left. Put your focus on the kinesthetic body. Now, bring your physical body
up and your kinesthetic body comes up to meet it. Do it again: Make a fencing lunge to
the right in the physical body, while the kinesthetic body lunges to the left. Put your
focus on the kinesthetic body. Now, bring your physical body up and your kinesthetic
body comes up to meet it. Now that your physical body and your kinesthetic body are
both together, notice whether your sense of the physical body is stronger than it was
before. Remember to breathe.

Now, were going to do the Walk of Paradox. In a moment, your physical body will move
forward four steps, then back four steps. It helps to have your eyes soft, or closed, and
it very much helps to remember to breathe.

Okay, take your physical right foot and take one step forward. Take your physical left
foot and take one step forward. Now your physical right foot again one step forward and
then your physical left foot one step forward. Now take your physical left foot and go
one step back. Take your physical right foot and step back one step; then take your
physical left foot one step back and your physical right foot one step back until both
physical feet are together.

Now try this again, but this time as your physical right foot takes one step forward, let
your kinesthetic right foot take one step back. Now as your physical left foot takes one
step forward, feel your kinesthetic left foot taking one step back. Now as your physical
right foot steps forward, let your kinesthetic right foot go back one step and as your
physical left foot goes forward let your kinesthetic left foot go even further back one step.
Now take your physical left foot and move it back one step and while you do this imagine
that your kinesthetic left foot is moving one step closer. Now take your physical right
foot and go one step back as your kinesthetic right foot goes one step forward. Take
your physical left foot one step back while your kinesthetic left foot takes one step
forward. Now take your physical right foot and go one step back as your kinesthetic right
foot goes one step forward, and then feel both bodies coming together.

Do this again at your own pace with the physical moving forward and the kinesthetic
back and then in reverse until both bodies come together. As much as possible, stay
focused on the kinesthetic bodys movements. It is moving opposite to the way the
physical body is moving. The two come together at the end of each set of four steps
forward and four steps back. Pay attention to the way it feels when the two bodies
unite. Remember to breathe. If you get lost, stop and start over. Try this again at your
own pace for the next several moments.

When your physical body and your Kinesthetic Body are united, stop.

How do you feel?

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by Pablo Neruda

Now we will count to twelve

and we will all keep still.

For once on the face of the earth,

lets not speak in any language;
lets stop for one second,
and not move our arms so much.

It would be an exotic moment

without rush, without engines;
we would all be together
in a sudden strangeness.

Fisherman in the cold sea

would not harm whales
and the man gathering salt
would not look at his hurt hands.

Those who prepare green wars

wars with gas, wars with fire,
victories with no survivors
would be in clean clothes
and walk about
with their brothers
in the shade, doing nothing.

What I want should not be

confused with total inactivity.
Life is what it is about;
I want no truck with death.

If we were not so simple minded

about keeping our lives moving,
and for once could do nothing,
perhaps a huge silence might interrupt this
sadness of never understanding
ourselves and of threatening
ourselves with death.

Perhaps the earth can teach us

as when everything seems dead
and later proves to be alive.

Now Ill count to twelve

and you keep quiet and I
will go.

 
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This activity requires 60-90 minutes.

"

Fishbowl activities force participants to actively listen to the experiences and

perspectives of a specific group of people. A student fishbowl gives pre-service and in-
service educators an opportunity to hear the experiences, ideas, and critiques of current
students while giving the students an opportunity to be active in the dialogue on
multicultural education and education transformation.

"


The only major resources needed for this activity are current K-12 students. If possible,
the number of students in the fishbowl should be roughly equal to the number of
participants in your class or workshop. At least 10 students should participate in the
fishbowl. If your class or workshop focuses on a particular educational level (i.e., early
childhood, secondary, etc.), you should try to find students at that level to participate. A
useful strategy for finding fishbowl participants is to tap into local schools.

To prepare for the actual fishbowl dialogue, ask the fishbowl students to sit in a circle in
the middle of the room. Your class or workshop participants, or the "observers," should
sit in a larger circle around the fishbowl students.




