Wednesday, April 13, 2011

Guest Blog: Miss C Recounts Teaching at a South Bronx Charter School


Guest Blog: This blog post was written by Miss C a former graduate student of mine who spent a year working as a first grade teacher at a charter school in the South Bronx (NYC). Miss C completed a Masters of Professional Studies in Literacy, a graduate program that ironically privileged the arts and situated the study of "literacies" within a sociocultural framework. The charter world that Miss C describes represents a fundamentally different understanding of teaching, learning, children, and developmentally appropriate practices than what she knew and learned at college.  

I warn you, I cried reading this narrative--not for Miss C, a talented artist and teacher now working in a public school, but for her 22 first graders still at the charter school.


                                                Welcome to Boot Camp
“Miss C, when you were gone, I was so scared, I thought I was in boot camp!” -one of my first graders, after I returned from a meeting.
            This piece serves as a glimpse inside a South Bronx charter school, told from the perspective of a classroom teacher. With the overblown acclaim of charter schools as a means of education “reform” in recent months, I jumped at the chance to tell my story.  I realize that mine is just one story and there are infinite stories and viewpoints held for any given situation;  someone else in my shoes might offer a completely different account. My hope is that my story will spark a conversation, offer new perspectives, and raise a few questions. Teacher's voices can be powerful when they are allowed to be heard.
            Charter schools are public schools, and can be started by and run by anyone. It is not uncommon for them to be operated by people who have no background in education.  They are funded by a mixture of government money, private donations, and grants, and are often situated in areas of high poverty, where applicants are chosen by lottery. Charter schools offer longer school days, smaller class sizes, and "rigorous, standards-based instruction". They also offer a militaristic and strangely corporate environment that emphasizes the importance of order, obedience, and product above all else. Everything has a set protocol and predetermined vision of result, usually dreamt up by administration.  I spent ten months feeling like a chess piece, robot, crusader, warden, inmate, and performer, sometimes all at once. It was a very long year.

Lights, Camera, Action: Battling the Script
“It defies both logic and experience to believe that the learning of all will be enhanced by a curriculum that meets the individual needs of few, if any." --P. David Pearson
            Curriculum, for me, was the single most difficult thing to contend with during my experience. Having worked in a school where instruction was more or less designed by the teachers, I had naively assumed I would be doing the same at my new school.  Instead, I was horrified to discover that my entire day was scripted. Reading, writing, math, science, and social studies all had their own stacks of teaching manuals and supplies, dictating every utterance and activity for teachers and students. I distinctly remember a line from a four page script in one of the math lessons wherein the teacher was supposed to rap multiples of 10 to the students. “After each verse, say 'unh' two or three times in rhythm,” it directed.  Three large plastic tubs held hundreds of worksheets and assessments to be distributed to the masses. The worst was the reading program, which aside from scripted manuals was also accompanied by sets of basal readers and phonics workbooks, forcing students to engage in choral readings of monosyllabic stories about Fat Cat and Zig Pig. The level of boredom and disinterest during instructional time was palpable.  Teachers had to email weekly lesson plans to supervisors no later than 8pm on Sunday nights, filled out in complex electronic templates that detailed everything from what questions we planned to ask during a read aloud, to what page number of the manual we were on. I asked my supervisor why everything was scripted, and she informed me that this was a way to ensure teaching consistency across each grade level. In the past, she explained, some students had been getting quality instruction, while others were getting less quality instruction; scripts were a way to eradicate that inequality and make sure that everyone received the same thing. Mediocrity, evidently, was acceptable, as long as it was uniform. 
            The idea of uniform teaching baffled and infuriated me for a number of reasons. It reduced teaching to regurgitating lines off a page, and learning to nothing more than acquiring information and regurgitating it right back. Use of scripts insinuated that we were incapable of designing instruction on our own and that manuals created by faceless executives were appropriate for all of our students. I bitterly resisted, sneaking in differentiated instruction, supplementing whenever possible. It was an exhausting challenge. Teachers were required to have the same objectives, lessons, and activities as their grade level colleagues at all times, regardless of what our students might need, and discrepancies were always questioned by administrators.  Furthermore, we were informed that we should not design any assignments or response sheets ourselves, since it was all provided and prepackaged for us in the curriculum. Anything we did design was supposed to be approved by our supervisor prior to using it.
            In addition to consistency, scripts offered a degree of control and micromanagement for administrators which consumed every facet of life in the school. Teachers (and students) were exempt from making virtually any decision themselves.  This included (but was not limited to) what to teach, when to teach it, how to teach it, how to line our students up, how to have them walk in hallway, when to take our classes to the bathroom, how much homework to give, what homework to give, how to handle classroom management, what to put on our bulletin boards, how to arrange our furniture, when to read a book to our students, how to distribute crayons and pencils, and a myriad of other things.  I found it ironic, not to mention insulting, that the same administrators who preached about the virtues of teaching and our high level of "professionalism" seemed to regard us as bumbling idiots incapable of doing anything short of walking upright without a set of detailed instructions.

