Showing posts with label critique. Show all posts
Showing posts with label critique. Show all posts

Tuesday, June 20, 2017

#SOL17: Courage and the Writing Group

self portrait with iphone (Paris, 2016)

I. 

Tonight I will be attending my weekly writer's group and for the first time we will be discussing work I produced. The majority of writers in the group write fiction. Only one other is writing memoir, like me. Last week we met in the bathroom and each confessed a bad case of nerves. 

It's so revealing, I said. There's no place to hide.
I know, she added.  

It's a sizable group--usually about a dozen people. Each week, two works are discussed and everyone around the table says something, often with sharp details about the work, and at the end of the session, the author is given the written comments from each group member.  I have learned a lot the last month listening to others critique work I have read too.  We read differently and there is something rather grand about that. This insight reminds me that we ought to acknowledge and celebrate different interpretations and noticings at school instead of requiring/expecting/celebrating the more homogenous reading of texts.

II.

Since I submitted my work, last week, I have been imagining various responses of those who have read the 15 pages. My worst fears are these:

Stop writing. Just stop.
You shouldn't try to write anymore.
What you have written simply isn't good enough.
It's too depressing.
Can't you write something more cheerful?
What was the point of this?
I was bored reading this.


Now, in my heart I don't think anyone will say this directly, but I do wonder if some might think some of this. What I do think is possible, as I have thought it too, is that some may say that the work meanders and a reader might grow impatient and wonder, what exactly do you want me to feel here? And the answer is that I don't know exactly.  I am one of those who writes to discover.  I am writing a memoir that chronicles Rob's death and the aftermath that comes with living, being a widow, and being a single parent of a high schooler.  Such change.

Crafting a memoir requires me to think about the through lines in the work. What do I need to tug and make more explicit at a structural level? Thematic level?  Figurative level? To help, I am blocking out chunks of time within the narrative and telling the stories that surface and then I will go back to refine the work by asking:

What truths emerge across the pages and across the months? How can I code this?
Are there motifs present in the work? If so, what?
What metaphors are at work? Are any extended?
What lessons seem more important, than merely interesting?
What remains ambivalent? Is that a strength?
What is repetitive and does the repetition advance or likely cause a reader to stumble, lose interest?
How does the mix of prose-poetry style work? Is it coherent? Is art work needed or not?
How does the writing look on the page?
Is the work brave?
Do I feel this? How raw is too raw?
Is there redemption?  Is that necessary?
What surprises me--catches me unaware?
Have I lost my way?

There's much to consider. For now though, I am seeing this sharing of work as courageous.  It's been a year of being courageous. Perhaps that is one of the through lines.

I'll let you know how it went.





Friday, April 10, 2015

Critique Needed of An Image Gone Wrong

Boston (Reilly, 2015)

I. 

Sometimes when I make an image, I know it is failing.  
The composition is off.
The clarity of the work is too opaque.
I really don't have a clue what it is I'm trying to express.
And the more I try, the worse it gets.

I don't publish an image that is failing.  I keep those unfinished works quiet, private.


II. 

A few days ago I read Joyce Carol Oates in The Faith of a Writer discuss failure. She writes:

The artist, perhaps more than most people, inhabits failure, degrees of failure and accommodation and compromise; but the terms of his failure are generally secret (p.52).

I thought--this blog of mine can also be a place where work is more tentative, unfinished, error-ridden.  So today I placed at the top of this post an image that I tentatively titled, Boston.  I'm not sure what I'm trying for, nor what the image is expressing.  Any thoughts would be appreciated.


Saturday, May 24, 2014

Expeditionary Learning ELA Modules: A Critique

Grade 3 students answering questions posed by Expeditionary Learning.
I've spent the last year working with teachers in grades 3 through 8 who are using the ELA modules created by Expeditionary Learning. I've appreciated much of the design of the modules, the thinking behind some of the lessons, and the attempt to ensure active learning through the use of collaborative techniques such as jigsaw; Praise, Question, Suggest; interactive word wall and others.

But if asked to recommend these to clients after spending a year with the materials, I would not do so. The modules are flawed in ways that must be corrected, especially as these modules have been situated as being a model curriculum that is CCSS-aligned.  Keep in mind that NYCDOE endorsed these modules for their schools in February 2013 before writing had been completed.