The following steps will set the ground rules, then initiate and process the dialogue for
the student fishbowl activity:

1. One important ground rule must guide the participation of the observers: During
the course of the fishbowl, observers are not allowed to speak. Their job is to
listen and learn from the fishbowl students. Mention that the observers will have
an opportunity to discuss any issues that emerge in later processing dialogue.
2. If possible, assign one of the fishbowl students the role of facilitator. It will be her
or his responsibility to ask questions, facilitate the fishbowl discussion, and make
sure everyone has an opportunity to talk. If necessary, you can play the role of
facilitator.
3. The topics to be discussed by the fishbowl can be developed to be relevant to
your course or workshop. For the most part, fishbowl participants should have an
opportunity to take the conversation where they want - or need - it to go. If it
becomes necessary to push the conversation along, possible prompts include
the following:

What are your favorite things about school?

What aspects of your school do you feel should be improved?
What can your teachers do to help you learn better?
Share a story about when one of your teachers did something that made you
feel especially included in the learning process.
Share a story about when you felt you were especially excluded from your
own learning process.
Who is your favorite teacher? Why?
Who is your least favorite teacher? Why?
What do you feel is the role of school in your life?
What do you feel should be the major goals of schools?

1. Make sure everybody in the fishbowl has an opportunity to talk.

2. Allow the fishbowl discussion to continue for at least 30 minutes. You can allow it
to continue longer if time permits.
3. When the fishbowl discussion winds down, divide the combination of your
participants and the fishbowl students into small groups of 6-10. This will provide
the observers an opportunity to ask for clarification on comments made during
 the fishbowl. Instruct the observers that they are not to invalidate or question the
students' experiences or perspectives. They should use the small group
discussions only to learn more from the fishbowl students. Allow at least 30
minutes for small group discussions.
4. After small group discussions, call everyone back together. This will be the final
processing discussion. A variety of questions can guide this conversation:
To the observers: Was it difficult to not respond to the fishbowl students'
comments during the fishbowl? Why?
To the fishbowl students: How did it feel to share your feelings about school,
knowing that these teachers were listening closely?
To the fishbowl students: Do you usually have opportunities to share your
perspectives on school and your education?
To the observers: Did you hear anything from the fishbowl that surprised
you?
To wrap up the entire exercise, pose a final question, giving everyone an opportunity to
answer: What is one thing you have learned from this experience?
 
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A few simple strategies will help you facilitate this activity smoothly. First, remember that
this activity is as much about reminding teachers that students are their most important
resources as it is about teaching. As mentioned above, it is thus crucial that observers
show maximum respect to the fishbowl students by following the silence ground rule. It
may take some effort to enforce this ground rule, as many teachers are not fully ready to
play the role of learner from people who may be their own students. Consider writing
something on the chalkboard or newsprint pad such as "We are all teachers. We are all
learners."
Student fishbowl discussions are usually most successful when they are informal.
Remember that the fishbowl students have not had an opportunity to develop comfort
with the participants of your class or workshop.
A noticeable level of tension is often evident in the room as teachers learn about their
own possible deficiencies from students, and students try to respectfully critique the
people who they have been taught to trust and respect. A variety of strategies can be
used to ease the tension, ranging from starting with a fun icebreaker to serving snacks.

 
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This activity requires 60-90 minutes.

"

Teachers are often hesitant to introduce topics like racism, sexism, classism, and
heterosexism in the classroom because their training has not prepared them to handle
the issues and exchanges that may result. This activity provides participants an
opportunity to share stories about when discussions about these topics took an
unexpected turn they were unprepared to handle, then to share ideas about how to
address these circumstances in the future.
c

"


Divide participants into groups of four or five. Prepare enough space in the room for
small groups to perform skits.

This activity will be most effective if you have already engaged in a discussion about the
importance of dealing with issues of social justice in the classroom.




1. Ask participants to share a story about a time when they participated in, or
facilitated, a discussion on racism, sexism, classism, heterosexism, or another
form of oppression that took an unexpected turn and caused conflict that was
never resolved. The situation may have ended in shouting or hard feelings or
may have even deepened the tension being discussed. If participants have
completed, or are in the process of completing, student teaching or a related
practicum, you might ask them to try to remember a story from that experience.