Kiss My ASSessments: Tales of Testing
“When we define what matters in education only by what we can measure, we are in serious trouble.”-Diane Ravitch
             When a charter school is "born" so to speak, it is aligned to an actual charter stating that the school will meet certain goals (i.e., test scores) within a specific time period (usually five years). If the goals are not met within the five years, the charter could potentially be revoked and the school could be shut down. With such heavy pressure to obtain high test scores, "rigorous" curriculum takes on whole new meaning.  In addition to hours of scripted instruction, most of which was test-based, the students were also subjected to relentless test prep delivered from thick, scripted manuals. Upper school (grades 3-5) designated Fridays as test prep days, since the kids left at 2pm rather than 4pm. On Fridays, they literally spent the entire day doing nothing but test prep. The younger grades were spared, at least until May, when my first graders were forced to endure test prep for the Terra Nova exam, a torturous experience for all of us. Even the kindergarteners took the Terra Nova, a test which required children to sit for an hour and a half session on two separate days and bubble in answers on a recording sheet.  I didn't know whether to laugh or cry at the absurdity of it, although I did chuckle when one kindergarten teacher told me how her students blurted every answer out loud after she read them the questions. Test scores determined merit pay, and "testing season" was regarded as the most important time of the year.
            Along with endless test prep for NYS exams, assessment and the quest for data were drilled into our curriculum and practices. Never in my life had I such a dizzying array of assessments, especially in the primary grades. Our math curriculum came with weekly tests that I had to grade using actual percentages scrawled on top, which felt bizarre and cruel to hand back to a six year old (not to mention a stark contrast to my usual star or smiley face). We were instructed to keep data on everything, and make sure anything we put in a portfolio, or hung up on a bulletin board was aligned to a rubric and graded. Our heavily scrutinized bulletin boards--which I secretly referred to as bulletin boreds--were depressing exhibitions of uniform student work that was graded and accompanied by lists of NYS standards and rubrics so observers could see what the “purpose” of the assignment was and how/why students received whatever grade they got. Giving grades was bad enough: putting them on display in the hallway was even worse. Low grades were not permitted to be displayed, so some students never had work shown. Bulletin boards were no place for whimsical artwork adorned with painted handprints, glitter, or anything fun. Nothing “counted” unless it had a grade and was approved by administration.
            Data and grades played a more sinister role when it came to determining who was "PiD" (Promotion in Doubt).  Children who were in danger of being retained had to be identified by early November--a mere two months into the school year—when PiD forms were handed into administration, then sent home to parents. Each year, out of roughly 66 children per grade level, between five and seven were held back, totaling about 36 kids on average K-5. In my own class, I had four students who were repeating first grade. Criteria for retention was based on failure to meet certain benchmarks, and often seen as a necessary step. Before an end of the year awards ceremony, my supervisor cautioned us to make sure we told our students that "just because they get an award of participation does NOT mean they are being promoted to the next grade."

                             Phases of the School Year: Another One Bites the Dust
“I used to work for a large telecommunications business. I wanted to teach because I was looking for something easier to do.” --a brand new fourth grade teacher at my school. He lasted nine days of work before submitting his resignation.
             During our August orientation, staff members were given a “Phases of the School Year” graph that mapped out our predicted feelings and attitudes over the course of the upcoming school year. According to this graph, we would start off in “Anticipation” mode, but would quickly slip into “Survival” mode, struggling to "keep our heads above water". Survival was followed by the lowest point on the graph, “Disillusionment”, that was projected to hit us around the October/November mark. After this, it was a steady uphill climb toward “Rejuvenation” (Feb/March), “Reflection” (May) and then back to “Anticipation” once again (June, July).  I remember thinking how odd it was to be told how miserable and desperate we were going to be feeling in a matter of months. Looking back, I am not entirely convinced over the accuracy of the graph’s information. Personally, I never felt Rejuvenated, and I witnessed more than one teacher who seemed permanently stuck in “Disillusionment”, on the brink of “Severe Mental Breakdown”. Staff morale was perpetually low.
            When I worked in the suburbs, teaching jobs were scarce and highly coveted. Teachers got jobs in schools or districts and built life-long careers there. Unlike most public schools, charter schools do not offer contracts, tenure, or a union. Teachers sign “letters of intent”, stating that they intend to work in a position for the school year, that they can be fired at any time with or without cause, and that they are free to leave at any time. Staff changes are frequent. At my school, since teachers were more or less viewed as factory drones, replacing them was swift and emotionless--when people quit, it was often not even mentioned at the weekly faculty meeting. A face was absent, a new face was in place, and life continued. During that one year, seven teachers quit between September and May, one was fired, and five more (myself included) resigned in June.  Quitting was often the result of utter exhaustion and depression; the demands and the micromanagement were often more than teachers could bear. I considered leaving every day up until June 25th, wavering back and forth on a near hourly basis and hanging on only by desperate determination to see the year through and a begrudging sense of obligation toward my students. Those who left earlier forfeited two months worth of salary they would have been paid if they’d given 30 days notice (we were paid over 12 months). Out of those seven teachers, only two had new jobs lined up. The other five opted for unemployment.
            The record for fastest resignation went to a fifth grade teacher, who quit during orientation, a week before the kids were due to arrive.  According to our graph, she never even made it to Survival mode.  She was soon followed by a fourth grade teacher two weeks later; his class eventually would lose another teacher in February.  On the other end of the spectrum was a third grade teacher who quit in May (Reflection month!), with six weeks of school left. At that point, her position was not replaced, but rather covered by a rotating shift of various learning specialists and office aides who performed like a succession of understudies, picking up where she'd left off in the script. 