EL states:
EL is at the forefront of creating classroom-ready Common Core curricular materials. New York State chose EL to create Common Core-aligned English language arts and literacy curriculum for grades 3-5 and deliver Common Core professional development to representatives from districts across the state. EL is also working with the authors of the Common Core State Standards to develop model secondary curriculum aligned to the standards. (from here)
Although there are several concerns I have with the EL curriculum, two represent the greatest concerns:
  1. The absence of instruction that scaffolds and requires students to generate and frame questions of inquiry to answer.
  2. No one present in the classroom authors the work at hand.
Additional Concerns:
  • The absence of comprehensive writing instruction that moves beyond writing in response to text.
  • The absence of  systematic vocabulary instruction that doesn't rely on directing students to "use context clues" (which aren't always present) or guess.  
  • The amount of time allotted for students to respond to tasks is woefully underestimated.
  • Situating literary texts as something to be used is problematic. There is an absence of an aesthetic appreciation of literary works. Rather literature is situated as efferent (Rosenblatt, 1978).
  • Wait, where's the expedition? The translation of these modules, sans expedition, is simply wrong.  The experiential opportunities are missing.
In this post I want to focus on the first two concerns as these speak to issues of servitude and colonialism.

1. What Career Is EL Getting Your Children Ready To Do?
3rd grader answering a question.

A main challenge I see with  EL's 'model' curriculum is that it undervalues students being active problem framers and instead locates them as responders to already determined questions. Throughout thousands and thousands of pages of curriculum, students are situated in the role of responders to already determined questions and their teachers are located as mimers whose main task is to parrot those already determined questions. Learners are not asked to generate and then frame their own questions to solve. Rather, they are asked repeatedly to merely pen responses to questions that the EL curriculum writers have written, including essay questions.  

Now slide under that instruction for a minute and ask yourself what that set of practices might be developing.  Remember the CCSS is all about making sure our children are college and career ready.

As a former college professor I can assure you that not developing children's capacity to generate and then frame questions of worth is a method to ensure that students are not college ready. College ready at least ought to include students who have done the challenging work of framing problems, not merely answering an authority's questions. Questioning involves speculating about possibilities.
K Mart Greeter.  Image from here
But what about career ready?  What is the career trajectory for people who have been trained to answer questions, rather than generate and frame questions?

Yes, it isn't a pretty outcome for millions of children.

Recently when I asked a group of teachers this question we came up with the following jobs: phone operator, K-Mart greeter, customer service representative.  The absence of question generation and framing leaves the EL curriculum to be more a model of servitude than a model curriculum.

2. Authoring.

“Every empire, however, tells itself and the world that it is unlike all other empires, that its mission is not to plunder and control but to educate and liberate."  (Los Angeles Times, July 20, 2003)”  ― Edward W. Said

The EL curriculum is scripted. No one in the actual classroom gets to author--neither teacher nor student.  The curriculum is written to direct teachers to the specific materials to gather (including independent books for student reading), what to say, what to write, what to show, and allocates the number of minutes that each task needs to be completed.  It also includes anecdotes teachers can say (I guess in case teachers have none of their own?) when teaching vocabulary for example.  The curriculum is so bloated with commentary and directions that it is not unusual for each module to be comprised of 500+ pages.

With all of those pages there is little room for anyone actually present in the classroom to create curriculum: authentic and complicated conversations between students and teachers. The construct is epic, not novel.

Russian thinker Mikhail Bakhtin (1984) described epic as “ a poem about the past” (p.13), “an utterly finished thing” (p. 17) and novel as being unfinalizable and speculative about the unknown.  A similar difference can be said to exist between the institutionally controlled structures such as curriculum, and teachers' more idiosyncratic pedagogical and content practices. The epic world of Expeditionary Learning curriculum is unified, completed, “beyond the sphere of possible contact with the developing, incomplete, and therefore re-thinking and revaluating present” (p.17).  One can think of this epic world as being unalterable. The EL curriculum is an epic construct. It is untouchable. Dead. Beyond the influence of now.