2. Some questions to guide the discussion related to these stories:

What went wrong in the situation you shared?

How did the facilitator, educator, or participants address the issue?
What about the tension felt irresolvable?
How did the conversation end?

3. How could the discussion have been more fruitful?

4. Ask each group to choose one story to role play for the rest of the class. Some
people are less comfortable "performing" in front of the class, so encourage them
and mention that everybody will have an opportunity to participate in a role play.
Role plays should last no longer than 3 minutes.

5. After providing time for small groups to plan their role plays, ask for groups to
volunteer to perform their role play for the class.

6. Following each role play, use or adapt the following questions to tease out the
issues and strategies for addressing them:

What are the primary issues introduced by this situation?

What are the dangers of continuing a dialogue in response to the situation?
What are the educational opportunities introduced by the situation?
What are some strategies for managing the situation without immediately
ending the conversation?
7. Following all of the role plays, process the activity by asking participants if they
noticed any parallels in the stories.

 
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It is always important when activities call for participants to share their own stories and
make themselves vulnerable to remind the group about active listening. Consider
starting the activity by sharing a story from your own experience to ease the tension.

You might also consider following this activity with one in which participants are
encouraged to take turns facilitating conversations about issues of oppression for the
other participants. Consider using "plants" who are prepared to introduce difficult
situations into the experience.

Reading 5. Strategies for Choosing and Using Activities and Exercises for
Intergroup Learningcc
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You are preparing to lead a workshop, teach a class, or facilitate a dialogue. You know
what issues and topics you'd like to cover, how many participants you'll have, and your
objectives. You've sat down to compose a plan--an outline for the experience. What is
your next move?

For many educators, trainers, and facilitators, the next move is to flip through our mental
Rolodex of activities and exercises, jotting down the names of those that might fit into
the context, time allotment, and atmosphere in which we'll be working. Many of us have
shelves of books describing endless collections of activities and exercises for this and
that topic or binders full of outlines and descriptions of activities from classes and
workshops in which we've participated.
In my own process of planning classes, workshops and dialogues, trying to piece
together the optimum experiences for participants, I developed eight simple guidelines
that help me avoid some common programming pitfalls. The following are my strategies
for choosing and using activities and exercises for intergroup learning.
I must build my lesson plan around topics and concepts you I to cover, then
design or choose activities that can lead to an exploration of those topics or
concepts. I must not build my lesson plan around activities.
I must diversify the types of activities and exercises I use. Every group of
participants will have a range of learning styles and comfort levels with
different types and formations of activities. Some enjoy big group work,
others prefer to work in pairs. Some like simulations and role plays, others
prefer narrative and story-telling activities. I must try to pull from a range of
approaches when designing my plan.
The key to inter-group learning is dialogue. I must avoid filling so much of my
class or workshop with activities and exercises that I fail to leave ample time
for dialogue and processing.
Too often, multicultural or inter-group program designs call for People of
Color to teach White people about racism, women to teach men about
 sexism, and so on. I must avoid activities that call for oppressed groups to
teach privileged groups about their oppression.
Whenever possible and appropriate, I must model a willingness to be
vulnerable by participating in class exercises and activities. This can be
particularly effective when activities call for story-sharing or personal
narratives. In these cases, I can set the tone for the kinds of stories or
narratives I hope others will share.
Many popular diversity activities simulate life through role plays or other
experiences in which participants are asked to take on one or more
predefined identities. These can be effective, interactive, and engaging, but I
must balance them with activities or discussions that draw from the actual
lived experiences of the participants.
Films can provide excellent illustrations of concepts, leading to fruitful
dialogues. But I must avoid using long films that drain away dialogue time.
(Many filmmakers produce two versions of their films--a full length version
and a shorter "training" version.) In addition, I must be thoughtful about how
to transition from a film back to the personal experiences of the participants.
I must be creative. Too often, educators and facilitators become dependent
on one or two activities or exercises. But only I know the context in which I
am working--canned activities and exercises are not designed in every
context. I have a sense for what will and will not work within that context. I
must be willing to take the time to thoughtfully design new activities or modify
existing ones.