                                  Kiss My Summative Assessment: Evaluation Tales
“A child sighs loudly on the rug. 2 minutes later it happens again. You do nothing to address this.” --excerpt from one of my 12 documented observations
            Over the course of the year, all lessons plans, activities and practices were aligned to the school’s evaluation tool; a six page rubric that broke teaching into 23 areas. Each area had four distinct ratings; Unsatisfactory, Basic, Proficient, and Distinguished.  Starting in April, teachers were required to hand in “Summative Assessments”; documents totaling anywhere from 20 to 40 pages that described our teaching performance in alignment to the rubric.  Supervisors reviewed them and gave us our "grades". Throughout the previous months, we’d been forced to perform skits and act out examples of these ratings and components at faculty meetings, so it was abundantly clear how one might achieve the exalted title of “Distinguished” and avoid "Unsatisfactory". We were also given a total of 12 recorded observations by supervisors (in addition to about 40 unrecorded observations), where we received feedback such as letting us know that our students were breathing excessively.  I was given an unsatisfactory in one category because my classroom cubbies were a mess. As a result, I lost a chunk of my bonus, as performance, along with test scores, were aligned to merit pay. I half expected to be forced to wear a scarlet letter U plastered to my shirt; thankfully it didn't quite come to that.
                                                            Reflection
"Ugly stuff, /ugly, ugly stuff./I hate/ school./School is/ boring. I hate/school. boo!" --a poem written by one of my first graders
It is nearly impossible to concisely express what an exhausting, frustrating, and mind-boggling year it was. Much of what I saw and was encouraged (or forced) to do directly contradicted every principle or philosophy I believe in as a teacher. To be fair, there were positive things mixed in with the crazy. The school itself was clean, safe, and decently equipped, with large, sunlit classrooms and brightly painted walls. The children received regular art, music, and gym, as well as daily breakfast and lunch. Most of the teachers I met were genuinely warm, caring, funny individuals who were very invested in their students.  Their level of dedication and energy was amazing. In addition to extreme demands at school, most of the staff battled commutes of an hour or more, long subway rides or miserable gridlocked traffic, but were nonetheless at school by 7:30am every day, ready to give it everything they had.
            My story here hardly touches upon the 22 students I spent eight hours a day with. I think of them often, wondering if they are happy or miserable, if they are making progress, if they are behaving (hmm, that would be something new), how they are reading, what they are writing, if they miss first grade, if they miss ME. It would be an understatement to say we had a rocky year, but I am convinced it would have been less rocky if they had been allowed to be children rather than stuffed into little invisible straight-jackets all day long, from which outbursts and tantrums were frequent. My first graders in the public school I’m at now have play center time and lots of choice; our curriculum isn’t scripted, the children are allowed to talk, sing, breathe, and be themselves. It’s truly a different world, one that my former students will most likely never know.
            I wonder about the high test scores my previous school boasts, and if they are an indication of real learning, or the result of endless hours of relentless test-prep that has taught students how to choose the correct answer at the expense of actually learning anything valuable. I wonder what a “Phases of the School Year” graph might look like for students at this school, and similar schools. Are they Disillusioned? Rejuvenated? Or stuck in Survival Mode, going through the motions and barely scraping through each day, while buried under mounds of tedious scripted assignments and looming PiD forms?
            I wonder about the brand-new teachers who find themselves in schools like this, or the student teachers, without any previous experience to give them an alternate view of what education can look like. There were several student teachers at the charter school, and I shudder to think of the warped ideas they left with regarding teaching and learning.
            It is thoroughly frightening and depressing to see what is occurring in education these days.  The gaping chasm between the have and the have-nots seems to widen with each year, while the "remedies"--scripted instruction, charter schools, value-added assessment, and increased standardized testing, to name a few--manage to pointedly avoid dealing with the root of the issue while imposing the most miserable conditions upon innocent children and hard-working teachers. I hope that the pendulum will eventually swing and that the opportunity for individual thought, authentic instruction, creativity, play, and shared teaching and learning will eventually be available to everyone. I've seen schools like this; they do exist. As Kozol writes, “The schools where children and their teachers are still...given the opportunities to poke around in the satisfactions of uncertainly need to be defended...These are the schools I call the 'treasured places'. The remind us always of the possible."


Work Cited
Kozol, J. (2005). The shame of the nation: The restoration of apartheid schooling in America. New York: Crown Publishing Group

Pearson, P.D. (2007). An Endangered Species Act for Literacy Education. Journal of Literacy Research, 39, 145-162.

Ravitch, D. (2010) The death and life of the great American school system: How testing and choice are undermining education. New York: Basic Books.

Tuesday, April 12, 2011

Banned!

A friend recently tweeted me the link to a list of the 10 most banned books in the US as reported by the American Library Association. I took a look and wondered what it suggested about our cultural values given the books that were banned and the desire by some to limit other people's rights to choice.  Before we get to the list I want to delineate an important difference between making choices for yourself and your children and imposing your beliefs on everyone else.

Banning is not about exercising a personal choice. It is not about parental decisions. As a mom, there are texts (books, video games, movies) that my husband and I have looked carefully at for our son. We understand this process to be an important parental responsibility.  But I can assure that we do not look at what your child is reading, viewing, or playing. Nor do we try to make schools or libraries restrict a text because we don't care for it. Banning is about someone or some entity who believes they are superior to you and therefore must speak for you and in doing so limits your right to access a text.  These groups are not new. Consider that the New York Society for the Suppression of Vice (NYSSV) in 1921 had The Little Review banned because it had published serialized sections of James Joyce's Ulysses.  It was decided by a court that the magazine was obscene and  as a result the book was not allowed in the United States. It is not until 1933 when Random House pushed the issue by having a copy of the book brought to the States from France, that U.S. District Judge John Woolsey ruled that James Joyce's Ulysses was neither obscene nor pornographic. The novel was allowed in the country.  I know of no novel I have read that matches Ulysses for its beauty, complexity, intensity, and use of language--a text many contend is the greatest literary work of the 20th Century.  The NYSSV in their small-minded ignorance determined that its role was as supervisor of the public's morality.