Further, EL situates teaching as being complicated, not complex. Brent Davies' and Dennis Sumara's observe that “teaching has been cast as a complicated rather than a complex phenomenon—one that can be understood by analyzing its component parts and one that, for all intents and purposes, does not vary across time, setting, and persons” (“Cognition, Complexity, and Teacher Education,” 1997, p. 121, emphasis in original).   It doesn't matter who you are and are not. Who the children are and are not. Teaching and learning does not vary across time, setting, and persons. At 10:05 on Tuesday, all 3rd grade teachers should...

Such a belief sucks the energy and creativity from people: teachers and children alike.

In The Dialectic of Freedom, Maxine Greene writes about the difficulty teachers face with burgeoning demands and bureaucratic prescriptions that the public at large demands from educators. She writes:
“We do not know how many educators see present demands and prescriptions as obstacles to their own development, or how many find it difficult to breathe. There may be thousands who, in the absence of support systems, have elected to be silent. Thousands of others (sometimes without explanation) are leaving the schools” (p. 14). 
I've witnessed this leaving--the exiting of excellent teachers who simply can no longer allow themselves to be puppets of corporate enactments of learning. The struggle to continue to teach in light of model curriculum like EL is a formidable task as the mandated use of such curriculum restricts what is allowed to be taught and whose voice, value, and ideas are honored, ignored, and discouraged. 

Tuesday, January 24, 2012

What Makes a Task Meaningful?

(Note: this is work I will be doing with administrators, lead teaches/coaches in Morristown, NJ this week).


What Makes a Task Meaningful?

We know what meaningful tasks are in our everyday lives.  We aren't apt to confuse meaningful from meaningless.  For example, Rick and Dick Hoyt participate together in marathons.  Their work is meaningful.  Take a look at this video and as you watch think about what are some of the conditions that give rise to meaningful tasks. (BTW, you may need a tissue or two as you watch.)





In classrooms though, identifying meaningful learning tasks may be less obvious, less heart felt. So what makes a learning task meaningful? What might we borrow from Rick and Dick Hoyt that can inform our own practice?

The North Central Regional Educational Library (NCREL) offers this criteria:
In order to have engaged learning, tasks need to be challenging, authentic, and multidisciplinary. Such tasks are typically complex and involve sustained amounts of time. They are authentic in that they correspond to the tasks in the home and workplaces of today and tomorrow. Collaboration around authentic tasks often takes place with peers and mentors within school as well as with family members and others in the real world outside of school. These tasks often require integrated instruction that incorporates problem-based learning and curriculum by project. from NCREL
PCF4  (Fourth Pan-Commonwealth Forum on Open Learning) offers this:

  1. Learners are active partners in the process, rather than passive recipients of information and data;
  2. Learners are engaged in learning by doing;
  3. Learners are engaged in problem-solving tasks and activities;
  4. Learners are engaged in critical reflection during and after their activities;
  5. Learning is situated within the context of real-world or authentic problems;
  6. Learning scaffolds support and promote cognitive apprenticeships;
  7. Assessment of learning outcomes is closely aligned with the learning context and the learning activities.
Using the NCREL description and PCF4's 7 points as a framework for viewing, take a look at these videos of Dr. Jay Vavra, science teacher at High Tech High and his students as they explain the learning tasks they are composing. What do you notice?



African Bushmeat site
Trailer

Vavra Video II 




Improving Student Products through Critique

An example of a meaningful task can be critique. Interestingly, Lissa Soep notes four conditions necessary for critique:
  1. intense stakes attached to the work
  2. standards used to critique the work need to be collaboratively negotiated
  3. accountability for the quality of the work needs to be distributed across the group
  4. the work being critiques is interdisciplinary
Take a look at these two brief videos of Ron Berger as he explains that one important condition of critique is offering specifics that if enacted will help to make the work better.

Part I: Ron Berger


Part II. Ron Berger



Part III. Read interview using 4As Text Protocol to guide the group's reading and discussion.

An interview with Elizabeth 'Lissa" Soep.  Learning as Production, Critique as Assessment


Please note this is a fuller work on the topic by Soep, Critique: Assessment and the Production of Learning which was published in TC Record.