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We usually do this activity on the first day of a class or workshop right after the respect
exercise described above. It begins to build the community through showing difference
within groups and similarities among members of different groups. Diversity proves to be
the one thing we all have in common.

!B

(1) Participants will get to know the names of each person in the class, group, or
community, as well as something about each person's background.

(2) Participants will have a greater understanding and appreciation for the diversity
within the group, while realizing that they have things in common with some of the
people they have felt most removed from.

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Participants should sit in a circle for this exercise if possible. Facilitator should hand out
a list of questions for each participant to answer for the group. Possible questions could
include name/nicknames, ethnic background, where they are from and where their
parents were born, which generation they represent in America for their family, and one
custom or tradition their family practices. Give participants time to write down some
ideas for answering the questions.
Before you begin the exercise, instruct the participants to identify one or two people in
the group whom they do not know, and to think about what answers they expect from
those people. This part is not to be shared among group members, but can help people
realize how they formulate ideas about people based on appearance.

Now you are ready to begin. It is important to tell the group that each person will be
limited to about two minutes in order for everyone's voice to be heard. Once everyone
has had an opportunity to share their information, ask the group to discuss what they
have learned from the exercise.

 
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(1) I would suggest for the facilitator to begin this exercise in order to model the kind of
information that should be shared.

(2) This activity can be emotional for certain people. The participants who find this
emotional are often those who don't know about their heritage and those who have been
adopted. If someone seems to be getting emotional remind them that they only have to
reveal what they feel comfortable revealing.

(3) Certain themes usually emerge:

Even members of the same "groups" have very different backgrounds.

Often members of different "groups" have more similar backgrounds than
they realize.
Cultural diversity transcends black/white.
Many people find out information which allows them to connect somehow
with someone else in the group. (Last year, a member of a group I facilitated
revealed that her mother's maiden name was "Gorski" which is my last name.
We're still exploring the possibility that we're related.)

(4) Ask participants why this is an important activity.

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This activity asks students to think inwardly while continuing to provide opportunities for
individuals to make connections with each other. Participants write short poems, starting
each line with "I am," encouraging them to describe in their own words who they are and
what's salient to their identity.

!B

In any attempt to increase awareness and encourage self-development, it is crucial to

engage participants in activities which call for introspection and self-reflection. It is also
important to provide opportunities for participants to make connections across, and even
within, cultural lines. The "Who I Am" activity can provide a non-threatening starting point
for encouraging self-reflective thought and introspection. It is a safe way for students to
think about and share the influences that have shaped their identities. Also, it continues
the connection-making process as participants find unexpected similarities and
differences between themselves and others in the group.

This activity can also be an excellent LAST activity, allowing folks to re-connect at a self-
defined and human level at the end of an experience in which they are discussing
difficult issues.




Ask participants to take ten to fifteen minutes to write a poem called "Who I Am." Instruct
them that the only rule for the piece is that each line must start with the phrase "I am..."
Leave it open to their interpretation as much as possible, but suggest that they can, if
they wish, include statements about where they're from regionally, ethnically, religiously,
etc., memories from different points in their lives, interests and hobbies, mottos or
credos, favorite phrases, family traditions and customs, and whatever else defines who
they are. Be sure to let them know that they will be sharing their poems.

  
c

In order to ensure that everybody has an opportunity to share her or his story, you might
consider breaking the group into diverse small groups of 8-10 if necessary. Give
participants the option to either read their poems or to share parts of their poems from
memory.

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Because some individuals will include very personal information, some may
be hesitant to read their poems, even in small groups. It is sometimes
effective in such situations for facilitators to share their poems first.
Consider sharing your poem before asking students to write their own pieces.
If you make yourself vulnerable, others will be more comfortable doing the
same.
Be sure to allow time for everyone to be able to speak, whether reading their
poems or sharing them from memory.
If you're using this as a final activity, not much processing is necessary.
Encourage applause, and thank folks for sharing their poetry.
If you use this activity in the middle of a class or workshop, have some
process questions ready. When everyone has shared, ask participants how it
felt to share their poems.
Ask what, if any, connections people made with each other from this activity.
What were some commonalities across poems? Did any of these surprise
you?
You might also consider asking people to get up and talk to someone who
you felt a connection with through the poetry.
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We often do this exercise at the second meeting of a class or workshop. It begins the
discussion of these uncomfortable issues with sharing stories. It also begins to apply the
aspect of trust which was built by the respect exercise as well as by the connections
made during the ethnicity exercise.