Times have not changed.  Whereas the NYSSV, a Christian group,  is no longer active, other groups have taken its place.

I have first hand knowledge of what happens when a group seeks to restrict access to a text. In one school district I was employed as the Humanities Supervisor. There the Board of Education chose to remove all copies of Bette Greene's The Drowning of Stephan Jones and Toni Morrison's The Bluest Eye from high school English classrooms.  I defended the books to the board committee.  Two main reasons were given for restricting the texts:
1. The Drowning of Stephan Jones was removed from classrooms because a character who is gay is killed and a similar event had happened in the town years earlier. It was explained that a teenager thought to be gay had suspiciously drowned. It was decided that it would be better to not trigger such a memory via the text.
2. Morrison's The Bluest Eye was removed from senior high school English classrooms because the committee believed that reading the book might trigger a memory of sexual abuse and a teenager might not be able to handle that memory and harm herself.

In a room with four board members, an assistant superintendent and myself, I was the only one who had actually read any of the texts under question. No one else had read the books, but all felt that having been told about the books and in some cases skimmed the books, that they could determine rightful action.  I was able to convince the assistant superintendent and board to not ban the books, but to relocate them from classroom libraries to the high school's library.  They agreed.  The drama elicited by the process ensured that teens borrowed both books from the library in droves. The book restrictions, along with attacks on teaching evolution that I also had to defend occurred because of a small, but well organized group that self-described itself as The Gathering Christians had gained majority membership on the school board.

Do We Support Banning Books?
In a recent Harris Poll, 73% of liberals, 60% of moderates, and 41% of conservatives say no book should ever be banned. It makes me wonder why we allow any book to be banned, and why we do not stand up and say no to these individuals and groups who want to control us and what we read.

Here's the list from the American Library Association. The ALA’s Top Ten Most Frequently Challenged Books of 2010 include the following titles; each title is followed by the reasons given for challenging the book (Quoted from ALA's site):

1. "And Tango Makes Three" by Peter Parnell and Justin Richardson
Reasons: Homosexuality, Religious Viewpoint, Unsuited to Age Group
2. "The Absolutely True Diary of a Part-Time Indian" by Sherman Alexie
Reasons: Offensive language, Racism, Sex Education, Sexually Explicit, Unsuited to Age Group, Violence
3. "Brave New World" by Aldous Huxley
Reasons: Insensitivity, Offensive Language, Racism, Sexually Explicit
4. "Crank" by Ellen Hopkins
Reasons: Drugs, Offensive Language, Sexually Explicit
5. "The Hunger Games" by Suzanne Collins
Reasons: Sexually Explicit, Unsuited to Age Group, Violence
6. "Lush" by Natasha Friend
Reasons: Drugs, Offensive Language, Sexually Explicit, Unsuited to Age Group
7. "What My Mother Doesn’t Know" by Sonya Sones
Reasons: Sexism, Sexually Explicit, Unsuited to Age Group
8. "Nickel and Dimed: On (Not) Getting By In America" by Barbara Ehrenreich
Reasons: Drugs, Inaccurate, Offensive Language, Political Viewpoint, Religious Viewpoint
9. "Revolutionary Voices" edited by Amy Sonnie
Reasons: Homosexuality, Sexually Explicit
10. "Twilight" by  Stephenie Meyer
Reasons: Religious Viewpoint, Violence

Reading the list, I wonder about the motivation of the groups who have had these texts banned. I'm curious as to what you think might have motivated groups to want these books removed not only from their hands, but yours too.

Monday, April 11, 2011

The Need to Compose & A Room of One's Own: Art Making & School-Based Writing

Creating Art
Yesterday I knew I needed to create something with my hands, not only my camera.  For awhile when I had a different job and oodles of time, I worked at collage frequently. I enjoyed making batiked papers for my collages, painting with watercolors and acrylics, collecting "found" papers, applying gesso to surfaces, using Liqiuitex or Golden gel mediums, having on hand a range of brushes, artist tape, some sponges, and course a brayer. It's the physicality of the work that interests me as the blank canvas begins to take on shape as I layer paper and paint.

I had been dreaming the last week of a room of my own.  It was a fairly massive space with very large canvases with the edges taped, ones taller than me, and serious rollers with long handles, and pans of paint. I don't have a room of my own.  So yesterday I unpacked art materials I had put away after starting my new job (now 17 months old), carted everything upstairs to the dining room table, covered it with paper and began to work.  A couple hours later, satisfied with the image, I photographed it and then imported it into Photoshop (CS4).  I let it sit on my screen for a few hours taking a look now and again. At about 11:00 p.m. I began to work with the image, layering parts of photographs I had taken the day before and playing. By that time, my home was very quiet and I worked for about an hour, and left the image up on my screen.

This morning, I returned to the image at about 6:00 a.m. and worked at it for awhile, but could not get it to a finished state so I left it alone again and went to work.  I got home at about 9:00 tonight and began thinning the image of the sun by blurring it.  This seemed to settle the work into an evenness that had eluded me. Because I work in layers, I can click off and on sections of the image to see differences, as well as reorder the layers to shift foreground and background.  24 hours later, I felt done and posted the image on RedBubble and Twitter.

School-Based Writing
Tonight I thought about the processes I went through to make the final image and contrasted that with the way "experts" on  several different videos I watched this afternoon teach writing. In preparation for some work I will be doing next week, I was reviewing video all afternoon.  I was dismayed at the amount of talk the guest teachers (expert consultants) did and how the kids regardless of the setting (middle school, high school) sat and watched the guests.  It was like an epic version of Waiting for Godot.