!B

(1) Help individuals explore how they first became concious of prejudice and
discrimination and the feelings associated with it.

(2) Make participants aware that everyone has experienced prejudice and discrimination
and that it comes in a variety of forms (not just racial).

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"

Facilitators should divide the class into small groups of no larger than ten members.
Each participant then is given the opportunity to relate a story in which (s)he felt
discriminated against, or in which (s)he felt (s)he had discriminated against someone
else. Be sure that everyone has an equal opportunity to tell his or her story.

 
c

(1) It is vital to continually relate stories back to how they made the person feel.
Participants will often not offer this information without being asked by the facilitator.

(2) Remind participants about confidentiality. Also, mention that it is better not to refer to
people not in the class by name in their story. It is unfair to indict someone who is not
there to offer their perspective.

(3) It is important to acknowledge the fact that we can't change what happened five
minutes ago, let alone several years ago. The point is to figure out exactly what we are
doing and then decide for ourselves if we want to continue doing the same things.

(4) Participants are often reluctant to volunteer to begin this activity. A good strategy, as
the mentor, is to tell your own story first. This will help with the trust factor as well.

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Early childhood education
Literacy and numeracy for adult learners
Environmental education
Education through the arts
Girls' education
Conflict mediation
Special education
Community Teaching and Learning Centers
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Literacy and numeracy for adult learners
Environmental education
Education through the arts
Girls' education
Conflict mediation
Special education
Community Teaching and Learning Centers

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Early Childhood Education - Addressing the needs of our youngest learners
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Literacy and Numeracy for Adult Learners - Focusing on the elements of
creating, sustaining, and evaluating literacy training for the adult learner with
the idea that teaching parents to read helps educate children.
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listening, and attunement coupled with a reverence for the earth and the
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Education through the Arts - Creating a means for different ways of knowing
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our community, and our culture.
Girls' Education - Demonstrating how powerfully we can connect education
with human welfare. Educating girls offers a multitude of benefits for the girls
(themselves), their current and future families, and their societies.
Conflict Mediation - Ensuring that young people develop the social and
emotional skills needed to reduce violence and prejudice, form caring
relationships, and build healthy lives.
Special Education - Examining some of the myths concerning special needs
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Community Teaching and Learning Centers - Introducing the basic elements
of starting and sustaining a Teachers Without Borders CTLC - a center where
the communtiy can connect with each other and with the world.
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Make the plight of the illiterate and their children known
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The location of the literacy or community centre, i.e. distance from the
learners' homes.
Safety along the route at any time of the day or night.
A schedule that allows the person time to attend. (Some schedules may
distinguish against certain types of working situations.)
 The make-up of the group and whether one feels accepted and welcomed
into the group.
The quality of teaching staff, equipment, and materials.
The degree to which the site is welcoming, safe, and comfortable.

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Teach reading for authentic, meaning-making literacy experiences: for
pleasure, to be informed, and to perform a task.
Use high-quality literature.
Integrate a comprehensive word study/phonics program into reading/writing
instruction.
Use multiple texts that link and expand concepts.
Balance teacher-and student-led discussions.
Build a whole-class community that emphasizes important concepts and
builds background knowledge.
Work with students in small groups while other students read and write about
what they have read.
Give students plenty of time to read in class.
Give students direct instruction in decoding and comprehension strategies
that promote independent reading. Balance direct instruction, guided
instruction, and independent learning.
Use a variety of assessment techniques to inform instruction.