I also was concerned when the guests simply told the kids to write and gave them a few minutes.  Then the students were expected to confer with a partner for a minute or two and then read aloud their work. Throughout this process, each guest consultant kept referring to the students as writers. Most of the  work read by the students in each class was pretty mundane and quite unfinished, and certainly I can understand why, as creating was limited to 6 minutes, some talk, and then Pow: perform.  The expert consultants' comments to the kids were overly rewarding with statements like: "You are fabulous writers." "That's great work." "You're a poet." "You worked really really hard today in your groups."

I just didn't see any of that. And I am a hoping the kids didn't buy it either.  I'm confident the students can do better work, with greater difficulty and complexity than what 6 minutes of pencil to paper produces. So what I was thinking about tonight is the contrast in creating art--be it as a painter, photographer, or writer and the privilege I have to determine the time I need to create a work, the range of tools (physical and technological) I have to use, as well as the certainty that I can abandon or set aside work anytime throughout the process. The students I watched had none of these and I want to remind you that these videos (costly at that) are presented as models for teachers to follow. 

I kept thinking: When do kids learn that creating is tough stuff, not a six-minute task? When do students experience what all artists come up against walls that must be honored and pushed through? What might beginning teachers make of this?

Along Towards Morning (M.A. Reilly, 4.11)

Sunday, April 10, 2011

Learning History: How Way Leads on to Way

I have been thinking about how I learn history and realize that I do not follow any singular approach. This "revelation" has me thinking about how history is taught in high schools, which often is based on a strict attendance to time line. Now to be sure, I am not suggesting that I don't value chronology, as I do.  I understand chronology as one way of organizing historical events.  I just am uncertain if it makes sense to teach history through a chronological method.  More times than not, I use an associative method to interest me to learn about history. Like that lovely line from Robert Frost about how way leads on to way, much of what I know that one might categorize as history has been initiated by juxtaposing ideas.

The Human Condition (Collage about Hannah Arendt, Reilly, 3.09
Many years ago (early 1980s), I read a poem by Carolyn Forche, The Colonel. I have never forgotten this poem or how it moved me to know more about the nature of evil. Years after that (1994) I am rereading Maxine Greene's (1988) The Dialectic of Freedom, a text I will be using to teach graduate students at the New School of Social Research, and I begin to think about Hannah Arendt.  At that moment, I know of Arendt, have read about her and about her ideas, but I have not directly read any sustained text and so I read The Life of Mind --Thinking--Willing and key in on the idea of evil's agents being thoughtless.

Years after that (2008) I will write the following in an essay about teaching (Restoring points of potentiality: Sideshadowing in elementary classrooms ) that will later be published without this section:  
While thinking about sideshadowing and planning, I have also been rereading Hannah Arendt’s The Life of Mind - Thinking - Willing in which she accounts the trial of Nazi Adolf Eichmann in 1960. Arnedt said that she thought she would be seeing a horrific man of evil in that Jerusalem courtroom.  Yet, she writes: “The deeds were monstrous, but the doer—at least the very effective one now on trial—was quite ordinary, commonplace and neither demonic nor monstrous” (1978, p. 4). In characterizing Eichmann’s only “notable behavior,” Arendt concludes, “it was not stupidity,  but thoughtlessness” (p. 4).
Arendt catalogs the devices of thoughtlessness when she writes:   “Clichés, stock phrases, adherence to conventional, standardized codes of expression and conduct have the socially recognized function of protecting us against reality, that is, against the claim on our thinking attention that all events and facts make by virtue of their existence" (1978, p. 4).  In reading Arendt’s list of thoughtlessness devices, I thought again about Roberto.  What is Roberto learning in the moments when he is silenced? What are we teaching?  Can we afford it?
This discussion of evil and mindlessness will later inform my reading of an enacted unit of study about genocide conducted through performative pedagogy that took place in a middle school classroom and became this chapter (Sowing Seeds of Social Justice through Performative Pedagogy ).

So what does all this mean?  

I am wondering if the linear construction of a history via a time line doesn't overly simplify it, and perhaps even sanitize it, and maybe make it less interesting to students as the important thinking (placing things of relevance next to one another) is already done.  Wondering what you think.



Works Cited:
Arendt, Hannah. 1978. The life of mind--thinking--willing. NY: Ed Harvest.
Greene, Maxine. 1988. The dialectic of freedom. NY: Teachers College Press.

          

Friday, April 8, 2011

Books for My Presentation with Jane Gangi at 5th Annual Conference: Literacy Essentials

Tomorrow I will be co-presenting at the 5th Annual Conference: Literacy Essentials with friend and co-author, Jane M. Gangi at Central Connecticut State University in New Britain, CT.  Our topic is "The Wonderful World of Multicultural Children's and Young Adult Books." Jane and I will be engaging participants in selected multicultural literature through performance, discussion, examination of art conversation artifacts, and a "Check it Out" book pass. In preparation for the conference I am listing the books I will have on hand, so that participants will have a bibliography to refer to after the event.

Global, Multicultural Books to Study Writer's Craft & Visual Art
Alarcon, Francisco X. 2005. Laughing Tomatoes: And Other Spring Poems / Jitomates Risuenos: Y Otros Poemas de Primavera. Illustrated by Maya Christina Gonzalez. San Francisco, CA: Children's Book Press.
Argueta, Jorge. 2006. Talking with Mother Earth/Hablando con Madre Tierra. Illustrated by Lucia Angela Perez. Toronto: Groundwood Books.
Atkins, Jeannie. 1995. Aani and the Tree Huggers. Illustrated by Verantius J. Pinto. NY: Lee & Low.
Baker, Jeannie. 2001. Home in the Sky. London: Walker Books.
Bruchac, Joseph (Abenaki). 2002.  Navajo Long Walk: The Tragic story of a Proud People's Forced March from Their Homeland. Illustrated by Shonto Begay (Navajo). Washington D.C.: National Geographic.
-----------------------------, Jonathan London. 1992. Thirteen Moons on Turtle's Back. Illustrated by Thomas Locker. NY: Philomel.
Campbell, Nicola (Interior Salish & Metis Ancestory). 2005. Shi-Shi-etko. Illustrated by Kim LaFave. Toronto: Groundwood Books/House of Anansi Press.
Chambers, Veronica. 2002. Double Dutch: A Celebration of Jump Rope, Rhyme, and Sisterhood. NY: Jump at the Sun.
Cheng, Andrea. 2008. Where the Steps Are. Honesdale, PA: Wordsong.
Cohn, Diana. 2005. ¡Si, Se Puede! / Yes, We Can!: Janitor Strike in L.A. Illustrated by Francisco Delgado. El Paso, TX: Cinco Puntos Press.
Erdrich, Louise (Chippewa). 1999. Grandmother's Pigeons. Illustrated by Jim LaMarche. NY: Hyperion.
Figueredo, D.H. 2003. The Road to Santiago. Illustrated by Pablo Torrecilla. NY: Lee & Low.
------------------. 1999. When This World Was New. Illustrated by Enrique O. Sanchez. NY: Lee & Low.
Goldberg, Dana (ed). 2007. On My Block: Stories and Paintings by Fifteen Artists.  San Francisco, CA: Children's Book Press.
Gollub, Matthew. 1998. Cool Melons - Turn to Frogs: The Life and Poems of Issa. Illustrations by Kazuko G. Stone. NY: Lee & Low.
Girmay, Aracelis. 2005. Changing, Changing. NY: George Braziller.
Grimes, Nikki. 1998. A Dime a Dozen. Illustrated by Angelo. NY: Dell.
Herrera, Juan Felipe. 2003. Super Cilantro Girl/La Supernina del Cilantro. Illustrated by Honori
Robledo Tapia. San Francisco, CA: Children's Book Press.
Ho, Minfong (Trans.). 1996. Maples in the Mist: Children's Poems from the Tang Dynasty. Illustrated by Jean & Mou-sien Tseng. NY: Lothrop, Lee & Shepard Books.
hooks, bell. 2002. Homemade Love. Illustrated by Shane W. Evans. NY: Jump at the Sun.
-------------. 2002. Be Boy Buzz. Illustrated by Chris Raschka. NY: Jump at the Sun.
Hubbard, Crystal. 2005. Catching the Moon: The Story of a Young Girl's Baseball Dream. Illustrated by Randy DuBurke. NY: Lee & Low.
Issa. 2007. Today and Today. Illustrated by G. Brian Karas. NY: Scholastic.
Jiménez, Francisco. 1998. La Mariposa. Illustrated by Simon Silva. NY: Houghton Mifflin.
Johnson, Angela. 2004. Just Like Josh Gibson. Illustrated by Beth Peck. NY: Simon & Schuster.
--------------------. 2003. I Dream of Trains. Illustrated by Loren Long. NY: Simon & Schuster.
Johnson, D.B. 2002. Henry Builds a Cabin. Boston, MA: Houghton Mifflin.
Lee, Milly. 2006. Landed. Illustrated by Yangsook Choi. NY: Farrar, Straus and Giroux.
Letria, Jose Jorge. 2006. The Moon Has Written You a Poem. Illustrated by Andre Letria.  Translated by Maurice Riordan. Kent, England: Winged Chariot Press.
Lofthouse, Liz. 2007. Ziba Came on a Boat. Illustrated by Robert Ingpen. La Jolla, CA: Kane/Miller.
Lord, Michelle. 2008. A Song for Cambodia. Illustrated by Shino Arihara. NY: Lee & Low.
Medina, Tony. 2001. DeShawn Days. Illustrated by R. Gregory Christie. NY: Lee & Low.
Messinger, Carla (Turtle Clan Lenape) and Susan Katz. 2007. When the Shadebush Blooms. Illustrated by David Kanietakeron Fadden (Wolf Clan Mohawk). Berkeley, CA: Tricycle Press.
Myers, Walter Dean. 2009. Amiri & Odette: A Love Story. Paintings by Javaka Steptoe. NY: Scholastic Press.
Nelson, Marilyn. 2005. A Wreath for Emmett Till. Illustrated by Philippe Lardy. NY: HarperCollins.
Neri, G. 2007. Chess Rumble. Art By Jesse Joshua Watson. NY: Lee & Low.
Shange, Ntozake. 2004. Ellington was not a Street. Illustrated by Kadir Nelson. NY: Simon & Schuster.
Sheth, Kashmira. 2010. Boys Without Names. NY: Balzar & Bray.
Shin, Sun Yung. 2004. Cooper's Lesson. Illustrated by Kim Coogan. San Francisco, CA: Children's Book Press.
Smith, Charles R. Jr. 2002. Perfect Harmony: A Musical Journey with The Boys Choir of Harlem. NY: Jump at the Sun.
Tapahonso, Luci (Navajo). 1999. Songs of Shiprock Fair. Illustrated by Anthony Chee Emerson (Navajo). Walnut, CA: Kiva Publishing.
Testa, Maria. 2005. Something About America. Cambridge, MA: Candlewick Press.
Tran, Truong. 2003. Going Home, Coming Home/Ve Nham, Tham Que Huong. Illustrations by Ann Phong. San Francisco, CA: Children's Book Press.
WeatherfordBirmingham, 1963. Honesdale, PA: Wordsong.
Wilkes, Sybella. 1994. One Day We Had to Run! Refugee Children Tell Their Stories in Words and Paintings. Brookfield, CT: The Millbrook Press.
Williams, Mary. 2005. Brothers in Hope: The Story of the Lost Boys of Sudan. Illustrated by R. Gregory Christie. NY: Lee & Low.
Woodson, Jacqueline. 2001. The Other Side. Illustrations by E.B. Lewis. G.P. Putnam's Sons.
Zinn, Howard (ed). 2004. The People Speak: American Voices, Some Famous, Some Little Known: Dramatic Readings Celebrating the Enduring Spirit of Dissent. NY: Perennial.