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Picture-word synthesis utilizes the teaching concept that starts with what
adults know and adds an association with the unknown - the "code" they can
break by progressing from pictures to words."Syllabic analysis of words"
breaks down the word into syllables in order to increase the ability for adults.
The use of primers with pictures and graded material in order of difficulty.
Such primers MUST have identified the local, practical problems that adults
face, for which literacy (and numeracy) is the solution. Content would include
issues of personal health and happiness, economic and social issues,
government regulations, how to start or grow a business, how to negotiate a
loan or to compare prices, how to get a job, how to have a happy family, etc.
The integration of reading and writing exercises into the above. Such
exercises must be accompanied by charts, posters, (and other audio-visual
aids), newspapers, and follow-up reading. Important, too, is the use of mobile
libraries so that reading is a constant discovery and an opportunity for adults
to become life-long learners.

(Adapted from several sources, most notably: "The National Commmission

for Mass Education," with the assistance of the United Nations Development
Program - NIGERIA)

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personal health and happiness,
economic and social issues,
government regulations,
how to start or grow a business,
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how to get a job,
how to have a happy family, etc."
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Choose any idea from the above list or add your own. Discuss in greater
depth how those ideas relate to specific problems adults face in your
community and how literacy can help. If you were to make books, for
example, specifically for the adults in your community, what would be the
titles or topics of those books? (Write 4-5 sentences per issue/idea.)
Design a Well-organized and Managed Literacy Class. Literacy classes must
be well organized, for the students themselves require smoothness and order
as they adopt a new role as a student. Disruptions hamper the learning
process. Records are essential. The following forms should be developed,
accompanied by a clear and user-friendly system for gathering information:
Registration Form (initially to be filled out by the instructor on behalf of the
student).
This form is used to judge interest, assess the community by determining a
profile of adult students, and plan for future events and trainings.
Attendance Register (to be kept by the instructor to determine rates of
attendance). If your adult students are missing classes, it is the instructor's
duty not to embarrass or punish, but to find out why and determine how to get
the student back.
Instructor's Records (including anecdotal notes on individual students as well
as official scores on examinations)
Local and Regional Records (with demographics of literacy rates in order to
prove that the program is successful or needs help. Such information
provides comparative data)
Monthly Reports (on general progress, to publish in newsletter form, post to a
website, or submit to government authorities).

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Instructor's lectures and interactions with students and the degree to which
dictation lessens over time, while students interact and assume leadership
positions in the class.
Quality of instructor's questions to determine the degree to which they are
engaging, practical, and realistic. Over time, multiple-choice questions should
decline and more open-ended questions assume a central place.
 The degree of use of learning aids to enhance the quality of the learning
experience and to vary the means by which information is made available
and usable.
The degree to which the instructor can demonstrate the skills s/he wishes to
impart and build.
Presentations must include a wide range of techniques. The level of
appropriate balance between group exercises and tutoring individual
learners.
The level of democratic engagement of students in class and in community
meetings so that local leaders can be acknowledged and enlisted, along with
a charge and a sense of independence that can help that leader accomplish
objectives and grow professionally.
Following the item above in terms of community meetings, the degree to
which meeting announcements are clear, widely understood, and publicized;
the site prepared; and a forum available by which participants from the
community can participate and feel heard. The extent to which instructors are
making home visits, enlisting the cooperation of students, becoming
accessible, motivating students, providing clear feedback.

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Topic
Description
Check?
Motivation
Does the planning of literacy classes take into consideration the reasons why
adults want to learn, read, and write? Is motivation maintained?
Are the goals limited to "minimum literacy standards" or geared more toward
"functional literacy" and beyond?
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Basic reading materials published by the literacy center
Follow-up reading materials and research
The radio to teach literacy, publicize success stories, provide recognition for
cooperating NGOs and government agencies, announce new courses
television
Exhibitions at international and national literacy day holidays, which can
stimulate interest and motivation for participation and higher standards
The use of drama that depicts real-life situations
Hand-made posters with few words, basic charts, photographs of local
citizens engaged in literacy study, illustrations with bold, attractive type

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1 Quaid-i-Izam on Educational Reforms in Pakistan, quoted in '
  (1976),, by Rahim Bukhsh
Shaheen, p. 6
2 Ibid, p. 7
3 Ibid, p. 9
4 Curriculum and Teacher Education Mohammed Hamid Al-fendi and Nabi Ahmed Baloch
5 Goldman, Daniel. Emotional Intelligence.cc