A Poem about Tempo (and fluency too)

Tempo
 By Charles Smith From Perfect Harmony: A Musical Journey with The Boys Choir of Harlem.

(Antiphonal 1: Read quickly)
If-the-tempo- is-too-fast-it-makes-your-words-crash-and-
causes-your-song-to-sound-like-trash.
(Antiphonal 2: Read Slowly)
But. . .
If
the
tem-
po
is
too
slow
you
lose
the
flow,
you
know?
(Antiphonal 1: Read with a moderate pace)
Keep the tempo at a moderate pace.
Let the music be your guide and don't chase.
(Antiphonal 2: Read with a moderate pace)
Not too fast or too slow,
just let the words go
with just the right pattern of temp.
A poem for Two Voices and a Chorus

The Last Word
by Nikki Grimes from A Dime a Dozen.

Voice 1: granddaughter
Voice 2: Grandma
Chorus: Chop! and Chop! Chop!

I peeled several potatoes
and tossed them in a pot.
                                         Chop!
Said Grandma, "You should boil them first,
then peel them when they're hot."
                                         Chop! Chop!
When they were done, I cubed them
into pieces one-inch thick.
                                         Chop!
"No! No!" she said. "You slice them fine.
Like so. I know the trick."
                                         Chop! Chop!
"The recipe is mine," I said.
(As if she cared a lick!)
                                         Chop! 
"Just do it my way: Do it right.
Here! Hand me the knife!
                                         Chop! Chop!
"You'd better learn to cook well
if you want to be a wife."

                                         Chop! Chop!
"I'll have you know, I've made
this salad many times before.
                                         Chop!
"I'm grateful for your help
but I don't need it anymore."
                                         Chop! 
"No need to get all huffy,"
she said, "handing back the knife."
                                         Chop! Chop!
      I asked, "Oh by the way
     who said I planned to be a wife?"
                                         Chop!





Thursday, April 7, 2011

Transmediation in Action: Drawing, Talking, Listening and Performing to Comprehend Literature


In order to facilitate comprehension of poetry, I engage students in a drawing activity to enhance their understanding of Paul Laurence Dunbar’s poem, “The Haunted Oak” and to ready them to read Marilyn Nelson's A Wreath for Emmett Till. To facilitate the drawing, I distribute an 11” x 17” sheet of white paper and a drawing pencil to each student. I then ask students to fold the sheet to make 8 equal size boxes. I already had divided the stanzas to Dunbar poem into eight sections and will use a PowerPoint to display each section. I explain to the students that I will show the PowerPoint slides and read aloud the stanza or stanzas from the poem and that they should quickly sketch what they image in one of the boxes.  I remind them that goal here is not to create stunning art, but rather to try as quickly as possible to represent what they visualize.  I model this process on large posted sheets of paper with a marker for the first stanza and invite students to work along. We then work through the whole poem: I project the words, read them aloud, and students and I each make drawings. My drawings remain public. In total, each of us makes 8 drawings.
At the conclusion of that process, I give each pair of students a copy of the poem and ask them to reread it.  Students work with their partner to reread the poem and to view one another’s drawings.  I invite students to discuss their emerging understanding of the poem. After discussion and viewing, I ask the students to flip their sheet of drawings to the blank side and to draw one scene that best illustrates their understanding of the poem. I let them know that we will be posting these drawings in the classroom as soon as they are finished. Students work for about 5-7 minutes to draw and then post their work. We tour this gallery of images and I ask students to notice what is similar across the drawings.  Students indicate that most often there is a leafless oak tree, a hanging body of an African American man, & the presence of the judge, doctor, minister, and child. 
I next play a video of Billie Holiday’s “Strange Fruit” for the class. 
Students quickly make connections between Dunbar’s poem and Holiday’s song. These connections give rise to questions such as: How prevalent was lynching in the U.S.?  Who is lynched? Has lynching ended in this country, or is it still going on? Have “pillars of the community” been the ones who lynch, as Dunbar portrays them in his poem? 
I conclude the class by having students practice reading chorally the second sonnet in Marilyn Nelson’s A Wreath for Emmett Till.  Each students is assigned a part and given a copy of the poem that I had arranged for choral reading. 
The next class, students practice individually again and then as a large group.   By the second reading the choral quality of the work is significant and powerful.  Each pair of students is assigned a number 1 from 15.


Students assigned #
Reads….
All Read
Pierced
1, 2, 3, 4, 5, 6, 7, 8, 9, 10
by the screams
11, 12, 13, 14, 15
of a shortened childhood,
15
my heartwood
13, 14,15
has been scarred
14, 15
for fifty years
15
by what I heard,
8, 9, 10, 11
with hundreds of green ears.
All
That jackal laughter.
12, 13
Two hundred years I stood listening
9, 10, 11
to small struggles to find food,
7 ,8, 9, 10, 11, 12
to songs of creature  life
13, 14, 15
which disappears and comes again
1, 2, 3
to the music of spheres.
1, 2, 14,15
Two hundred years of death I understood.
3, 4, 12, 13
Then slaughter axed one quiet summer night,
1, 2, 5, 6, 7
Shivering
1
the deep silence
1, 2
of the stars.
5
A running boy,
6, 7, 8, 9, 10
five pale faces in moonlight.
10
Noise,
2
silence,
3
back-slaps.
4
One match,
6, 7, 8, 9,10
five cigars.
ALL
Emmett Till‘s name
1, 2, 3, 4
still catches
1
in the throat.

Students quickly see the allusions to the Dunbar poem and the Holiday song that are present in the sonnet. As we have previously done work related to Emmett Till, students are familiar with who he is and what happened to him.  I ask students to work in small groups to prepare a choral reading script for one of the sonnets they chose, to be performed in class. It is in this manner that we enter A Wreath for Emmett Till.


THE HAUNTED OAK 
By Paul Laurence Dunbar


    PRAY why are you so bare, so bare,
        Oh, bough of the old oak-tree;
    And why, when I go through the shade you throw,
        Runs a shudder over me?

    My leaves were green as the best, I trow,
        And sap ran free in my veins,
    But I saw in the moonlight dim and weird
        A guiltless victim's pains.

    I bent me down to hear his sigh;
        I shook with his gurgling moan,
    And I trembled sore when they rode away,
        And left him here alone.

    They'd charged him with the old, old crime,
        And set him fast in jail:
    Oh, why does the dog howl all night long,
        And why does the night wind wail?

    He prayed his prayer and he swore his oath,
        And he raised his hand to the sky;
    But the beat of hoofs smote on his ear,
        And the steady tread drew nigh.

    Who is it rides by night, by night,
        Over the moonlit road?
    And what is the spur that keeps the pace,
        What is the galling goad?

    And now they beat at the prison door,
        "Ho, keeper, do not stay!
    We are friends of him whom you hold within,
        And we fain would take him away


"From those who ride fast on our heels
        With mind to do him wrong;
    They have no care for his innocence,
        And the rope they bear is long."

    They have fooled the jailer with lying words,
        They have fooled the man with lies;
    The bolts unbar, the locks are drawn,
        And the great door open flies.

    Now they have taken him from the jail,
        And hard and fast they ride,
    And the leader laughs low down in his throat,
        As they halt my trunk beside.

    Oh, the judge, he wore a mask of black,
        And the doctor one of white,
    And the minister, with his oldest son,
        Was curiously bedight.

    Oh, foolish man, why weep you now?
        'Tis but a little space,
    And the time will come when these shall dread
        The mem'ry of your face.

    I feel the rope against my bark,
        And the weight of him in my grain,
    I feel in the throe of his final woe
        The touch of my own last pain.

    And never more shall leaves come forth
        On the bough that bears the ban;
    I am burned with dread, I am dried and dead,
        From the curse of a guiltless man.

    And ever the judge rides by, rides by,
        And goes to hunt the deer,
    And ever another rides his soul
        In the guise of a mortal fear.

    And ever the man he rides me hard,
        And never a night stays he;
    For I feel his curse as a haunted bough,
        On the trunk of a haunted tree.


Wednesday, April 6, 2011

Call for Submissions for New Progressive Education Journal: (Re):Mix

Updated Information

I am pleased to announce the arrival of a new progressive education journal, (Re):Mix - A Transnational Journal of Artful Teaching & Learning.  (Re):Mix seeks to explore, question, (re)present and challenge depictions of teaching and learning in order to uncover the emerging complexity of artful practice. At a time when teaching, leading, and learning are often situated as simple input-output models, this journal seeks to challenge that understanding by showcasing and juxtaposing works that illustrate artful practices by learners.

(Re):Mix is an on-line, open access journal. Print copies will be available at a cost.


Call for Submissions: Issue 1: Exploring Uncertainty within Artful Practice

For this issue, contributors are asked to consider how uncertainty is elemental to the artful practice of teaching, leading, and learning. Contributors are invited to submit written and visual works (single images and visual essays) that explore, question, (re)present and challenge the idea of uncertainty being a necessary element inherent in artful practices.

Some questions to consider might include:

  • What does uncertainty look and/or sound like in your work?
  • How does uncertainty influence the work you do as a student, teacher, administrator, activist, mentor?  
  • How does meaning emerge in your work?
  • What conditions give rise to uncertainty? What conditions inhibit uncertainty?
  • What does it mean to be uncertain as a teacher? As a leader? As a learner?
  • How do you privilege uncertainty in your work, in colleagues' work, and/or in students' work? 
  • Is there a cost to being uncertain?

All who are interested in submitting work for this issue should do so by emailing written (word documents) and/or visual works (please save as jpg) to: maryann.reilly58@gmail.com no later than September 5, 2011. Please indicate the issue in the subject line of your email.  Any questions may be directed to me at the same email.

Submission of Artwork:

1. Email jpg images to maryann.reilly58@gmail.com
2. Include CONTACT INFORMATION:

YOUR NAME
ADDRESS
EMAIL and Twitter contact (if you have one)
3. Include title of work(s) submitted
4. Indicate if your submission is only for cover consideration or if it can be used in the journal.
5. Submit work no later than September 5, 2011.

I look forward to exploring this topic with you and learning from you.

Mary Ann Reilly


A mock up of a possible cover to issue 1.